André Emmerich (photograph), A crew installing Helen Frankenthaler's painting 'Guiding Red' (1967), mezzanine of the World Trade Center II, New York, NY, 1977 [André Emmerich Gallery Records and André Emmerich Papers, circa 1929-2009. Archives of American Art, Smithsonian Institution, Washington, D.C.]
Bibl. ref.: «Guiding Red, 1967, measured 30 by 16 feet. The painting is no longer extant.», in E.A. Carmean, Jr., Helen Frankenthaler. A Paintings Retrospective, Harry N. Abrams, New York, NY, 1989, in association with the Modern Art Museum of Fort Worth, Fort Worth, TX, (note) p. 22 (pdf here)
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Three bird cutouts, 19--. Joseph Cornell papers, 1804-1986. Archives of American Art, Smithsonian Institution.
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Pets, Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution
Lorser Feitelson and Helen Lundeberg papers
Lorser Feitelson and Helen Lundeberg papers / Series 10: Photographs
Archives of American Art
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Reiji Kimura Christmas card to Dorothy Canning Miller, 1966
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Without the work of these curators and professors, tens of thousands of priceless works of art would have been lost to the world forever
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Silver Horn drawings, 1897-1921
Silver Horn drawings, 1897-1921
“Silver Horn (1860-1940), a Kiowa artist from the early reservation period, may well have been the most prolific Plains Indian artist of all time. Known also as Haungooah, his Kiowa name, Silver Horn was a man of remarkable skill and talent. Working in graphite, colored pencil, crayon, pen and ink, and watercolor on hide, muslin, and paper, he produced more than one thousand illustrations between 1870 and 1920. Silver Horn created an unparalleled visual record of Kiowa culture, from traditional images of warfare and coup counting to sensitive depictions of the sun dance, early Peyote religion, and domestic daily life. At the turn of the century, he helped translate nearly the entire corpus of Kiowa shield designs into miniaturized forms on buckskin models for Smithsonian ethnologist James Mooney.”
-- Silver Horn: Master Illustrator of the Kiowas by Candace S. Greene
The artist Elbridge Ayer Burbank traveled to Indian reservations in the late nineteenth century to paint the portraits of Indigenous peoples. Burbank traveled to Fort Sill, Oklahoma, on three occasions; it was there that the Kiowa artist Silver Horn sat for him for at least two portraits.
Silver Horn had been an established artist among the Kiowa since the 1880s. In 1899, he became interested in Burbank’s “naturalist” technique, and he observed the American artist as he painted other subjects. With Burbank, Silver Horn studied the art of modeling faces and individual portraiture. He experimented with this style in a series of individual portraits of people and animals, most of which he sold to Edward E. Ayer, before abandoning the style in favor of work that was more stylistically Kiowa.
Silver Horn drawings, 1897-1921
The 123 pieces by Silver Horn in the Newberry’s Ayer Collection demonstrate that his experimentation took him away from narratives about community to work that featured individuals. This makes the body of work held in the collection stylistically distinct from both the earlier and later periods of Silver Horn's work.
–former Ayer Reference Librarian Seonaid Valiant (abridged from original post)
View Silver Horn's drawings or all of the Edward E. Ayer Collection at Newberry Digital Collections
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Nancy Spero letter to Lucy R. Lippard, October 29, 1971 [Lucy R. Lippard papers, 1930s-2010, Archives of American Art, Smithsonian Institution, Washington, D.C.]
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Hello! I'm taking commissions.
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