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Palmer C. Hayden papers

Creator:
Hayden, Palmer C., 1890-1973  Search this
Names:
United States. Works Progress Administration  Search this
Extent:
2.4 Linear feet
Type:
Archival materials
Collection descriptions
Diaries
Sketchbooks
Photographs
Date:
1920-1970
Summary:
The papers of African-American painter Palmer C. Hayden date from 1920-1970 and measure 2.4 linear feet. The collection contains biographical material, including 32 diaries documenting Hayden's daily activities, scattered correspondence relating to art sales and Hayden's work for the Works Progress Administration, printed material, 47 sketchbooks compiled over a period of almost forty years, and photographs of Hayden and his artwork.
Scope and Contents:
The papers of African-American painter Palmer C. Hayden date from 1920-1970 and measure 2.4 linear feet. The collection contains biographical material, including 32 diaries documenting Hayden's daily activities, scattered correspondence relating to art sales and Hayden's work for the Works Progress Administration, printed material, 47 sketchbooks compiled over a period of almost forty years, and photographs of Hayden and his artwork.
Arrangement:
The collection is arranged as 6 series:

Series 1: Biographical Material, 1920-1969 (Box 1; 2 folders)

Series 2: Diaries, 1938-1967 (Boxes 1-2; 0.5 linear ft.)

Series 3: Correspondence, 1922-1967 (Box 2; 2 folders)

Series 4: Printed Material, 1926-1969 (Box 2; 2 folders)

Series 5: Sketchbooks and Sketches, 1924-circa 1960 (Boxes 2-6; 1.8 linear ft.)

Series 6: Photographs, 1932-1970 (Box 6; 4 folders)
Biographical / Historical:
Born Peyton Cole Hedgeman, in Widewater, Virginia in 1890, Palmer Hayden received his first art instruction through correspondence courses, then studied in 1925 with Asa Grant Randall at the Boothbay Art Colony, in Maine, specializing in marine subjects. In 1927, Hayden's seascape, Schooners, won first prize for "Distinguished Achievement in Fine Arts" in the Harmon Foundation's first awards ceremony. With that award, and an additional grant from a patron, Hayden was able to continue his studies in Paris, where he further developed his skills in seascapes and ethnic subject matter. Hayden was among the first African-American artists to use African-American subjects and designs in his painting.

Hayden returned to the United States in 1932 and worked steadily over the next several years for the United States government, including the Treasury Relief Art Project and the Works Progress Administration. In 1944 Hayden began work on his noted Ballad of John Henry series of twelve paintings that would occupy him for a decade. In his later work, Hayden continued to focus on African-American themes, capturing both rural gatherings in the South and the urban milieu of New York.

Palmer Hayden died in 1973.
Provenance:
The collection was donated by Palmer C. Hayden in 1970 and a portion of it was microfilmed shortly after receipt.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Palmer Hayden 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:
African American painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Sketchbooks
Photographs
Citation:
Palmer C. Hayden papers, 1920-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.haydpalm
See more items in:
Palmer C. Hayden papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-haydpalm
Additional Online Media:

Alice Neel papers

Creator:
Neel, Alice, 1900-1984  Search this
Extent:
1 Linear foot
Type:
Archival materials
Collection descriptions
Photographs
Notes
Date:
1933-1983
Summary:
The papers of New York painter Alice Neel measure 1.0 linear foot and date from 1933 to 1983. The bulk of the collection documents the last fifteen years of Neel's career as an artist. Found within the papers are letters from galleries, museums, and art organizations; writings and notes by Neel; exhibition catalogs, clippings, and other printed material; and photographs depicting Neel, exhibitions, and her artwork.
Scope and Content Note:
The papers of New York painter Alice Neel measure 1.0 linear foot and date from 1933 to 1983. The bulk of the collection documents the last fifteen years of Neel's career as an artist. Found within the papers are letters from galleries, museums, and art organizations; writings and notes by Neel; exhibition catalogs, clippings, and other printed material; and photographs depicting Neel, exhibitions, and her artwork.
Arrangement:
The collection is arranged as # series:

Series 1: Letters, circa 1968-1983 (Box 1; 0.2 linear feet)

Series 2: Writings and Notes, circa 1960-1979 (Box 1; 2 folders)

Series 3: Printed Material, 1933-1983 (Box 1; 0.6 linear feet)

