Lillian and Frederick Kiesler papers, [circa 1910]-2003, bulk 1958-2000
Kiesler, Lillian Olinsey, 1911-2001
Kiesler, Frederick, 1890-1965
Bartos, Armand P.
Copley, Alfred L. (Alfred Lewin)
Dorazio, Virginia Dortch
Dreier, Katherine Sophie
Kiesler, Lillian Olinsey
Owen, Jane Blaffer
Anthology Film Archives
Hans Hofmann School of Fine Arts (Provincetown, Mass.)
John Simon Guggenheim Memorial Foundation
Metropolitan Museum of Art (New York, N.Y.)
University of Iowa. Museum of Art
Whitney Museum of American Art
Place of publication, production, or execution:
48.2 linear ft.
Access Note / Rights:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 48.2 linear feet and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed material, writings and interviews, monographs, photographic material, and sound recordings and motion picture film. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound recordings and motion picture film.
Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.
Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.
Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.
Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The papers related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).
Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Mass., as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.
The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Dreier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.
Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound recordings and motion picture film include a variety of media, such as recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.
Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork an
Lillian and Frederick Kiesler papers, [circa 1910]-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Loaned material is available on reels 58 and 127-128 at Archives of American Art offices and through interlibrary loan.
Also in the Archives is material that Lillian Kiesler lent for microfilming in 1971 (reels 58, 127-128, and 2399) relating to Frederick Kiesler. After microfilming, the originals were returned to her. Much of this material was included in later gifts from Kiesler. The loaned material dates from 1923-1993 and includes articles written by and about Frederick Kiesler, biographical material, exhibition catalogs and other related printed materials, clippings, and the "Bibliography of Writings By or About Frederick Kiesler" compiled by Lillian Kiesler.
Also in the Archives are the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998.
Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Additional Hofmann School of Fine Arts records are in the Hans Hofmann papers.
Lillian Kiesler (1910?-2001) was a painter from New York, N.Y. Married to Frederick Kiesler (1890-1965), who was an architect, sculptor, scenic & exhibition designer, educator. Lillian Kiesler was also a close friend and former student of Hans Hofmann, often called the "Dean of Abstract Expressionism" and monitor of his classes at the Hans Hofmann School of Fine Arts.
Some records are in German.
Lillian Kiesler donated her papers and papers related to Frederick Kiesler in several increments between 1980-2000. Earlier she had loaned materials for microfilming, most of which was included in later donations. She also donated papers related to Hans Hofmann in 1981. In 2002, circa 42 linear feet of material was donated from Lillian Kiesler's estate via Maryette Charlton executrix. Lillian Kiesler also lent material related to Frederick Kiesler for microfilming in 1971, which was included in later donations.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001