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Ruth Abrams papers

Creator:
Abrams, Ruth, 1912-1986  Search this
Names:
Bolotowsky, Ilya, 1907-1981  Search this
Extent:
1 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1934-1983
Summary:
The papers of New York based artist and educator Ruth Abrams measure 1.0 linear foot and date from 1934 to 1984. The collection includes correspondence, writings and notes, personal business records, printed material, and photographs.
Scope and Contents:
The papers of New York based artist and educator Ruth Abrams measure 1.0 linear foot and date from 1934 to 1984. The collection includes correspondence with colleagues and business associates; writings and notes related to Abrams 1970's film Paradox of the Big and writings by others; personal business records; exhibition announcements, news clippings, and other printed materials; and photographs. Photographs depict Abrams in her studio and with colleagues and students, exhibition openings, including four photographs of Ilya Bolotowsky attending her 1977 exhibition, and photographs of artwork.
Arrangement:
The collection is arranged as five series.

Series 1: Correspondence, 1948-1982 (Box 1; 12 folders)

Series 2: Writings and Notes, 1957-1977 (Box 1; 10 folders)

Series 3: Personal Business Records, 1958-1977 (Box 1; 3 folders)

Series 4: Printed Material, 1934-1983 (Box 1; 16 folders)

Series 5: Photographs, 1950-1978 (Box 1; 6 folders)
Biographical / Historical:
Ruth Abrams (1912-1986) was a painter in New York, NY. She was the art director at the Research Association of The New School from 1965 to 1966, and a lecturer at Parsons School of Design. Abrams is best known for her abstract style and outer-space paintings as well as a 1970s art film entitled, Paradox of the Big.
Provenance:
The Ruth Abrams papers were donated to the Archives of American Art by Ruth Abrams between 1981-1983.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Educators -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
New York school of art  Search this
Painters -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Ruth Abrams papers, 1934-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.abraruth
See more items in:
Ruth Abrams papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-abraruth

Lena Gurr papers, 1908-1979

Creator:
Gurr, Lena, 1897-1992  Search this
Subject:
Harkavy, Minna  Search this
Baron, Herman  Search this
Von Wicht, John  Search this
Knaths, Karl  Search this
Model, Elisabeth D. (Elisabeth Dittmann)  Search this
Grosz, George  Search this
Ascher, Mary G. (Mary Goldman)  Search this
Norman, Maria  Search this
Soyer, Raphael  Search this
Ward, Lynd Kendall  Search this
Lozowick, Louis  Search this
Kent, Rockwell  Search this
Lawrence, Jacob  Search this
Jones, Joe  Search this
Fabri, Ralph  Search this
Block, Dorothy  Search this
Ehrenreich, Emma  Search this
Allen, Mary Cecil  Search this
Biel, Joseph  Search this
Force, Juliana  Search this
Art Students League (New York, N.Y.)  Search this
ACA Galleries  Search this
John Reed Club  Search this
New York World's Fair  Search this
Topic:
Interviews  Search this
Painting, American  Search this
Women artists  Search this
Photographs  Search this
Works of art  Search this
Prints  Search this
Sketchbooks  Search this
Artists' studios  Search this
Art, Modern  Search this
Printmakers  Search this
Phonograph records  Search this
Painters  Search this
Photographers  Search this
Christmas cards  Search this
Record number:
(DSI-AAA_CollID)8997
(DSI-AAA_SIRISBib)211186
AAA_collcode_gurrlena
Theme:
Sketches & Sketchbooks
Women
Lives of American Artists
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211186
Additional Online Media:

Rudy Burckhardt papers, 1934-2015

Creator:
Burckhardt, Rudy, 1914-1999  Search this
Subject:
Lichtenstein, Roy  Search this
Noguchi, Isamu  Search this
Flavin, Dan  Search this
Pettet, Simon  Search this
Gross, Chaim  Search this
De Kooning, Willem  Search this
Nevelson, Louise  Search this
Stella, Frank  Search this
Kline, Franz  Search this
Frankenthaler, Helen  Search this
Judd, Donald C. (Donald Clarence)  Search this
Rockefeller, David  Search this
Cornell, Joseph  Search this
Leo Castelli Gallery  Search this
Richard Green Gallery (New York, N.Y.)  Search this
Topic:
Photographs  Search this
Negatives  Search this
Artists' studios  Search this
Filmmakers  Search this
Photographers  Search this
Painters  Search this
Record number:
(DSI-AAA_CollID)6366
(DSI-AAA_SIRISBib)215188
AAA_collcode_burcrudy
Theme:
Lives of American Artists
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215188
Additional Online Media:

Sears Gallagher papers

Creator:
Gallagher, Sears, 1869-1955  Search this
Extent:
1.1 Linear feet
Type:
Archival materials
Collection descriptions
Drawings
Photographs
Scrapbooks
Sketchbooks
Date:
circa 1882-2010
Summary:
The papers of draftsman, printmaker, and illustrator, Sears Gallagher measure 1.1 linear feet and date from circa 1882-2010. The collection consists of biographical information including awards and a scholarly biography; correspondence, primarily professional in nature, documenting the placement of works; professional files that document the management of studio practices including the printmaking process and the distribution and sale of prints; scrapbooks chronicling Gallagher's professional and family history in the form of clippings, photographs, and correspondence; printed material including clippings and commercial prints of watercolors; photographs including those of the artist and his studio; and artwork including numerous drawings on paper and sketchbooks documenting key moments of travel and artistic production.
Scope and Contents:
The papers of draftsman, printmaker, and illustrator, Sears Gallagher measure 1.1 linear feet and date from circa 1882-2010. The collection consists of biographical information including awards and a scholarly biography; correspondence, primarily professional in nature, documenting the placement of works; professional files that document the management of studio practices including the printmaking process and the distribution and sale of prints; scrapbooks chronicling Gallagher's professional and family history in the form of clippings, photographs, and correspondence; printed material including clippings and commercial prints of watercolors; photographs including those of the artist and his studio; and artwork including numerous drawings on paper and sketchbooks documenting key moments of travel and artistic production.
Arrangement:
The collection is arranged in seven series:

Series 1: Biographical Material, circa 1915-2010 (0.2 linear feet; Box 1)

Series 2: Correspondence, circa 1907-1929 (0.1 linear feet; Box 1)

Series 3: Personal Business Records, circa 1910-1939 (0.1 linear feet; Box 1)

Series 4: Scrapbooks, circa 1894-1938 (0.2 linear feet; Box 1)

Series 5: Printed Material, circa 1910-1940s (0.1 linear feet; Box 1)

Series 6: Photographic Material, circa 1900-2000 (0.1 linear feet; Box 1)

Series 7: Artwork, circa 1880-1939 (0.3 linear feet; Box 1, OV2)
Biographical / Historical:
Sears Gallagher (1869-1955) was a draftsman, printmaker, and illustrator born in Boston. After displaying considerable artistic talent in drawing as a child, Gallagher went on to study with the Italian-born Boston-based painter Tommaso Juglaris (1844–1925) from 1887 to 1889. Shortly after marrying Charlotte Dodge in 1895 the couple embarked for Paris where Gallagher pursued further artistic training at the Academie Julian. Gallagher's style evolved with an influence of the French Impressionists, and two of his watercolors were featured in the 1896 Paris Salon. Sears Gallagher achieved considerable popular success thanks to the sales and publishing of his prints, and he exhibited regularly in Boston with occasional shows in New York City until the 1940s. Gallagher was a founder of the Monhegan art colony in Maine, which is the setting of many of his popular works.
Provenance:
The Sears Gallagher papers were donated to the Archives of American Art in 2018 by Ann Burr Czepiel, granddaughter of Sears Gallagher.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
The Sears Gallagher papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Draftsmen (artists)--Massachusetts--Boston  Search this
Illustrators--Massachusetts--Boston  Search this
Printmakers--Massachusetts--Boston  Search this
Topic:
Artists' studios--Photographs  Search this
Genre/Form:
Drawings
Photographs
Scrapbooks
Sketchbooks
Citation:
Sears Gallagher Papers, circa 1882-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gallsear
See more items in:
Sears Gallagher papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gallsear