Series 4: Photographs, 1940-1983 (Box 1; 6 folders)
Biographical Note:
Alice Neel (1900-1984) was a painter in New York, NY. She was known for her portraits of New York artists and intellectuals. Neel studied painting at the Philadelphia School of Design for Women (now the Moore College of Art and Design) from 1921-1925. She married Cuban artist Carlos Enríquez, and they briefly lived in Havana, Cuba. After the break-up of their marriage, she settled in New York City. During the 1930s she worked for the Public Works of Art Project and the Works Progress Administration, painting scenes of urban poverty and developing her distinctive portrait style. She pursued a career as a figurative painter during a period when abstraction was favored, and she did not begin to gain critical praise for her work until the 1960s. Neel received an honorary doctorate from the Moore College of Art and Design in 1971 and a retrospective of her work was held at the Whitney Museum in 1974. During the last decade of her life she finally received extensive national recoginition for her paintings. Neel was also a notable public speaker and often spoke on the topic of women artists.
Related Material:
Also found in the Archives of American Art are printed material on Romare Bearden, Alice Neel, and Howard Newman, 1975-1990, compiled by Dennis Florio, and a videorecording of "Art and Alice Neel," 1975, recorded as part of University of Georgia Television station WGTV's "Forum" program.
Provenance:
The collection was donated from 1974 to 1983 by Alice Neel.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Alice Neel 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:
Portrait painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Portrait painting -- 20th century -- United States  Search this
Women artists -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Notes
Citation:
Alice Neel papers, 1933-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.neelalic
See more items in:
Alice Neel papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-neelalic
Additional Online Media:

Joseph Konopka Papers

Creator:
Konopka, Joseph, 1932-  Search this
Extent:
1.1 Linear Feet
Type:
Archival materials
Collection descriptions
Drawings
Sketchbooks
Date:
1965-2003
Summary:
The Joseph Konopka Papers measure 1.1 linear feet and date from 1965 to 2003. The papers document Konopka's career as a photo-realist and landscape painter through biographical material, correspondence, and artwork.
Scope and Content Note:
The Joseph Konopka Papers measure 1.1 linear feet and date from 1965 to 2003. The papers document Konopka's career as a photo-realist and landscape painter through biographical material, correspondence, and artwork.

Correspondence is with galleries and participants in his Art People Cutout Series. Among the artwork are sketchbooks (9 volumes) and a maquette of the Art People Cutout Series.
Arrangement:
The collection is arranged as 3 series:

Series 1: Biographical Material, 1965-2003 (Boxes 1, 3; 0.4 linear feet)

Series 2: Correspondence, 1971-1987 (Box 1; 3 folders)

Series 3: Artwork, 1985-2002 (Boxes 1-3; 0.6 linear feet)
Biographical Note:
Joseph Konopka (b. 1932) is a photo-realist and landscape painter who also works as a scenic artist for NBC-TV in New York City. He lives in Glen Ridge, New Jersey.

A native of Philadelphia, Konopka was raised in Jersey City, New Jersey. In 1954, he graduated from Cooper Union School of Art and the following year completed a set design course at Columbia University. He began working NBC-TV in 1952 as a paint boy, mixing paints and washing brushes for the scenic artists, a position he held for nine months. Konopka later joined the United Scenic Artists Local USA 829 and rose from apprentice (1953) to his current position as a scenic artist at NBC-TV. He has worked for many NBC-TV shows including "Late Night with David Letterman" (1982-1993) and "Late Night with Conan O'Brien" (1993-present).

Konopka often paints in ongoing series. His work process involves taking slides of his subjects from various angles and distances to determine a suitable composition or composite view. Subject matter for Konopka's series includes images of his wife Casimera (Casey) at the Jersey shore, in everyday poses, or putting on makeup; views from the top of the World Trade Center; and lighthouses. For the Art People Cutout Series (circa 1971-1979), Konopka painted portraits of prominent figures in the New Jersey art world such as museum directors (including Sam Miller, Newark Museum) and curators.

Konopka has been represented by Razor Gallery, New York City (circa 1971-1979), Capricorn Galleries, Bethesda, Maryland (circa 1980-1996), and Nathans Art Gallery, West Paterson, New Jersey (circa 1986-1997). From 1976-1985, he served as vice president of the Associated Artists of New Jersey.

Konopka lives in Glen Ridge, New Jersey.
Provenance:
The papers were donated in 2003 by Joseph Konopka.
Restrictions:
Use of original material requires an appointment.
Rights:
The Joseph Konopka 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:
Landscape painters -- New York (State) -- New York  Search this
Photo-realism  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Joseph Konopka Papers, 1965-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.konojose
See more items in:
Joseph Konopka Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-konojose

Eastman Johnson letters

Creator:
Johnson, Eastman, 1824-1906  Search this
Names:
Benson, Eugene, 1837-1908  Search this
Lanman, Charles, 1819-1895  Search this
Leutze, Emanuel, 1816-1868  Search this
McEntee, Jervis, 1828-1891  Search this
Ordway, Alfred T., 1819-1897  Search this
Wolf, Henry, 1852-1916  Search this
Extent:
12 Items
Type:
Archival materials
Collection descriptions
Date:
1851-1899
Summary:
The letters of Eastman Johnson contain 12 items and date from 1851 to 1899. The letters provide scattered documentation of his career as a painter and printmaker.
Scope and Content Note:
The letters of Eastman Johnson contain 12 items and date from 1851 to 1899. The letters provide scattered documentation of his career as a painter and printmaker.

