Discusses several donations of French and American lithographs to the Smithsonian and their use in the development of the Graphic Arts exhibition before 1900.
Helena E. Wright
M.S., Simmons College, 1975 A.B., Bryn Mawr College, 1968
- Visual culture, including photomechanical processes and the history of American printmaking
- History of print collecting
- Women’s work in graphic arts
- Research on American print exhibitions and collectors before 1900
- The First Smithsonian Collection: the European Engravings of George Perkins Marsh and the Role of Prints in the U.S. National Museum. A history of the Marsh Collection of European engravings acquired by the Smithsonian in 1849 (Smithsonian Institution Scholarly Press, forthcoming, 2015)
- Picturing Words: The Power of Book Illustration exhibition and web site for Smithsonian Institution Libraries
- AMERICA ON STONE: THE HARRY T. PETERS COLLECTION OF 19th-CENTURY AMERICAN LITHOGRAPHS. Website, 2005.
- JULY 1942: UNITED WE STAND. Co-curator, Exhibition and website, 2002.
- AUDUBON & THE SMITHSONIAN. Exhibition, 1997. (for Smithsonian Institution Libraries)
- BUILDING A NATIONAL COLLECTION: 150 YEARS OF PRINT COLLECTING AT THE SMITHSONIAN. Exhibition and website, 1996.
- WITH PEN & GRAVER: WOMEN GRAPHIC ARTISTS BEFORE 1900. Exhibition & catalogue, 1995.
- WORKING PEOPLE: PHOTOGRAPHS BY MILTON ROGOVIN. Exhibition, 1992. 300 YEARS OF AMERICAN PAPERMAKING. Exhibition & catalogue, 1990-91.
- IMPERISHABLE BEAUTY: PICTURES PRINTED IN COLLOTYPE. Exhibition & catalogue, 1988.
- THE NAMING OF AMERICA: the Waldseemuller 1507 map. Exhibition, 1983.
- National Endowment for the Arts, Fellowship for Museum Professionals, 1973
- Beta Phi Mu, Graduate Honor Society, 1975
- Society for Industrial Archeology, General Tools Award for distinguished service, 1998
- American Printing History Association
- Ephemera Society
- Print Council of America
- Printing Historical Society
- Society for Industrial Archeology, past president
- Society for the History of Technology
This essay describes the Smithsonian’s ambitious program of loan exhibitions that included many works by living artists. These exhibits introduced many new prints and printmakers to a broad national public between 1923 and 1948. Two appendices identify traveling group shows and the printmakers featured in solo exhibitions during this period.
Two essays in Volume 4 of the Artefacts series, studies in the history of science and technology, a collaboration of the Deutsches Museum (Munich), the Science Museum (London), and the Smithsonian. One discusses the role of photomechanical processes in reproducing and distributing pictures in the 19th century. The other describes selected museums that collect and exhibit visual collections and their apparatus.
This article discusses Americans’ growing interest in prints in the last quarter of the 19th century, including exhibitions, sales, and the formation of collections.
This article presents some of the magazine covers produced in 1942 to celebrate the first Fourth of July after Pearl Harbor and the related exhibition at the National Museum of American History.
This essay discusses the Smithsonian’s participation in a national exhibition, and describes the 1000 prints on view in the graphic arts section. It provides an appendix listing all artists and publishers included in the exhibition.
A special issue of the journal History of Photography featured the Photographic History Collection at the National Museum of American History. Essays on several aspects of collection including daguerreotypes, W. H. F. Talbot, J. W. Draper, Pictorialism, color photography, and photomechanical processes.
In a volume that presents a number of conference papers, this essay discusses the importance of prints to artists and collectors in Philadelphia in relation to the Sartain family of artists and art educators.
Catalog of an exhibition celebrating 150 years of print collecting by the Smithsonian Institution. Essay examines the history of public attitudes and cultural changes that affected artists, collectors, curators, and audiences.