Marilynn Karp papers regarding Richard Lippold

Creator:
Karp, Marilynn Gelfman  Search this
Names:
Hunter College  Search this
Richard Lippold Foundation  Search this
World Trade Center (New York, N.Y.)  Search this
Johnson, Ray, 1927-  Search this
Lippold, Richard, 1915-  Search this
Zeffirelli, Franco  Search this
Extent:
0.8 Linear Feet
Type:
Archival materials
Collection descriptions
Interviews
Photographs
Video recordings
Date:
1949-2015
Summary:
The Marilynn Karp papers regarding sculptor Richard Lippold measure 0.8 linear feet and date from 1949-2015. Included are personal letters to Karp from Lippold and Ray Johnson regarding Lippold; records pertaining to the Richard Lippold Foundation and estate; a folder relating to Hunter College, where Karp was a student and Lippold taught; a video recorded interview with Richard Lippold by Franco Zeffirelli, photographs and negatives of Lippold in his studio, printed material, a project proposal for the World Trade Center Memorial, and a few writings by and about Lippold.
Scope and Contents:
The Marilynn Karp papers regarding sculptor Richard Lippold measure 0.8 linear feet and date from 1949-2015. Included are personal letters to Karp from Lippold and Ray Johnson regarding Lippold; records pertaining to the Richard Lippold Foundation and estate; a folder relating to Hunter College, where Karp was a student and Lippold taught; a video recorded interview with Richard Lippold by Franco Zeffirelli, photographs and negatives of Lippold in his studio, printed material, a project proposal for the World Trade Center Memorial, and a few writings by and about Lippold.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Marilynn Karp papers regarding Richard Lippold, 1949-2015 (Boxes 1-2; 0.8 linear feet)
Biographical / Historical:
Marilynn Karp (1939- ) was a student of sculptor Richard Lippold and became his friend and installation assistant beginning in 1957. Karp was also a trustee of Lippold's foundation and an executor of his estate until his death in 2002.
Related Materials:
Also found in the Archives of American Art are the Ivan C. Karp papers and OK Harris Works of Art gallery records. Marilynn Karp is the widow of Ivan C. Karp.
Provenance:
Donated to the Archives of American Art by Marilynn Karp in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
The Marilynn Karp papers regarding Richard Lippold are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artists' studios -- Photographs  Search this
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Photographs
Video recordings
Citation:
Marilynn Karp papers regarding Richard Lippold, 1949-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.karpmari
See more items in:
Marilynn Karp papers regarding Richard Lippold
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-karpmari

Tamara Webster papers relating to Frederick Hammersley

Creator:
Webster, Tamara, 1917-2011  Search this
Names:
Hammersley, Frederick, 1919-2009  Search this
Extent:
0.2 Linear feet
Type:
Archival materials
Collection descriptions
Christmas cards
Photographs
Date:
1961-1996
circa 1917
Summary:
The Tamara Webster papers relating to Frederick Hammersley measure 0.2 linear feet and date from circa 1917, 1961 to 1996. Webster was an art dealer and artist in Cambria, California and Albuquerque, New Mexico who befriended Hammersley. The papers include letters and holiday cards, exhibition catalogs, printed material, and photographs.
Scope and Contents:
The Tamara Webster papers relating to Frederick Hammersley measure 0.2 linear feet and date from circa 1917 and 1961 to 1996. Webster was an art dealer and artist in Cambria, California and Albuquerque, New Mexico who befriended Hammersley. The papers include letters and holiday cards, exhibition catalogs, printed material, and photographs.

All of the letters in this collection are written by Frederick Hammersley to Tamara Webster whom he affectionately refers to as "Tommy." There are several letters regarding sales of artwork and Christmas cards.

Printed material includes exhibition catalogs, announcements, and clippings.

Photographs are of Hammersley and his Albuquerque studio, his artwork, his exhibitions, and his cats.
Arrangement:
The collection is arranged as 3 series.

Series 1: Letters, 1970-1996 (3 folders; Box 1)

Series 2: Printed Material, 1961-1990 (2 folders; Box 1)

Series 3: Photographs, circa 1917, 1972-1995 (8 folders; Box 1)
Biographical / Historical:
Tamara Webster (1917-2011) was an art dealer and artist in Cambria, California and Albuquerque, New Mexico. Webster befriended abstract painter Frederick Hammersley while in California and after Webster moved to New Mexico in 1971 the two artists corresponded with each other.
Related Materials:
The Archives of American Art also has the Frederick Hammersley papers, 1897-2008.
Provenance:
The Tamara Webster papers relating to Frederick Hammersley were donated to the Archives of American Art in 2015 via Karen Kile, the director of the San Luis Obispo Museum of Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Tamara Webster papers relating to Frederick Hammersley are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Artists -- New Mexico -- Albuquerque  Search this
Artists -- California  Search this
Art dealers -- New Mexico -- Albuquerque  Search this
Art dealers -- California  Search this
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Christmas cards
Photographs
Citation:
Tamara Webster papers relating to Frederick Hammersley, circa 1917, 1961-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.webstama
See more items in:
Tamara Webster papers relating to Frederick Hammersley
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-webstama

David Shaner papers

Creator:
Shaner, David, 1934-  Search this
Extent:
2.8 Linear Feet
Type:
Archival materials
Collection descriptions
Drafts (documents)
Photographs
Manuscripts
Lectures
Notes
Notebooks
Essays
Date:
1937-2007
bulk 1968-1998
Summary:
The papers of ceramicist David Shaner measure 2.8 linear feet and date from 1937-2007, with the bulk of the material from 1968-1998. Shaner's career as a ceramicist in Big Fork, Montana, is documented through scattered correspondence, subject files, studio working files, writings and notes by Shaner and others, exhibition catalogs and other printed material, and photographs.
Scope and Content Note:
The papers of ceramicist David Shaner measure 2.8 linear feet and date from 1937-2007, with the bulk of the material from 1968-1998. Shaner's career as a ceramicist in Big Fork, Montana, is documented through scattered correspondence, subject files, studio working files, writings and notes by Shaner and others, exhibition catalogs and other printed material, and photographs.

Scattered correspondence includes letters, cards, and postcards. Correspondence is primarily with friends and colleagues, but also includes a few letters from galleries and art organizations. Subject files document Shaner's activities as a professional ceramicist. The majority of the files are for art galleries, but also found are files are for studio equipment, supply companies, and professional organizations. Files may include correspondence, agreements, invoices, price lists, receipts, and press releases.

Shaner's studio working files consist of glaze formulas, his kiln log notebook, plans, and kiln documentation. Also found are his studio notes, lists, formulas, manuals and guides for various ceramic processes and tools. A series of writings and notes consist of notes by Shaner, including notes for his artist's statement, as well as draft manuscripts, lectures, and essays by others on the topic of ceramics.

Printed material includes articles documenting David Shaner's career, exhibition announcements and catalogs for exhibits of Shaner's work, and various publications about ceramics. A small number of photographs found within this collection depict kilns and kiln building events, unidentified artists and studio spaces, and artwork. Included is one photograph of David Shaner.
Arrangement:
The collection is arranged as 6 series:

Series 1: Correspondence, circa 1978-1999 (Box 1; 3 folders)

Series 2: Subject Files, 1961-1998 (Box 1; 0.6 linear feet)

Series 3: Studio Working Files, circa 1951-1990s (Boxes 1-2; 8 folders)

Series 4: Writings and Notes, 1954-circa 1993 (Box 2; 6 folders)

Series 5: Printed Material, 1937-2007 (Boxes 2-4; 1.4 linear feet)

Series 6: Photographic Material, 1968-1990s (Box 4; 4 folders)
Biographical Note:
David Shaner (1934-2002) was a ceramist in Bigfork, Montana.