The collection includes a letter to Mr. Champney concerning a painting by Eugene Benson, a letter to Charles Lanman, personal Secretary to Daniel Webster, a letter to Alfred Ordway, artist and Director of Paintings at the Boston Athenaeum, a letter to friend and patron John Coyle, and a letter to Mr. Cozzens concerning a painting which was already sold. Also found are two letters to artist and close friend Jervis McEntee, a letter to an unidentified Mrs. P, stating that he must go to Albany before starting another picture, a letter to Mr. Clark concerning a portrait, and a letter to Dr. Hochheimer regarding a print by Henry Wolf after one of Johnson's paintings. Also included in the collection is an oversize letter, written by Johnson in Dusseldorf, to his friend Charlotte Child, in which he speaks of his impressions of Germany, mutual friends, and working in Leutze's studio.
Arrangement:
Due to the small size of this collection, items are categorized into one series consisting of two folders. Items are arranged chronologically.
Biographical Note:
American painter and printmaker Jonathan Eastman Johnson was born in Lovell, Maine in 1824. After apprenticing with a Boston lithographer, he moved to Washington D.C. in 1845 and became a portraitist of prominent Americans, including Daniel Webster and Dolly Madison. Beginning in 1849, Johnson spent two years at the Royal Academy in Dusseldorf, Germany, studying with Emanuel Leutze, and three years at The Hague. After returning to America in 1855, he settled in New York and focused on painting American genre subjects including Native Americans, African Americans, and farmers. He married Elizabeth Buckley in 1869, and they bought a home in Nantucket where he spent every summer for the rest of his life. After 1880, as the popularity of genre paintings declined, Johnson focused again on portraiture. He died in 1906.
Provenance:
Items were donated in 1979 by Caroline Johnson Brown, Johnson's grand-niece, in 1976 by Letitia Howe, and by Charles E. Feinberg, an active donor to the Archives of American Art between 1955 and 1962, and were microfilmed after receipt.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Eastman Johnson letters 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:
Portrait painters -- New York (State) -- New York  Search this
Painting, Modern -- 19th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Citation:
Eastman Johnson letters, 1851-1899. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.johneast
See more items in:
Eastman Johnson letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-johneast
Additional Online Media:

Avel de Knight papers

Creator:
De Knight, Avel, 1921-1995  Search this
Extent:
0.6 Linear feet
Type:
Archival materials
Collection descriptions
Menus
Photographs
Date:
1947-2003
bulk 1957-1968
Summary:
The Avel de Knight papers measure 0.6 linear feet and date from 1947 to 2003 with the bulk of the collection dating from 1957 to 1968. The collection includes professional files, writings, printed material, and photographic material.
Scope and Contents:
The Avel de Knight papers measure 0.6 linear feet and date from 1947 to 2003 with the bulk of the collection dating from 1957 to 1968. The collection includes professional files, writings, printed material, and photographic material.

Professional files include biographies and chronologies, professional correspondence, and material related to de Knight's menu designs for l'Escargot Restaurant, a French restaurant in Chicago.

Writings make up the bulk of the collection and consist primarily of clippings of de Knight's critiques in France-Amérique. Filed within these critiques are occasional letters from artists whose shows de Knight reviewed in the paper. Also included in this series are artist statements and notes.

Printed material includes exhibition announcements, catalogs, and invitations; clippings and reviews; press releases and newsletters; and reproductions of de Knight's works of art.

Photographic material includes photographs and contact sheets of Avel de Knight and his work.
Arrangement:
The collection is arranged in four series.

Series 1: Professional Files, 1966-1997 (Box 1; 3 Folders)

Series 2: Writings, 1957-1968, undated (Box 1; 0.3 linear feet)

Series 3: Printed Material, 1947, 1962-2003, undated (Box 2; 4 Folders)

