Biographical information, photographs, correspondence, writings, works of art, printed material, sound recordings and miscellany regarding Edward Melcarth. Photographs are of Melcarth, family, friends, and his work, as well as photographs taken by Melcarth, mostly in the 1940's and 1950's, of Coney Island, New York City, Venice, Germany, and subjec...

This accession consists of records created and maintained by Valerie Neal, Curator, pertaining to the design, development, execution, and installation of the exhibition "Where Next, Columbus?." The exhibition marked the quincentenary of Christopher Columbus's voyage and considers the possibilities for future space exploration. Some records ...

This accession consists of the records of Jean M. Salan, volunteer and eventual staff member of the Museum of African Art (MAA), 1964-1976; and Assistant Director for Administration of MAA, 1979-1980, when the Museum became part of the Smithsonian Institution on August 13, 1979. The records mostly consist of correspondence pertaining to MAA f...

The records of the Charles Campbell Gallery in San Francisco date from 1960 to 2001 and measure 17.6 linear feet. The records include business correspondence with galleries, curators, trusts, and individual buyers and sellers; business records consisting of administrative files, business notebooks, and financial material; artist and exhibition files; and Charles Campbell's related personal files that include correspondence, catalogs, newsletters, and clippings about jazz, and photos and travel. Substantial artist files exist for Nathan Oliveira, which contain original artwork and photos of the artist, Peter Allegaert, Gordon Cook, Charles Griffin Farr, Morris Graves, Robert Harvey, Geer Morton, Fred Reichman, Jean Rustin, Stephani Sanchez, and Wayne Thiebaud, among others.

Correspondence; a financial record book; bank statements, bills and receipts; writings and notes, including notes on artists; a pencil drawing on vellum of a woman playing a cello; exhibition catalogs and announcements; 3 guestbooks, two of them from the Fifteen Gallery, New York City; transcripts of 3 radio interviews; and printed materials, 1940-...

The papers of artist Shirley Jaffe measure 7.1 linear feet and 0.260 GB and date from circa 1950-2011. The collection documents her life and career as an American painter living in Paris through biographical material, letters, notebooks, writings, project files, printed and digital material, photographic material, and sketchbooks.

The papers of self-taught artist Kate Lang consist of a biographical sketch; letters, cards, and instructions from a patron for paintings; notes and other writings; lists of sales and other financial records; newspaper articles about Lang; exhibition announcements; printed source material for paintings; and photographs and snapshots of Lang as a young girl as well as color photographs and snapshots of her artwork. The collection measures 1.1 linear feet and dates from 1921 to 1996.

This accession consists of records which document the research, development, fundraising, publicity, production, and execution of exhibitions at the Smithsonian American Art Museum (SAAM) and the Renwick Gallery. Curators represented include Virginia M. Mecklenburg, Joann Moser, Toby Jurovics, and Merry A. Foresta. Also includes materials ...

The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1921 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.

The papers of art patron Harriet Collins Allen measure 0.2 linear feet and date from 1897-1925. Found within the papers are letters primarily written by Solon Borglum and his wife, Emma, to Harriet Collins Allen. The letters were written from Omaha, London, Paris, and New York and provide a cursory overview of some of the events in Borglum's career and insights into his relationship with his older brother sculptor Gutzon Borglum. Borglum writes about meeting and working with other sculptors in Paris and New York and his wife writes about conflicts between the two brothers and exhibitions of Solon's work. Also found within the papers are clippings, a brochure for Borglum's book A Comparative Analysis of Natural Forms and Their Relation to the Human Figure, and photographs of Borglum in his studio and of his works.