Shaner was born in Pottstown, Pennsylvania in 1934. He attended Kutztown State Teachers College and in 1957 entered the Master of Fine Arts program at Alfred University. After earning his MFA, he taught ceramics at the University of Illinois, Champaign-Urbana. In 1962 he and his wife Ann permanently relocated to Montana. Shaner served as director of the Archie Bray Foundation in Helena, Montana from 1964-1970. He remained a prolific potter and respected teacher throughout his life. Shaner was diagnosed with amyotrophic lateral sclerosis in 1995 and died in 2002.
Related Material:
Also found at the Archives of American Art is an oral history interview with David Shaner, conducted by Gerald Williams on June 17, 2001.
Provenance:
The David Shaner papers were donated in 2010 by Ann Shaner, David Shaner's widow.
Restrictions:
Use of original papers requires an appointment.
Rights:
The David Shaner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Ceramics -- Equipment and supplies  Search this
Ceramicists -- Montana  Search this
Pottery -- Technique  Search this
Glazes -- Formulae  Search this
Artists' studios -- Photographs  Search this
Art galleries, Commercial  Search this
Genre/Form:
Drafts (documents)
Photographs
Manuscripts
Lectures
Notes
Notebooks
Essays
Citation:
David Shaner papers, 1937-2007, bulk 1968-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shandavi
See more items in:
David Shaner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shandavi
Additional Online Media:

Allen Tupper True and True family papers

Creator:
True, Allen Tupper, 1881-1955  Search this
Names:
Borglum, Gutzon, 1867-1941  Search this
Brangwyn, Frank, Sir, 1867-1956  Search this
Pyle, Howard, 1853-1911  Search this
Wyeth, N. C. (Newell Convers), 1882-1945  Search this
Extent:
8.2 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sketches
Diaries
Drawings
Christmas cards
Illustrated letters
Cartoons (working drawings)
Sketchbooks
Date:
1841-1987
Summary:
The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes.
Scope and Content Note:
The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes. Through art work, project files, photographs, and printed material, the collection offers a rich resource, both textually and visually of True's research and work on documenting early twentieth century Native Americans cultural traditions. The papers also document True's childhood and his relationship with his family through various family papers, such as correspondence, genealogies, subject files, photographs, and a scrapbook. The collection is a particularly rich resource for the study of Allen Tupper True's work, as well as original documentation of the American West and Native American culture.
Arrangement:
The collection is arranged into thirteen series according to material type. The contents of each series have been arranged chronologically. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1895-1964, undated (box 1, 7 folders)

Series 2: Subject Files, 1873-1955 (box 1, 23 folders)

Series 3: Correspondence, 1841-1956 (boxes 1-4, 3.5 linear ft.)

Series 4: Business Records, 1903-1951 (box 4, 4 folders)

Series 5: Notes, 1902-1920 (box 5, 10 folders)

Series 6: Writings, 1896-1926 (box 5, 5 folders)

Series 7: Artwork, 1897-1923 (boxes 5, 10, and OV 11, 0.5 linear ft.)

Series 8: Project Files, 1912-1987 (boxes 5-6 and 10, 0.75 linear ft.)

Series 9: Photographs, 1859-1950 (boxes 6-7, 1.5 linear ft.)

Series 10: Scrapbook, 1934 (box 7, 1 volume)

Series 11: Printed Material, 1875-1981 (box 7, 21 folders)

Series 12: Artifacts, ca. 1863 (boxes 7 and 10, 9 items)

Series 13: Glass Plate Negatives, undated (boxes 8-9, 0.8 linear ft.)
Biographical Note:
Allen Tupper True (1881-1955) was born in Colorado Springs, Colorado in 1881. He was a student at the University of Denver, and studied at the Corcoran School of Art, Washington, D.C. between 1901 and 1902. In 1902, he was accepted into Howard Pyle's classes in Chadd's Ford, Pennsylvania, and studied there until 1908, befriending classmates George Harding, Gordon McCouch, Thornton Oakley, and N.C. Wyeth. Through Pyle, True began his career as a magazine illustrator.

From approximately 1913-1915, True worked with British muralist Frank Brangwyn, assisting Brangwyn in the execution of murals at the Panama-Pacific Exposition in San Francisco, California.

After marrying Emma Goodman Eaton in 1915 (divorced 1934), True launched his career as a mural painter. His most notable works include the mural decorations in the state capitol buildings of Colorado, Missouri, Nebraska, and Wyoming, as well as murals for the Mountain States Telephone and Telegraph Company Building and the Civic Center in Denver, Colorado. True specialized in depicting Western and Native American themes.

From 1934-1945, True acted as consultant for the U.S. Bureau of Reclamation, in charge of and designing all decoration and color schemes for the Boulder Dam power plant, Grand Coulee Dam, and the Shasta Dam, among others.

True was a Unitarian Mason, and a member of the Mural Painters of America, Beta Theta Pi, Cactus Club of Denver, and the Author's Club, London. He died in 1955.
Provenance:
The Allen Tupper True and True family papers were donated in February and April 1988 by True's daughter Jane True Mueller and his son, Frank True.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Allen Tupper True and True family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Indians of North America -- Portraits  Search this
Mural painting and decoration, American  Search this
Muralists -- Colorado -- Denver  Search this
Works of art  Search this
Artists' studios -- Photographs  Search this
Illustrators -- Colorado -- Denver  Search this
Genre/Form:
Photographs
Sketches
Diaries
Drawings
Christmas cards
Illustrated letters
Cartoons (working drawings)
Sketchbooks
Citation:
The Allen Tupper True and True family papers, 1841-1987
Identifier:
AAA.truealle
See more items in:
Allen Tupper True and True family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-truealle
Additional Online Media:

Percy Ives papers

Creator:
Ives, Percy L. (Percival L.), 1864-1928  Search this
Names:
Detroit Museum of Art. School  Search this
Extent:
1.4 Linear feet
Type:
Archival materials
Collection descriptions
Glass negatives
Photographs
Sketches
Date:
circa 1890-1994
bulk circa 1890-circa 1930
Summary:
The papers of Detroit portrait painter Percy Ives (1864-1928), measure 1.4 linear feet and date from circa 1890-1994, with the bulk of the material dating from circa 1890-circa 1930. Two hundred and fifty-eight glass plate negatives of sitters, models, and artwork by Ives form the bulk of the collection. Additional papers include two 1923 letters, a folder of notes, news clippings, sketches, and photographs.
Scope and Contents:
The papers of Detroit portrait painter Percy Ives (1864-1928), measure 1.4 linear feet and date from circa 1890-1994, with the bulk of the material dating from circa 1890-circa 1930. Two hundred and fifty-eight glass plate negatives of sitters, models, and artwork by Ives form the bulk of the collection. Additional papers include two 1923 letters, a folder of notes, news clippings, sketches, and photographs.

Letters include one to "The Oil and Colour Man" from "The Dweller in the Cave of Winds," and an IOU from A. W. "Gus" Ives to Percy Ives.

Notes include seven index cards with notes on "nibbles" and sales of paintings; and notes about Ives made in 1936 by James Parker's father. News clippings include four 1940 issues of a newspaper column, "We Old Timers," about Ives and his family.

Artwork consists of fifty-eight pencil sketches which have been mounted on the pages of a photograph album.

Thirty-seven photographs, most of them mounted on paper, include two which appear to be of Ives in his studio. The other photographs are of the interior and exterior of a house, an unidentified woman, farm scenes, and other outdoor scenes. There are also two photographs of paintings by Ives, including a self portrait.
Arrangement:
Due to the small size of the collection, the papers are arranged as one series.

Series 1: Percy Ives Papers, (1.4 linear feet; Boxes 1-4)
Biographical / Historical:
Portrait painter and dean of the Detroit Museum of Art School, Percy Ives (1864-1928), was the son of artist Lewis Thomas Ives; father and son were considered to be among the most notable Detroit artists of the latter part of the nineteenth century.

Ives studied initially with his father, and subsequently attended the Pennsylvania Academy of Fine Arts in the early-1880s, and the Academié Julian and École des Beaux-Arts in Paris from 1884 to 1890. He exhibited at the Paris Salon in 1887 and 1893, and at the World's Columbian Exposition in Chicago in 1893.

After returning to the United States, Ives settled in Detroit where his father had a studio, and painted portraits, often of prominent men of Michigan, as well as a number of people outside the state including Grover Cleveland and Walt Whitman. Notable examples of his portraiture hang in many of the county and state buildings of Michigan.

Ives was a member of several Detroit artist associations, such as the Scarab Club, served as incorporator, trustee, and treasurer of the Detroit Museum of Art before it became the Detroit Institute of Arts, was appointed dean of the museum school in 1896, and designed the seal of the institute.