Series 4: Photographic Material, circa 1959-1989 (Box 2; 3 Folders)
Biographical / Historical:
Avel C. de Knight (1921-1995) was an African American painter, educator, and art critic. His birth dates are also cited as 1923, 1925, 1931, and 1933. Born in New York to parents from Barbados and Puerto Rico, he attended Pratt Institute before serving in a segregated United States Army unit in World War II. After the war, he studied at the École de Beaux-Arts, the Grand Chaumière, and the Académie Julian in Paris under the G.I. Bill. He returned to the United States in 1956 and in 1957 began reviewing New York exhibitions for France-Amérique. He also taught at the Art Students League and later at the National Academy School of Fine Arts. De Knight was an Academician of the National Academy of Design and his works are held in collections of the Metropolitan Museum of Art, the Walker Art Center, and the University of Richmond Museums.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Avel de Knight conducted by Henri Ghent, 1968.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels D388 and N69-111. This includes art criticism and Department of State correspondence, letters and certificates of award from the American Watercolor Society, notices of purchase and awards from the National Academy of Design, material from the National Institute of Arts and letters concerning grants, and photographs of de Knight with his work. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Avel de Knight loaned materials for microfilming in 1969. Additional papers were donated to the Archives of American Art in 2003 by Stephen J. and Sunchita F. Tyson, executors of Avel de Knight's estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Topic:
Painting  Search this
African American painters -- New York (State) -- New York  Search this
Art critics  Search this
Hispanic American artists--New York (State)--New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Menus
Photographs
Citation:
Avel de Knight papers, 1947-2003, bulk 1957-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.deknavel
See more items in:
Avel de Knight papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-deknavel

Carl Rungius papers

Creator:
Rungius, Carl, 1869-1959  Search this
Extent:
0.5 Linear Feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Postcards
Date:
1896-1995
Summary:
The Carl Rungius papers, 1896-1995, measure 0.5 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 0.5 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

Guild Art Gallery records

Creator:
Guild Art Gallery  Search this
Names:
Cincinnati Art Museum  Search this
Corcoran Gallery of Art  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Baizerman, Saul, 1889-1957  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Feeley, Paul, 1910-1966  Search this
Gorky, Arshile, 1904-1948  Search this
Gross, Chaim, 1904-1991  Search this
Lefranc, Margaret  Search this
Liberte, Jean, 1896-1965  Search this
Ney, Lloyd Raymond, 1893-1964 or 5  Search this
Reisman, Philip, 1904-  Search this
Roszak, Theodore, 1907-1981  Search this
Walinska, Anna  Search this
Extent:
1.2 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Scrapbooks
Drawings
Date:
circa 1933-1937
Summary:
The records of the Guild Art Gallery measure 1.2 linear feet and date from circa 1933-1937. Operating in New York City between 1935-1937, the gallery was founded by artists Margaret Lefranc (also known as Margaret Schoonover) and Anna Walinska. Scattered records of the gallery include correspondence, including some with artists, exhibition files, financial records, a scrapbook and other printed materials, a drawing by Anna Walinska, and photographs of artwork and the gallery.
Scope and Contents:
The records of the Guild Art Gallery measure 1.2 linear feet and date from circa 1933-1937. Operating in New York City between 1935-1937, the gallery was founded by artists Margaret Lefranc (also known as Margaret Schoonover) and Anna Walinska. Scattered records of the gallery include correspondence, including some with artists, exhibition files, financial records, a scrapbook and other printed materials, a drawing by Anna Walinska, and photographs of artwork and the gallery.

Correspondence is with artists, business associates, and museums. Correspondents include Alfred H. Barr, Alfred C. Barnes, Saul Baizerman, Cincinnati Art Museum, Corcoran Gallery of Art, Paul Feeley, Arshile Gorky, Chaim Gross, Jean Liberte, Museum of Modern Art, Lloyd Raymond Ney, Philip Reisman, Theodore Roszak, and the Whitney Museum of American Art. The collection also contains financial materials such as account ledgers, receipt journals, bank records, sales invoices, and insurance forms, as well as printed material consisting of a scrapbook, newspaper and magazine clippings, calendars of art events, and journals. Additionally, there is a pen and ink drawing by Anna Walinska and black and white copy prints of artwork and orignal snphotos of the gallery.
Arrangement:
The collection is arranged as 6 series.

Series 1: Correspondence, 1935-1937 (11 folders; Box 1)

Series 2: Exhibition records (2 folders; Box 1)

Series 3: Financial records, 1935-1937 (6 folders; Box 1)

Series 4: Printed Material, 1935-1937 (15 folders, Boxes 1-2)

Series 5: Artwork, circa 1935 (1 folder, Box 2)

Series 6: Photographs, circa 1933-1937 (3 folders; Box 2)
Biographical / Historical:
The Guild Art Gallery was founded in 1935 by artists Anna Walinska and Margaret Lefranc (also known as Margaret Schoonover) and operated at 37 West 57th Street in New York City until 1937. Arshile Gorky held his first New York solo exhibition there. In 1935, the founders were quoted in Art Digest as stating that the new gallery "plans to exhibit, without charge, the work of contemporary artists, whether known or unknown; to develop, through a receptive audience, a better understanding of the creative expression and the problems of creative expression and the problems of contemporary society; and to illustrate the relationship of painting with the other arts." The gallery's opening exhibition featured both Walinska and Lefranc, as well as Boris Aronson, Don Forbes, Henry Major, Rosa Newman, Philip Reisman, Ben-Shmuel, Ary Stillman, and, notably, Arshile Gorky.
Related Materials:
Also found among the holdings of the Archives of American Art are the Anna Walinska papers.
Provenance:
Margaret Lefranc (also known as Margaret Schoonover), co-founder of the Guild Art Gallery, donated the gallery records to the Archives of American Art in 1981.
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 Guild Art Gallery records 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
Art galleries, Commercial -- New York (State) -- New York  Search this
Women art dealers -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Drawings
Citation:
Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.guilart
See more items in:
Guild Art Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-guilart