Ives died suddenly in 1928 at the age of 63.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 593) including two diaries, 1885-1887 and 1903-1907, three albums containing photographs of family and friends, a book of illustrations of commercial signs painted by Ives, and fifteen loose sketches. Lent materials were returned to the Burton Historical Collection of the Detroit Public Library in Detroit, Michigan and are not described in the collection container inventory.
Provenance:
The Burton Historical Collection of the Detroit Public Library gave the Archives of American Art Percy Ives' sketches and glass plate negatives in 1956-1957 and lent material for microfilming in 1973. James B. Parker, whose father, Dr. Albert Russell Parker, purchased Ives's desk with the items intact, donated additional material in 1994.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Percy Ives papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art--Study and teaching--Michigan--Detroit  Search this
Art teachers--Michigan--Detroit  Search this
Artists' studios--Photographs  Search this
Arts administrators--Michigan--Detroit  Search this
Portrait painters--Michigan--Detroit  Search this
Portrait painting--United States  Search this
Genre/Form:
Glass negatives
Photographs
Sketches
Citation:
Percy Ives papers, circa 1890-1994, bulk circa 1890-circa 1930. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ivesperc
See more items in:
Percy Ives papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ivesperc
Additional Online Media:

Alson Skinner Clark papers

Creator:
Clark, Alson Skinner, 1876-1949  Search this
Names:
Clark, Medora  Search this
Extent:
7.2 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Diaries
Glass negatives
Date:
1870-1971
bulk 1890-1940
Summary:
The papers of painter and muralist Alson Skinner Clark measure 7.2 linear feet and date from 1870 to 1971, with the bulk of the material from 1890 to 1940. Clark's career is documented through biographical material; correspondence with family, friends, galleries, and dealers; eleven diaries by the artist as well as 16 by his wife Medora Clark; stories and essays by Medora; financial records and business files of art and civilian concerns; assorted printed material including exhibition catalogs and announcements, maps, news clippings (singly and in scrapbooks), advertisements, and ephemera; and photographs of the artist, his friends and family, studio, travels, and artwork.
Scope and Contents:
The papers of painter and muralist Alson Skinner Clark measure 7.2 linear feet and date from 1870 to 1971, with the bulk of the material from 1890 to 1940. Clark's career is documented through biographical material; correspondence with family, friends, galleries, and dealers; eleven diaries by the artist as well as 16 by his wife Medora Clark; stories and essays by Medora; financial records and business files of art and civilian concerns; assorted printed material including exhibition catalogs and announcements, maps, news clippings (singly and in scrapbooks), advertisements, and ephemera; and photographs of the artist, his friends and family, studio, travels, and artwork.
Arrangement:
The collection is arranged as 9 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, circa 1890-1958 (Box 1; 6 folders)

Series 2: Correspondence, 1895-1962 (Boxes 1-2; 1.7 linear feet)

Series 3: Diaries, 1889-1922 (Boxes 2-4; 1.5 linear feet)

Series 4: Writings, circa 1900-1962 (Boxes 4-5; 0.9 linear feet)

Series 5: Personal Business Records, 1889-1930 (Boxes 5, 8; 0.7 linear feet)

Series 6: Printed Material, 1890-1971 (Boxes 5-6; 0.2 linear feet)

Series 7: Artwork, circa 1910-1920 (Box 6; 2 folders)

Series 8: Photographs, circa 1885-1935 (Boxes 6, 8, 9; 1.6 linear feet)

Series 9: Scrapbooks, 1902-1955 (Boxes 7, 8; 0.5 linear feet)
Biographical / Historical:
Alson Skinner Clark (1876-1949) was a painter and muralist who travelled and worked in Europe, Mexico, Canada, Panama, and the United States, ultimately settling in southern California.

Clark was born in Chicago, Illinois, and began training in 1891 at the age of 11 at the Art Institute of Chicago. In 1896 he studied under William Merritt Chase at the Art Students' League of New York and briefly at the Chase School of Art before moving to Paris to train with James Abbott McNeill Whistler at the Academia Carmen in 1898. Alongside his wife, Medora (married 1902), Clark travelled extensively, painting the landscapes and urban activity of Chicago, New York, Quebec, France, Dalmatia, and Spain.

In 1913, Clark journeyed to Panama to document the construction of the canal, and in 1919, after serving as a military photographer in World War I, he settled in Pasadena, California, where he adopted the landscapes and colonial architecture of Mexico and the American West as subjects en plein air. It was during this time that Clark began to take on work as a muralist, accepting commissions from the local bank and theatre while also embarking on a teaching career at Occidental College and eventually the Stickney Memorial School of Fine Arts, where he served as director.
Provenance:
The 1897 diary, sales notebook, glass negatives, and albums of negatives were donated in 1986 by Joseph Moure, an art historian who purchased the material from occupants of Clark's former studio. The remainder was donated by Clark's son, Alson Clark, in 1989, 1991, 1992, and 1997 and by Clark's grandniece, Deborah Clark, in 2006.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Alson Skinner Clark papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donors have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artists' studios -- Photographs  Search this
Landscape painting  Search this
Mural painting and decoration, American  Search this
Painters -- California  Search this
Painting, American  Search this
Genre/Form:
Scrapbooks
Photographs
Diaries
Glass negatives
Citation:
Alson Skinner Clark papers, 1870-1962, bulk 1890-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.claralso
See more items in:
Alson Skinner Clark papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-claralso
Additional Online Media:

Arthur B. Carles papers

Creator:
Carles, Arthur B., 1882-1952  Search this
Names:
Baker, Sarah, 1899-  Search this
Carles, Caroline Robinson  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Marin, John, 1870-1953  Search this
McCarter, Henry, 1866-1942  Search this
Ottenberg, Perry, 1924-  Search this
Seyffert, Leopold  Search this
Speiser, Maurice J. (Maurice Joseph), 1880-  Search this
Tyson, Carol  Search this
Tyson, Henry  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Extent:
0.92 Linear feet
Type:
Archival materials
Collection descriptions
Diaries
Photographs
Date:
1912-1983
Summary:
The papers of Philadelphia painter Arthur B. Carles measure 0.92 linear feet and date from 1912 to 1983. Found are biographical materials, correspondence, writings and notes, personal business records, printed materials, and photographs.
Scope and Contents:
The papers of Philadelphia painter Arthur B. Carles measure 0.92 linear feet and date from 1912 to 1983. Found are biographical materials, correspondence, writings and notes, personal business records, printed materials, and photographs.

Correspondence is found for Carles and his wife Caroline Robinson Carles and includes letters from Sarah Baker, R. Sturgis Ingersoll, Henry McCarter, John Marin, Leopold Seyffert, Maurice Speiser, Carroll and Henry Tyson, and Franklin Watkins, among others. One diary contains brief entries. Additional writings are by Carles and Perry Ottenberg. Photographs are of Carles, his studio, family and friends, exhibitions, and works of art.
Arrangement:
This collection is arranged as 1 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Arthur B. Carles papers, 1912-1983 (0.6 linear feet; Box 1-2, MGP 3)
Biographical / Historical:
Arthur B. Carles (1882-1952) was a painter and art instructor active in Philadelphia, Pennsylvania.

Born in 1882 in Philadelphia, Arthur B. Carles studied at the Pennsylvania Academy of the Fine Arts from 1900-1907. There he studied with Thomas Pollock Anshutz, Hugh Breckenridge, Henry McCarter, Cecilia Beaux, and William Merritt Chase. Carles traveled to France in 1907 and stayed until 1910, becoming close friends with John Marin and Eduard Steichen. He displayed his work in the Salon d'Automne of 1908.

Upon Carles' return to Philadelphia, he accepted a position at the Pennsylvania Academy as an instructor of French and American modernism. In 1910 his work was included in the "Younger American Painters" show held at Alfred Stieglitz's New York gallery, 291. Also, Stieglitz gave Carles his first one-man show in 1912. Carles exhibited at the Armory Show of 1913.

Arthur Carles had one daughter, painter Mercedes Matter. He married Carolina Robinson as his second wife in 1972. Later in life, he suffered from alcoholism and had a stroke in 1941 that left him an invalid. Carles died in 1952.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1052 and 4270-4273) including correspondence, writings and notes, business material, artwork, photographs, and business records. Loaned materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
A portion of the Arthur B. Carles collection was loaned for microfilming by Steven Casamassima in 1976. Sara F. Swanson and Perry Ottenberg, Philadelphia collectors, donated papers in 1985 and Ottenberg lent additional material for microfilming in 1989.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Arthur B. Carles papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, Modern -- 20th century -- Pennsylvania -- Philadelphia  Search this
Artists' studios -- Photographs  Search this
Painting, Abstract -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Diaries
Photographs
Citation:
Arthur B. Carles papers, 1912-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carlarth
See more items in:
Arthur B. Carles papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carlarth
Additional Online Media:

Robert Aitken papers

Creator:
Aitken, Robert, 1878-1949  Search this
Names:
Roosevelt, Theodore, 1858-1919  Search this
Ward, De Witt  Search this
Wheeler, Benjamin  Search this
Extent:
0.5 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
circa 1900-1960
Summary:
The papers of California-born sculptor Robert Aitken measure 0.5 linear feet and date from circa 1900-1960. The collection primarily consists of photographs of Aitken in his studio and photographs of his sculpture including fountain figures, mausouleum doors, medallions, refliefs, and portrait busts. Also found is a photograph of Theodore Roosevelt at the dedication of the Navy Monument in Union Square, San Francisco, in 1902. The collection also includes one 1904 letter from Benjamin Wheeler to Robert Aitken thanking Aitken for a bust of George Washington, and scattered clippings and postcards reproducing works of art by Aitken.
Scope and Contents:
The papers of California-born sculptor Robert Aitken measure 0.5 linear feet and date from circa 1900-1960. The collection primarily consists of photographs of Aitken in his studio and photographs of his sculpture including fountain figures, mausoleum doors, medallions, reliefs, and portrait busts. Also found is a photograph of Theodore Roosevelt at the dedication of the Navy Monument in Union Square, San Francisco, in 1902. The collection also includes one 1904 letter from Benjamin Wheeler to Robert Aitken thanking Aitken for a bust of George Washington, and scattered clippings and postcards reproducing works of art by Aitken.

Some of the photographs are silver gelatin and gold toned silver gelatin prints, and some were taken by noted photographer De Witt Ward.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Robert Aitken Papers, circa 1900-1960
Biographical / Historical:
Noted sculptor Robert Aitken (1878-1949) was born in San Francisco, California, and taught at the Mark Hopkins Institute of Art from 1901-1904. He studied in Paris in 1897 and from 1904-1907, and then settled in New York City where he spent most of his career teaching at the National Academy of Design.

He completed numerous sculpture commissions including portrait busts, medallions and coins, reliefs, and fountain figures. His works include the "Fountain of Earth" for San Francisco's Panama Pacific Exposition, the Navy Monument in San Francisco's Union Square, doors for the Greenhut and John W. Gates Mausoleums in New York, several military sculptures at West Point, and Guardian Figures at the National Archives building and the West Pediment of the United States Supreme Court building, both in Washington D. C.

Aitken was a member of the National Academy of Design, the National Arts Club, the National Institute of Arts and Letters, the National Sculpture Society and the New York Architectural League.
Provenance:
The collection was donated to the Archives of American Art by the Cooper-Hewitt Museum in November 1973.
Restrictions:
Use of original materials requires an appointment and is limited to the Archives' Washington, D. C. Research Center.
Rights:
The Robert Aitken papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Monuments -- Washington (D.C.)  Search this
Monuments -- California -- San Francisco  Search this
Sculptors  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Photographs
Citation:
Robert Aitken papers, circa 1900-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.aitkrobe
See more items in:
Robert Aitken papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-aitkrobe

Tony DeLap papers

Creator:
DeLap, Tony, 1927-  Search this
Names:
Janus Gallery (Venice, Los Angeles, Calif.)  Search this
University of California, Irvine -- Faculty  Search this
Conner, Bruce  Search this
Darrow, Paul, 1921-  Search this
Hafif, Marcia, 1929-  Search this
Kauffman, Craig, 1932-  Search this
Landau, Felix, 1924-2003  Search this
McCracken, John, 1934-2011  Search this
McLaughlin, John, 1898-  Search this
Nauman, Bruce, 1941-  Search this
Rhinelander, Clare H.  Search this
Solomon, Alan R., 1920-1970  Search this
Stinton,, Nell  Search this
Thiebaud, Wayne  Search this
Wortz, Melinda  Search this
Extent:
1.4 Linear feet
Type:
Archival materials
Collection descriptions
Greeting cards
Photographs
Postcards
Scrapbooks
Date:
circa 1950-2015
Summary:
The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.
Scope and Contents:
The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.

Correspondence includes greeting and holiday cards, postcards, and letters with family, friends, other artists, and museums and other arts institutions. Notable correspondents include Alan Solomon, Melinda Wortz, Marcia Hafif, Bruce Conner, John McCracken, Paul Darrow, Bruce Nauman, Craig Kauffman, Nell Stinton, Felix Landau, Wayne Thiebaud, and John McLaughlin.

Writings include autobiographical notes, DeLap's notes on art and magic, and notes and writings on John McLaughlin. Also included is a paper on DeLap's 1983 exhibition at Janus Gallery by Clare H. Rhinelander.

The professional activities series contains DeLap's resume and bibliography, as well as materials related to his teaching appointments and promotion, including letters of recommendation, course lists, and a graduate trip itinerary.

Printed Material includes exhibition materials including announcements, calendars, and catalogs; newsletters, newspapers, journals, and newspaper clippings. This series makes up the bulk of the collection.

One scrapbook in the collection contains clippings, exhibition announcements, posters, and catalogs, and award ribbons.

Photographic material includes slides of DeLap's work, as well as photographs of DeLap, his studio, exhibitions and installations, snapshots of family, friends, and travel.
Arrangement:
The collection is arranged in six series.

Series 1: Correspondence, circa 1967-2015 (Box 1; 2 folders)

Series 2: Writings, circa 1960-2013 (Box 1; 4 folders)

Series 3: Professional Activities, circa 1964-1983, circa 2015 (Box 1; 2 folders)

Series 4: Printed Material, 1955-2015 (Boxes 1 and 2, OV 3, 0.6 linear feet)

Series 5: Scrapbook, 1955-1967 (Box 2, 0.3 linear feet)

Series 6: Photographic Material, circa 1950-2012 (Box 1, 0.2 linear feet)
Biographical / Historical:
Tony DeLap is an artist and professor emeritus of art in Orange County, California. He is a pioneer of West Coast minimalism with a special interest in visual illusion including performed magic.

DeLap was born in 1927 in Oakland, California and grew up in the Bay Area. He studied art, illustration, and graphic design at colleges in the Bay Area and taught at institutions including the California College of Arts and at the University of California, Davis. In 1965 he was offered a position at the newly founded University of California, Irvine, where he taught until 1991.

DeLap has exhibited widely and his work is held in collections at the Museum of Modern Art, the Whitney Museum of Art, the Solomon R. Guggenheim Museum, the Albright-Knox Gallery in Buffalo, the Los Angeles County Museum of Art, the Tate Gallery in London, and le Musée Cantonal des Beaux-Arts in Lausanne, Switzerland.
Provenance:
The papers were donated by Tony DeLap in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Greeting cards
Photographs
Postcards
Scrapbooks
Citation:
Tony DeLap papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.delatony
See more items in:
Tony DeLap papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-delatony

Lois Dodd papers

Creator:
Dodd, Lois, 1927-  Search this
Interviewer:
Mainardi, Patricia  Search this
Extent:
6.82 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Interviews
Date:
1945-2013
Summary:
The papers of New York City painter, educator, gallery owner, and activist Lois Dodd date from 1945 to 2013 and measure 6.82 linear feet. The papers focus on Dodd's personal work and contain little documentation of her involvement with Tanager Gallery. Found are biographical materials, including an interview conducted by Pat Mainardi in 1973; personal business records; professional correspondence; project and teaching files for Artist Housing Projects and various teaching positions; scattered writings and notes; printed materials including exhibition catalogs and announcements; and photographs.

The 2014 and 2015 additions date from 1945-2013 and provide additional material related to Dodd's career as a painter and educator. Found here are biographical material; correspondence with friends and artists; writings by others; project and teaching files; personal business records; printed material; photographical material of artwork and Dodd; eleven travel sketchbooks; and a few pieces of artwork by George Schneeman.
Scope and Content Note:
The papers of New York City painter, educator, gallery owner, and activist Lois Dodd date from 1945 to 2013 and measure 6.82 linear feet. The papers focus on Dodd's personal work and contain little documentation of her involvement with Tanager Gallery. Found are biographical materials, including an interview conducted by Pat Mainardi in 1973; personal business records; professional correspondence; project and teaching files for Artist Housing Projects and various teaching positions; scattered writings and notes; printed materials including exhibition catalogs and announcements; and photographs.

The 2014 and 2015 additions date from 1945-2013 and provide additional material related to Dodd's career as a painter and educator. Found here are biographical material; correspondence with friends and artists; writings by others; project and teaching files; personal business records; printed material; photographical material of artwork and Dodd; eleven travel sketchbooks; and a few pieces of artwork by George Schneeman.

Notable correspondents in the collection include Charles Cajori, Dave and Kathy Dewey, Lucien Day, Rackstraw Downes, William King, James L. Lentz, James McGarrell, Zalmar Perlin, Sidney Simon, Paul Smith, and Tom Wesselmann.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Information, 1949-1989 (Box 1; 9 folders)

Series 2: Personal Business Records, 1950-1990 (Box 1; 0.1 linear feet)

Series 3: Correspondence, 1952-1991 (Box 1; 0.7 linear feet)

Series 4: Project and Teaching Files, 1969-1983 (Box 1-2; 0.2 linear feet)

Series 5: Writings and Notes, circa 1970-1990 (Box 2; 5 folders)

Series 6: Printed Material, circa 1970-2001 (Box 2; 0.6 linear feet)

Series 7: Photographs, 1952-circa 1990 (Box 2; 0.3 linear feet)

Series 8: Addition to the Lois Dodd Papers, 1945-2013 (Box 3-8; 4.8 linear feet)
Biographical Note:
Lois Dodd (1927- ) is an observational painter, educator, activist, and co-founder of the Tanager Gallery. She is active in New York City and Maine.