Isabella Howland papers

Creator:
Howland, Isabella, 1895-1974  Search this
Names:
Bacon, Peggy, 1895-1987  Search this
Bywaters, Jerry  Search this
Dehn, Adolf, 1895-1968  Search this
Force, Juliana, 1876-1948  Search this
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Greenbaum, Dorothea S.  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Strater, Henry, 1896-  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
1.1 Linear Feet
Type:
Archival materials
Collection descriptions
Sketches
Photographs
Sketchbooks
Date:
1899-1979
Summary:
The papers of artist Isabella Howland measure 1.1 linear feet and date from 1899-1979. The collection documents her career through biographical material, correspondence, personal business records, writings, printed material, artwork, and photographs.
Scope and Contents:
The papers of painter, sculptor, caricaturist, and portraitist Isabella Howland measure 1.1 linear feet and date from 1899-1979. Correspondence makes up about a third of the collection, with the remainder comprised of biographical material, writings, printed material, photographs, and artworks.

Correspondence is found between Isabella Howland and other artists or dealers. Among these are Eugenie Gershoy, Henry Strater, Edith Halpert, Peggy Bacon, Forbes Watson, Jerry Bywaters, Adolph Dehn and Dorothea Greenbaum. Letters from Juliana Force, the first director of the Whitney Museum of American Art, are present. Many invitations to exhibit are included. The collection includes a small number of letters with Howland's family. She maintained written communication with several individuals over decades.

The biographical material contains Isabella Howland's handwritten notes and typed documents about her life. Some legal documents and financial records are present. The writing series includes her story 'Willy Nilly' with accompanying illustrations of animals, in addition to some other writings. The artwork series includes sketches and sketchbooks from childhood into adulthood. Photographs include images of Howland as well as her paintings and portraits.
Arrangement:
Series 1: Biographical Material, 1901-1972 (4 folders; Box 1)

Series 2: Correspondence, 1917-1973 (22 folders; Box 1)

Series 3, Writings, 1935-1964 (8 folders; Box 1)

Series 4: Printed Material, 1928-1976 (5 folders; Box 1)

Series 5: Photographs, circa 1900-1979 (4 folders; Box 1, OV 2)

Series 6: Artwork, 1899-circa 1940s (8 folders; Box 1, OV 2)
Biographical / Historical:
Isabella Howland (1895-1974) lived and worked in New York City. She drew portraits, painted on canvas, sketched on paper, and sculpted caricature busts of people in the art world. She wrote that she could do anything with her hands.

Howland was born in Brookline, Massachusetts. From her youth she knew she wanted to be an artist. She had her earliest artistic training at age 16. Her art education included time at the Boston Museum School and the Art Students League in New York City. She completed her secondary education in France and Germany, moved back to the United States afterwards, and in 1920 travelled again to Europe. In 1922 she settled in Greenwich Village and spent summers in Woodstock to paint landscapes and still-lifes. She actively painted in the 1920s, and had three shows in 1927, 1929, and 1931. During the Depression she worked for the Public Works of Art Project and the Works Progress Administration. In 1934 she married Armando Zegri, and they divorced in 1937. While they were married they owned a club in the West Village named The Café Latino. She began teaching at a private school in the early 1940s while dealing with some personal difficulties. She found religion which comforted her as she dealt with her mother's declining health and her sister's waning mental state.

Howland had many friends in the art world and regularly received requests to exhibit at museums. She became known as an accomplished portrait artist, and she was commissioned many times to execute drawings or sculptures. She dabbled in writing and illustrating stories, and produced a set of 33 Christmas cards featuring two monks.
Provenance:
Donated between 1975-1976 by Mrs. Martha Craig and Barbara Summer. Three photographs of works of art were donated by Eugenie Gershoy in 1979.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Isabella Howland 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.
Occupation:
Caricaturists -- New York (State) -- New York  Search this
Topic:
Portrait painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Women artists  Search this
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Photographs
Sketchbooks
Citation:
Isabella Howland papers, 1899-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howlisab
See more items in:
Isabella Howland papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-howlisab