Lois Dodd was born in 1927 in Montclair, New Jersey. Beginning in 1945, Dodd commuted from Montclair to New York City to attend The Cooper Union, from which she graduated in 1948. She married fellow student and sculptor William King with whom she had one child, Eli. King and Dodd, among others, established the Tanager Gallery in 1952.

Dodd worked for various organizations in New York City promoting affordable housing for artists, especially the renewal of Cooper Square. She continues to exhibit her paintings at both individual and group exhibitions.
Related Material:
Among the collections of the Archives of American Art are the Tanager Gallery records, 1952-1972 and an oral history interview with Lois Dodd by Barbara Shikler conducted in 1988.
Provenance:
Lois Dodd donated her papers to the Archives of American Art in several increments between 1981-2007. Dodd donated an additional 4.8 linear feet of material in 2014 and 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Lois Dodd papers papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art teachers -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Artists -- Housing -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Political activists -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Interviews
Citation:
The Lois Dodd papers, 1945-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.doddlois
See more items in:
Lois Dodd papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-doddlois

Richard Murray research material regarding Abbott Handerson Thayer

Creator:
Murray, Richard N., 1942-2006  Search this
Names:
Smithsonian American Art Museum  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
9 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Slides (photographs)
Date:
1948-2004
bulk 1994-2001
Summary:
The Richard Murray research material regarding Abbot Handerson Thayer measures 9.0 linear feet and dates from 1948 to 2004, with the bulk of the material dating from 1994 to 2001. Project files primarily document Murray's work on the 1999 exhibition "Abbott Thayer: The Nature of Art" and subsequent Thayer book project. Also found are extensive research files on Abbott Handerson Thayer and his specific works of art as well as photographic materials depicting Thayer, his family, studio, house, and works of art.
Scope and Content Note:
The Richard Murray research material regarding Abbot Handerson Thayer measures 9.0 linear feet and dates from 1948 to 2004, with the bulk of the material dating from 1994 to 2001. Project files primarily document Murray's work on the 1999 exhibition "Abbott Thayer: The Nature of Art" and subsequent Thayer book project. Also found are extensive research files on Abbott Handerson Thayer and his specific works of art as well as photographic materials depicting Thayer, his family, studio, house, and works of art.

Project files document Richard Murray's research projects regarding Abbott Handerson Thayer. Found here is Murray's correspondence with fellow Thayer scholars, collectors, art museums, and Thayer family members. Also included are planning documents, loan forms, press clippings, conservation requests, checklists and other materials for the exhibition "Abbott Thayer: The Nature of Art" which Murray curated at the Smithsonian American Art Museum (formerly National Museum of American Art) in 1999. Additional project files are primarily for his proposed book on Abbott Thayer and include research grant applications, fundraising, photograph orders, and reviews of the initial manuscript.

Research files contain documentation on archival collections regarding Thayer, subject files on family members, models, and friends of Thayer, private and museum collections of his artwork, and other subject's relevant to Thayer's career as an artist. Files may include Murray's correspondence and notes. However, the bulk of the material consists of photocopies or microfilm print-outs of archival documents, newspaper clippings, and other printed material. Also found are files on specific works of art by Thayer. These files may contain catalog descriptions, provenance information, correspondence, and images of the work of art.

Photographs depict Thayer, his family, friends, studio, house, and his artwork. Also found are negatives, color transparencies, and slides of these photographs. Of note are photographs of x-rays of Thayer paintings. Researchers should note that all photographs of Thayer, his family, house, studio, and artwork are copy prints of original photographs which Richard Murray requested from the owners for his research.
Arrangement:
The collection is arranged as 3 series:

Series 1: Project Files, 1990-2004 (Box 1-2; 1.2 linear feet)

Series 2: Research Files, 1948-2004 (Box 2-8; 6.1 linear feet)

Series 3: Photographic Materials, 1961, circa 1990s-2001 (Box 8-9; 1.7 linear feet)
Biographical Note:
Richard Murray (1942-2006) was a curator and art historian at the Smithsonian American Art Museum in Washington, D.C. Murray specialized in the works of Abbott Thayer and curated the 1999 exhibition, "Abbott Thayer: The Nature of Art." Before his death Murray was researching to write a book on Thayer's paintings and his involvement with conservation projects.
Related Material:
The Archives of American Art holds several collections related to Abbott Handerson Thayer. These include the Abbott Handerson Thayer and Thayer family papers, 1851-1999; research material on Abbott Handerson Thayer and other artists, 1895-1990, donated by Thomas B. Brumbaugh; the Abbott Handerson Thayer letter and drawings to Caroline Peddle Ball, circa 1890-1893; "The Drawings of Abbott Thayer", by Elizabeth Robins Pennell, circa 1921; and the Nelson and Henry C. White research material, 1898-1978, which includes many letters, photographs, and other material originally belonging to the Thayer family.
Provenance:
The collection was donated in 2011 by the Smithsonian American Art Museum via George Gurney, curator.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Richard Murray research material regarding Abbott Handerson Thayer is owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artists' studios -- Photographs  Search this
Painters -- New Hampshire -- Dublin  Search this
Genre/Form:
Photographs
Slides (photographs)
Citation:
Richard Murray research material regarding Abbott Handerson Thayer, 1948-2004, bulk 1994-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.murrrich2
See more items in:
Richard Murray research material regarding Abbott Handerson Thayer
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-murrrich2

David Parrish papers

Creator:
Parrish, David, 1939-  Search this
Names:
French & Company (New York, N.Y.)  Search this
George C. Marshall Space Flight Center -- Officials and employees  Search this
Nancy Hoffman Gallery  Search this
University of Alabama -- Students  Search this
Eddy, Don, 1944-  Search this
Hoffman, Nancy  Search this
Janis, Sidney, 1896-1989  Search this
Meisel, Louis K.  Search this
Interviewer:
Williams, Bob  Search this
Extent:
3.1 Linear feet
Type:
Archival materials
Collection descriptions
Resumes
Essays
Interviews
Sketchbooks
Drawings
Photographs
Video recordings
Date:
1940-2009
bulk 1964-1998
Summary:
The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.
Scope and Content Note:
The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.

Biographical material consists of resumes, one folder of financial records, brief artist statements written by David Parrish, and two essays about Parrish's works written by others. Also included is a VHS video recording of an interview with Parrish conducted by Bob Williams in 1997 in conjunction with an exhibition.

Correspondence is primarily of a professional nature and pertains to Parrish's relationships with various galleries, publishers, and arts organizations. Of note is correspondence with galleries that represented Parrish's work including French & Company, Sidney Janis, Nancy Hoffman, and Louis K. Meisel, and correspondence with fellow artist Don Eddy. Also included is a small amount of personal correspondence with friends and family.

Photographs of David Parrish include one baby photo, official portraits, photographs of him in his studio, with family and friends, and at exhibition openings. Also found are photographs and slides of his artwork, including gallery installations and early photographs of the interior of Nancy Hoffman Gallery.

Artwork includes a sketchbook kept by Parrish while a student at the University of Alabama, several ink drawings produced during his employment as a technical illustrator at NASA's Marshall Space Flight Center, and a few sketches by others. Printed material includes exhibition catalogs, announcements, and posters, newspaper clippings, press packets, and other gallery publications documenting Parrish's career as an artist.

Much of the material in the collection includes recent annotations by Parrish describing his involvement with the projects and exhibitions, and identifying friends and colleagues.
Arrangement:
The collection is arranged as 5 series:

Series 1: Biographical Material, circa 1970-2000 (Box 1; 8 folders)

Series 2: Correspondence, 1964-2008 (Box 1, 5; 0.9 linear feet)

Series 3: Photographs, 1940, 1960s-2009 (Boxes 1-2, 5; 0.4 linear feet)

Series 4: Artwork, circa 1961-2002 (Boxes 2, 5; 5 folders)

Series 5: Printed Material, 1962-2009 (Boxes 2-4; 1.5 linear feet)
Biographical Note:
David Parrish (1939-) is a Photorealist painter living in Huntsville, Alabama.

Parrish was born in Birmingham, Alabama, and received his B.F.A. from the University of Alabama in 1961. He briefly moved to New York with plans to become a magazine illustrator, but was unable to find a permanent job. He moved to Huntsville, Alabama in 1962 and became a technical illustrator for Hayes International Corporation. Parrish continued painting at his home studio, moving away from the painting style he learned in school, and instead working on paintings derived from photographs. He left his job as a technical illustrator in 1971 and became a full-time painter. That same year he joined French & Company in New York as a gallery artist and had his first one-man show at Brooks Memorial Art Gallery in Memphis, Tennessee.

During the 1970s Parrish saw success as a first generation photorealist. He was represented from 1973 to 1976 by Sidney Janis Gallery, and then moved to Nancy Hoffman Gallery. In 1987 he joined Louis K. Meisel Gallery, and is still represented by them today. Parrish's motorcycle paintings became his early trademark, and during the late 1980s into the 1990s he painted complex, intricate porcelain still lifes of Marilyn Monroe, Elvis, and other pop culture icons. Parrish has shown his work in numerous group and solo shows, including many international shows, and is in the permanent collection of many museums.
Provenance:
The collection was donated by David Parrish in 2009.
Restrictions:
Use of original papers requires an appointment. Use of video recording requires advance notice.
Rights:
The David Parrish papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artists' studios -- Photographs  Search this
Painters -- Alabama  Search this
Photo-realism  Search this
Genre/Form:
Resumes
Essays
Interviews
Sketchbooks
Drawings
Photographs
Video recordings
Citation:
David Parrish papers, 1940-2009, bulk 1964-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parrdavi
See more items in:
David Parrish papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parrdavi

Carl Rungius papers

Creator:
Rungius, Carl, 1869-1959  Search this
Extent:
0.6 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Postcards
Date:
1896-1995
Summary:
The Carl Rungius papers, 1896-1995, measure 0.6 linear feet. A scrapbook and three photograph albums document the work, interests, and family of the wildlife painter and illustrator.
Scope and Contents note:
The Carl Rungius papers, 1896-1995, measure 0.6 linear feet. A scrapbook and three photograph albums work, interests, and family of the wildlife painter and illustrator.

The scrapbook contains mostly printed material and reproductions of Rungius's work. In addition, there is a photograph of a painting and a letter reporting that his ashes had been spread in Banff, Canada.

Three family photograph albums include photographs of Carl Rungius and other family members (mainly Fuldas, since Rungius's mother, his wife, and a sister's husband were Fuldas), along with some travel pictures, views of studios and family houses. Volume 3 also contains a fair amount of printed material such as Rungius's Christmas cards featuring reproductions of his paintings, clippings, an exhibition catalog, and an illustrated brochure announcing the publication of new etchings.

Also found are three illustrated postcards from Lise. Printed material consists of an article about Carl Rungius and periodicals about hiking and trail riding in the Canadian Rockies.
Arrangement note:
The collection is arranged as 4 series:

Series 1: Illustrated Postcards from Lise, 1908 (Box 1; 1 folder)

Series 2: Printed Material, 1935-1938, 1985 (Box 1; 1 folder)

Series 3: Scrapbook, 1921-1986 (Bound volume 2; 0.1 linear ft.)

Series 4: Photographs, 1896-1995 (Box 1; 0.3 linear ft.)
Biographical/Historical note:
Carl Rungius (1869-1959) was a painter and illustrator of wildlife in New York, N.Y., the Western U.S. and Banff, Alberta, Canada.

From an early age Rungius enjoyed hunting and wanted to be an artist. Between 1888 and 1890 he was enrolled at the Berlin Academy of Art in his native city, but the curriculum did not suit his interests. He spent much of his free time at the Berlin Zoo studying and sketching animals, and often visited a glue factory that afforded opportunities to observe animal anatomy.

In 1894 an uncle invited Rungius to visit him in Maine and hunt moose. The following summer Rungius stalked game in Wyoming where the variety and abundance of wildlife and the dramatic western landscape greatly impressed him. Rungius immigrated to the United States in 1896.

Growing concern about native animal populations and a conservation movement aided by the efforts of President Theodore Roosevelt generated many books, magazines, and other publications which Rungius frequently received commissions to illustrate. He ceased illustration work around 1909 to devote himself to easel painting. Rungius first visited the Canadian Rockies in 1910 and so enjoyed painting and hunting there that eventually he built a studio in Banff, where he worked each April through October from 1921 until his death in 1959.
Related Archival Materials note:
Also at the Archives of American Art are the Elisabeth Rungius Fulda papers, 1895-1967, that contain information about her brother Carl Rungius, including: a photograph of Elisabeth Fulda and Carl Rungius, letters from Rungius to his sister concerning her art studies and his own training, his will and letters about his death, and letters from the Glenbow Foundation about an exhibition of Rungius's drawings (microfilm reels 101, 2812, N695, and 3482).

An interview with Carl Rungius conducted by DeWitt McClellan Lockman is part of Interviews of artists and architects associated with the National Academy of Design.

Rungius's estate, including personal papers and the contents of his studios in Banff and New York, were purchased for the Glenbow Museum in Calgary, Alberta, Canada, by its founder, Eric Harvie.
Provenance:
Donated in 2011 by Ruth Fulda Wacker, niece of Carl Rungius, via Robert A. Brady, executor of her estate.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Carl Rungius papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Animal painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Postcards
Citation:
Carl Rungius papers, 1896-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rungcarl
See more items in:
Carl Rungius papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rungcarl

Allen Saalburg papers

Creator:
Saalburg, Allen Russell, 1899-1987  Search this
Names:
Bucks County Historical Society  Search this
Canal Press  Search this
Ink River Gallery  Search this
New York Graphic Society  Search this
Extent:
0.8 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Scrapbooks
Date:
1924-circa 2003
bulk 1940-1987
Summary:
The papers of painter, illustrator, and screenprinter Allen Saalburg, 1924-circa 2003, bulk 1940-1987, measure 0.8 linear feet. Included are professional correspondence, printed material, a scrapbook and photographs. Most photographs are of Saalburg and his artwork. Also found are biographical material and subject files.
Scope and Contents:
The papers of painter, illustrator, and screenprinter Allen Saalburg, 1924-circa 2003, bulk 1940-1987, measure 0.8 linear feet. Included are professional correspondence, printed material, and a scrapbook. Most photographs are of Saalburg and his artwork. Also found are biographical material and subject files.

Biographical material consists of a chronology. Correspondence is with New York Graphic Society and Bucks County Historical Society, Doylestown, Pennsylvania. Business conducted by Canal Press and exhibitions at Ink River Gallery are documented in the subject files. Books and World War II posters illustrated by Saalburg are among the printed material. A scrapbook consists mainly of printed material illustrated by Saalburg. Photographs include views of his home in Uhlerstown, Pennsylvania and the studio, Canal Press, in Frenchtown, New Jersey. Also found are photographs of a trip to Albrook Air Force Base, Panama Canal Zone, where he participated in an exhibition featuring paintings of military planes.
Arrangement:
This collection is arranged as 6 series.

Series 1: Biographical Materials, circa 2003 (Box 1; 1 folder)

Series 2: Correspondence, circa 1956-1969, 1982-1983 (Box 1; 0.2 linear feet)

Series 3: Subject Files, circa 1950s-1994 (Box 1; 0.1 linear feet)

Series 4: Printed Material, 1940-circa 1980s (Boxes 1-2, OV 3; 0.3 linear feet)

Series 5: Scrapbook, 1924-1927, 1941-1947 (Box 2; 0.1 linear feet)

Series 6: Photographs, circa 1930-circa 1980s (Box 1; 0.1 linear feet)
Biographical / Historical:
Allen Saalburg (1899-1987) was a painter, illustrator, and innovative screenprinter who spent most of his career working in Frenchtown, New Jersey. From 1917 to 1920 he studied painting at the Pratt Institute and the Art Students League. In the late 1920s, Saalburg worked in Paris and had a solo exhibition at Galerie Bernheim-Jeune before returning to New York in 1930.

Throughout his career, Saalburg illustrated covers for popular magazines. His paintings were shown in group exhibitions at the Art Institute of Chicago and Whitney Museum of American Art. Solo exhibitions included shows at Grand Central Galleries and Kraushaar Galleries in New York, and others in New Jersey and Pennsylvania. He produced complex prints based on his paintings and experimented with screenprinting onto non-traditional surfaces. A piece on plastic panels was commissioned for a pavillion at the 1964 New York World's Fair.