Dorothy Varian papers

Creator:
Varian, Dorothy, 1895-1985  Search this
Names:
Bacon, Peggy, 1895-1987  Search this
Brook, Alexander, 1898-1980  Search this
Karfiol, Bernard, 1886-1952  Search this
Klienert, Herminie  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Marshall, Lenore, 1897-1971  Search this
Peirce, Waldo, 1884-1970  Search this
Schmidt, Katherine, 1898-1978  Search this
Schulte, Antoinette E., 1897-1981  Search this
Extent:
2.3 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Sketches
Date:
circa 1902-1984
Summary:
The papers of painter Dorothy Varian date from circa 1902 to 1984 and measure 2.3 linear feet. This collection documents Varian's life primarily through scattered biographical material; correspondence with family, friends, artists and art galleries; personal business records; a few writings; exhibition catalogs, news clippings, and other printed material; photographs of Varian, her friends, and artwork; and original sketches by Varian and fellow artist Peggy Bacon.
Scope and Contents:
The papers of painter Dorothy Varian date from circa 1902 to 1984 and measure 2.3 linear feet. This collection documents Varian's life primarily through scattered biographical material; correspondence with family, friends, artists and art galleries; personal business records; a few writings; exhibition catalogs, news clippings, and other printed material; photographs of Varian, her friends, including Peggy Bacon, Alex Brook, Bernard Karfiol, and Yasuo Kuniyoshi, and artwork; and original sketches by Varian and fellow artist Peggy Bacon.

Varian's earliest correspondence is with her mother and her cousin Jessie, detailing her life as an artist in Paris. Also found is extensive correspondence with with Peggy Bacon, Hermine Kleinert, Lenore G. Marshall, Waldo Pierce, Katherine Schmidt, Antoinette Schulte, and the Renoir family.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, 1920-1980 (5 folders; Box 1)

Series 2: Correspondence, 1917-1981 (0.8 linear feet; Box 1)

Series 3: Writings, 1940s-1960s (3 folders; Box 1)

Series 4: Personal Business Records, 1931-1984 (9 folders; Box 1)

Series 5: Printed Material, 1916-1981 (0.5 linear feet; Box 2)

Series 6: Photographs, circa 1902-1961 (13 folders; Boxes 2-3)

Series 7: Artwork, circa 1912-1924 (11 folders; Boxes 2-3)
Biographical / Historical:
Dorothy Varian (1895-1985) was a painter in New York City, and Woodstock, NY. Varian was born in New York City on April 26, 1895; daughter of Eugene W. and Helen Estelle Varian. She dropped out of high school at 15 and entered Cooper Union where she graduated with honors. After Cooper Union she attended the Art Students League. While a student she inadvertently won first and second prize in a local art contest sponsored by movie producer, William Fox. She used the prize money to rent her first studio in Woodstock.

In 1920, her cousins Jessie and C. Vanderbilt Barton provided her the means to study in Paris. Varian's first one-man show was held in 1922 at the Durand-Ruel Galleries in Paris. A close friend of Varian's during this time was Jean Renior, son of Pierre-Auguste Renoir. Within the first year after she returned permanently to the United States, Varian had exhibitions at the Whitney Club, Whitney Galleries, and the Downtown Galleries. Edith Halpert, director of the Downtown Galleries became Varian's art dealer. Varian used the money from her work to buy a home in Woodstock which became her primary painting studio. The majority of her circle was formed during her time at the Art Students League and during her years in Paris. Varian also met many artists who were living and working alongside her in Woodstock. Throughout her life, she stayed in contact with many of these friends including Peggy Bacon, Alex Brook, Georgina Klitgaard, Frederick Dana Marsh, Lenore G. Marshall, and Waldo Pierce.

Varian worked primarily with watercolor and oil painting. Varian's work has been exhibited at the Metropolitan Museum of Art, Corcoran Galleries, Carnegie International, Whitney Museum of American Art, Association of American Artists Gallery, Brooklyn Museum, and several universities across the country. Over the course of her career, Varian held fifteen solo exhibitions and received many awards including the Kuniyoshi Award in 1975. Varian died in 1985 at the age of 90.
Related Materials:
Also found in this repository is an interview of Dorothy Varian conducted 1980 Dec. 6-7, by Avis Berman, for the Archives of American Art.
Provenance:
The collection was donated to the Archives of American Art in installments by Dorothy Varian in 1972, 1978, and 1981. An additonal installment was donated in 1986 by the Dorothy Varian estate, via Robert Plate.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Dorothy Varian 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
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Citation:
Dorothy Varian papers, circa 1902-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.varidoro
See more items in:
Dorothy Varian papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-varidoro