Allen Saalburg's marriage to Muriel King, a costume and fashion designer, ended in divorce. His second wife was Mary Faulconer, a painter. Allen Saalburg died in 1987 in Flemington, New Jersey.
Provenance:
Executor Prudence Crowther donated the Allen Saalburg papers in 2004.
Restrictions:
Use of original material requires an appointment.
The Allen Saalburg papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New York (State) -- New York  Search this
World War, 1939-1945 -- Posters -- United States  Search this
Artists' studios -- Photographs  Search this
Printers -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Allen Saalburg papers, 1924-circa 2003, bulk 1940-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.saalalle
See more items in:
Allen Saalburg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-saalalle

Allen Townsend Terrell papers

Creator:
Terrell, Allen Townsend, 1897-1986  Search this
Names:
Laessle, Albert, 1877-1954  Search this
Extent:
4.5 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sketchbooks
Sketches
Travel diaries
Date:
1908-1982
Summary:
The papers of New York, Rome, and Paris painter Allen Townsend Terrell painter measure 4.5 linear feet and date from 1908-1982. Included are biographical materials; detailed letters from Terrell to his parents; fourteen diaries describing European travels; scattered financial records; three sketchbooks and miscellaneous sketches; printed material; and photographs of Terrell, his colleagues, his home and studios, artwork, and exhibition installations.
Scope and Content Note:
The papers of New York, Rome, and Paris painter Allen Townsend Terrell painter measure 4.5 linear feet and date from 1908-1982. Included are biographical materials; detailed letters from Terrell to his parents; fourteen diaries describing European travels; scattered financial records; three sketchbooks and miscellaneous sketches; printed material; and photographs of Terrell, his colleagues, his home and studios, artwork, and exhibition installations.

Biographical material includes a passport, membership cards for miscellaneous organizations, brief biographical accounts, and a guestbook containing signatures from several exhibition openings. There are almost daily letters written by Terrell to his parents describing his travels and education in the arts while in Europe. Scattered letters are from friends and colleagues, including one from Albert Laessle.

Fourteen diaries describe daily events in Terell's European travels. Scattered financial material includes banking records and miscellaneous receipts.

Three sketchbooks contain several block prints and miscellaneous sketches by Terrell. Printed material includes clippings, exhibition announcements and catalogs for Terrell and for others, as well as programs, and miscellaneous brochures. Photographs are of Terrell, and of his colleagues, studio, and artwork, in addition to albums containing photographs of his apartment, the Riverhead studio, commissioned projects, and exhibition installations.
Arrangement:
The collection is organized as 7 series; each series is arranged chronologically.

Series 1: Biographical Material, 1924-1978 (Boxes 1, 6; 3 folders)

Series 2: Letters, 1908-1978 (Boxes 1-3; 2.8 linear feet)

Series 3: Diaries, 1965-1978 (Boxes 3-4; 12 folders)

Series 4: Financial Material, 1925-1933 (Box 4; 7 folders)

Series 5: Artwork, 1925-1982 (Boxes 4, 6; 7 folders)

Series 6: Printed Material, 1911-1976 (Box 4; 15 folders)

Series 7: Photographs, 1925-1972 (Box 5; 15 folders)
Biographical Note:
Allen Townsend Terrell (1897-1986) was a painter and sculptor who worked in Paris, Rome, and New York. Terrell was born in Riverhead, New York and graduated from the Columbia University School of Architecture in 1921. He also studied painting and sculpture at the Art Students League with Edward McCartan and at the Pennsylvania Academy of Fine Arts with Albert Laessle. In 1924, he studied in France at the Conservatoire Américain de Fontainebleau with sculptor Charles Despiau, and at the Académie Julian in Paris.

Between 1924 and 1926, Terrell established a studio in Paris, later moving to Rome between 1928 and 1931. From 1934 to 1935, he taught watercolor and still life painting at the Parsons School of Design.

Among other exhibitions in Paris, New York, and Philadelphia, Terrell had a solo exhibition at the National Arts Club in 1975. He was a member of the American Watercolor Society and president of the Alumni of the American School at Fontainebleau.

Allen Townsend Terrell died on July 8, 1986.
Provenance:
Allen Townsend Terrell donated his papers in 7 installments between 1975 and 1981.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Allen Townsend Terrell papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters  Search this
Travel -- Europe  Search this
Artists' studios -- Photographs  Search this
Art -- Study and teaching -- France -- Paris  Search this
Art -- Study and teaching -- Italy  Search this
Genre/Form:
Photographs
Sketchbooks
Sketches
Travel diaries
Citation:
Allen Townsend Terrell papers, 1908-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.terralle
See more items in:
Allen Townsend Terrell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-terralle

David Weinrib papers

Creator:
Weinrib, David, 1924-2016  Search this
Names:
Black Mountain College (Black Mountain, N.C.) -- Faculty  Search this
Pratt Institute. Sculpture Garden  Search this
Acconci, Vito, 1940-  Search this
Bourgeois, Louise, 1911-2010  Search this
Coyne, Petah  Search this
Frank, Mary, 1933-  Search this
Pfaff, Judy, 1946-  Search this
Von Rydingsvärd, Ursula, 1942-  Search this
Weinrib, Joann  Search this
Extent:
28.2 Megabytes
4.6 Linear Feet
Type:
Archival materials
Collection descriptions
Megabytes
Photographs
Date:
circa 1950-2015
Summary:
The papers of multimedia sculptor, curator, and instructor David Weinrib measure 4.6 linear feet and date from circa 1950-2015. The collection documents Weinrib's life and career through a small amount of biographical material, project files, and printed and photographic material. Project files make up the bulk of the collection and document Weinrib's teaching at Black Mountain College, his curation of the Pratt Sculpture Park, and an extensive project that he undertook with his second wife, JoAnn Weinrib, in 1998 titled "Sculptors in Their Environments." This project file includes photographic documentation of numerous artists working in their studios including Vito Acconci, Louise Bourgeois, Petah Coyne, Mary Frank, Judy Pfaff, Ursula von Rydingsvard, and many others.
Scope and Contents:
The papers of multimedia sculptor, curator, and instructor David Weinrib measure 4.6 linear feet and date from circa 1950-2015. The collection documents Weinrib's life and career through a small amount of biographical material, project files, and printed and photographic material. Project files make up the bulk of the collection and document Weinrib's teaching at Black Mountain College, his curation of the Pratt Sculpture Park, and an extensive project that he undertook with his second wife, JoAnn Weinrib, in 1998 titled "Sculptors in Their Environments." This project file includes photographic documentation of numerous artists working in their studios including Vito Acconci, Louise Bourgeois, Petah Coyne, Mary Frank, Judy Pfaff, Ursula von Rydingsvard, and many others.
Arrangement:
The collection is arranged as four series

Series 1: Biographical Material, circa 1970-2015 (0.2 linear feet; Box 1)

Series 2: Project Files, circa 1968-2011 (2.9 linear feet; Box 1-3, OV 5-6; 28.2 megabytes; ER01-ER03)

Series 3: Printed Material, circa 1950-2010 (0.6 linear feet; Box 3-4)

Series 4: Photographic Material, circa 1970-2010 (0.9 linear feet; Box 4, OV 6)
Biographical / Historical:
David Weinrib (1924-2016) was a sculptor, ceramicist, and instructor who worked primarily in New York City. Born in Brooklyn, New Work, Weinrib attended Brooklyn College before receiving his Bachelor of Fine Arts degree from Alfred University. Weinrib taught pottery at the Craft Institute at Black Mountain College from 1952-1953 with his first wife Karen Karnes. In the 1960s, Weinrib began experimenting in a variety of media and exhibited at the Howard Wise Gallery. He continued to work in different media through the decades including cast resin, cut paper, acrylic collages, and photography through collaboration with his second wife, JoAnn Weinrib. Weinrib taught at Pratt Institute for thirty years and also curated the Pratt Sculpture Park, which displays over fifty works on the urban campus. He is the recipient of numerous National Endowment for the Arts grants as well as Guggenheim and Fulbright grants. Weinrib's work is in the collections of the Walker Art Center, the Whitney Museum, and the Los Angeles County Museum of Art.
Provenance:
Donated to the Archives of American Art in 2016 by Abel Weinrib, David Weinrib's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of born digital records requires advance notice.
Rights:
The David Weinrib papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art teachers -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Curators -- New York (State) -- New York  Search this
Multimedia (Art)  Search this
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
David Weinrib papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.weindavi
See more items in:
David Weinrib papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-weindavi

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