Bessie Potter Vonnoh papers

Creator:
Vonnoh, Bessie Potter, 1872-1955  Search this
Names:
Vonnoh, Robert William, 1858-1933  Search this
Carter, Charles M., 1853-1929  Search this
French, Daniel Chester, 1850-1931  Search this
French, William M. R. (William Merchant Richardson), 1843-1914  Search this
Garland, Hamlin, 1860-1940  Search this
Hughes, Rupert, 1872-1956  Search this
Huntington, Archer M., 1870-1955  Search this
Mead, Larkin G. (Larkin Goldsmith), 1835-1910  Search this
Raffaëlli, Jean François, 1850-1924  Search this
Skinner, Cornelia Otis, 1901-  Search this
Vezin, Charles, 1858-1942  Search this
Extent:
0.8 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
circa 1860-1991
bulk 1890-1955
Summary:
The papers of sculptor Bessie Potter Vonnoh measure 0.8 linear feet and date from circa 1860 to 1991, with the bulk of material dating from 1890 to 1955. The scattered papers document the personal life and career of Bessie Potter Vonnoh, and, to a lesser degree, her husband, painter Robert William Vonnoh. Found within the papers are Vonnoh family correspondence, including letters between Bessie and Robert, and professional and personal correspondence, primarily Bessie's. The collection also contains scattered biographical materials, photographs of the Vonnohs, a photograph album, photographs of artwork, clippings, exhibition catalogs, and other printed material.
Scope and Content Note:
The papers of sculptor Bessie Potter Vonnoh measure 0.8 linear feet and date from circa 1860 to 1991, with the bulk of material dating from 1890 to 1955. The scattered papers document the personal life and career of Bessie Potter Vonnoh, and, to a lesser degree, her husband, painter Robert William Vonnoh. Found within the papers are Vonnoh family correspondence, including letters between Bessie and Robert, and primarily Bessie's professional and personal correspondence. There is one folder of correspondence of Robert William Vonnoh. Bessie's correspondents include Daniel Chester French, Hamlin Garland, Rupert Hughes, Archer Huntington, Larkin G. Mead, Jean Francois Raffaelli, Cornelia Otis Skinner, and others. Robert's correspondents include Charles M. Carter, Daniel Chester French, William M. R. French, and Charles Vezin. The collection also contains scattered biographical materials, photographs of Bessie Potter Vonnoh and Robert William Vonnoh, a photograph album, photographs of artwork, clippings, exhibition catalogs, and other printed material.
Arrangement:
The collection is arranged into 4 series:

Series 1: Biographical Material, 1922-1955 (Box 1; 5 folders)

Series 2: Correspondence, circa 1863-1985 (Box 1; 11 folders)

Series 3: Photographs, circa 1860-1950 (Box 1-2; 0.4 linear feet)

Series 4: Printed Material, 1901-1991 (Box 2; 9 folders)
Biographical Note:
Bessie Potter Vonnoh (1872-1955) was born in St. Louis, Missouri to Alexander and Mary McKenney Potter. In 1874, after the death of her father, her family moved to Chicago. Also at this time, she suffered from a series of illnesses that she did not recover from until she was ten. In school she enjoyed clay-modeling class and decided at an early age that she wanted to be a sculptor. Beginning in 1890 she studied with Lorado Taft at the Art Institute of Chicago and later became one of his assistants (known as the "White Rabbits") for the World's Columbian Exposition of 1893. She was also given her own commission for the Illinois building at the fair. After this success, Vonnoh opened her own studio in Chicago and made plaster figurines of society women, friends, and their children. She visited New York and took her first trip to Paris in 1895, visiting the studios of many eminent sculptors such as Auguste Rodin. Her work was influenced by the American Impressionist movement, depicted in one of her most famous works, Young Mother. This piece was exhibited in the National Sculpture Society exhibition of 1898 and led to several public sculpture commissions.

In 1899 Bessie Potter Vonnoh moved to New York City and married Impressionist painter, Robert William Vonnoh (1858-1933). They lived in New York and maintained a summer home in Lyme, Connecticut. During her career she received many awards for her works at international exhibitions, including two bronze medals at the Paris Exposition in 1900. Other landmark events included a solo exhibition at the Brooklyn Museum in 1913 and membership into the National Academy of Design in 1921 - the first female sculptor accepted as a permanent member. Vonnoh's work was very well received by the public, and in the 1920s she began working on a larger scale, creating large fountains, such as the Frances Hodgson Burnett Memorial Fountain in Central Park, New York, and other decorative garden figures. Robert Vonnoh died in 1933 and, in 1948, she married Dr. Edward Keyes. Bessie Potter Vonnoh died in New York City in 1955 at the age of 82.
Provenance:
The collection was donated in 1995 by Lulette Jenness Thompson, a cousin of Bessie Potter Vonnoh.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Bessie Potter Vonnoh 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:
Artist couples  Search this
Painters -- New York (State) -- New York  Search this
Landscape painters -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Women sculptors -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Bessie Potter Vonnoh papers, circa 1860-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vonnbess
See more items in:
Bessie Potter Vonnoh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vonnbess
Additional Online Media:

Luigi Lucioni letters to Nelson C. White

Creator:
White, Nelson C.  Search this
Lucioni, Luigi, 1900-1988  Search this
Names:
National Academy of Design  Search this
Extent:
3 Items
Type:
Archival materials
Collection descriptions
Date:
1922-1927
Summary:
The three letters from artist Luigi Lucioni to art historian Nelson C. White are dated June 5, 1922, June 27, 1923, and December 11, 1927. In these letters, which reflect the friendship between Lucioni and White, Lucioni writes about various topics the two correspondents had discussed in person, including the National Academy of Design, his studio and work, and novels and plays that interest him.
Scope and Contents:
The three letters from artist Luigi Lucioni to art historian Nelson C. White are dated June 5, 1922, June 27, 1923, and December 11, 1927. In these letters, which reflect the friendship between Lucioni and White, Lucioni writes about various topics the two correspondents had discussed in person, including the National Academy of Design, his studio and work, and novels and plays that interest him.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1:Luigi Lucioni letters to Nelson C. White, 1922-1927 (Folder 1; 3 Items)
Biographical / Historical:
Connecticut painter, art historian, and collector, Nelson C. White (1900-1989), was born in Waterford, Connecticut. Son of artist Henry C. White, Nelson was a friend of the artist Luigi Lucioni (1900-1988), a realist painter best known for his landscapes of Vermont and portraits of opera singers.
Provenance:
The Luigi Lucioni letters to Nelson C. White,1922-1927, were donated in 2017 by George Cooke White, Nelson C. White's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art historians -- Connecticut  Search this
Topic:
Artists' studios  Search this
Italian American artists  Search this
Painters -- New York (State) -- New York  Search this
Citation:
Luigi Lucioni letters to Nelson C. White, 1922-1927. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitnelso
See more items in:
Luigi Lucioni letters to Nelson C. White
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitnelso

Gordon Kelly papers

Creator:
Kelly, Gordon Ray, 1924-2018  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Extent:
0.4 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1942-1988
Summary:
The papers of portrait painter and art teacher Gordon Kelly measure 0.4 linear feet and date from 1942 to 1988. The collection primarily documents Kelly's brief tenure at the Art Students League and his extensive correspondence and collaboration with artist Kenneth Hayes Miller. The papers include correspondence, contracts, writings, artwork, printed material and four photographs.
Scope and Contents:
The papers of portrait painter and art teacher Gordon Kelly measure 0.4 linear feet and date from 1942 to 1988. The collection primarily documents Kelly's brief tenure at the Art Students League and his extensive correspondence and collaboration with artist Kenneth Hayes Miller. The papers include correspondence, contracts, writings, artwork, printed material and four photographs.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Gordon Kelly papers, 1942-1988 (Box 1; 22 folders)
Biographical / Historical:
Gordon Kelly (1924-2018) was a painter born in Wells County, Indiana. While a student at the Art Students League of New York, Kelly was a promising portrait painter and a protege of Kenneth Hayes Miller. Kelly also studied with Reginald Marsh. Kelly helped Miller develop his (unpublished) manuscript "The Third Dimension in Painting" and Miller supported Kelly's teaching appointment at the League. Kelly taught at the Art Students League for one year before moving back to Indiana and finally settling in Maryland.
Provenance:
The Gordon Kelly papers were donated to the Archives of American Art in 1987 by Mark Kelly, the son of Gordon Kelly.
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 teachers -- New York (State) -- New York  Search this
Art teachers--Indiana  Search this
Portrait painters -- New York (State) -- New York  Search this
Portrait painters--Indiana  Search this
Genre/Form:
Photographs
Citation:
Gordon Kelly papers, 1942-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kellgord
See more items in:
Gordon Kelly papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kellgord

Ryah Ludins portfolio

Creator:
Ludins, Ryah, 1896-1957  Search this
Names:
United States. Works Progress Administration  Search this
Extent:
0.1 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
circa 1920-1950
Summary:
The Ryah Ludins portfolio measures 0.1 linear feet and dates from circa 1920-1950. The porfolio contains photographs of murals by Ryah Ludins, which were mostly commissioned for government art projects in the 1930s.
Scope and Contents:
The Ryah Ludins portfolio measures 0.1 linear feet and dates from circa 1920-1950. The portfolio contains photographs of murals by Ryah Ludins, which were mostly commissioned for government art projects in the 1930s. Included are New York Harbor; Methods of Transporting Mail; a World's Fair wood relief mural entitled Recreational Activities; Valley of the Seven Hills wood relief mural; the Central Park fresco; and the fresco Modern Industry, commissioned by the Mexican government. Many of the photographs are accompanied by identifications or notes.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Ryah Ludins portfolio, circa 1920-1950 (Oversize 1; 1 item)
Biographical / Historical:
Ryan Ludins (1896-1957) was a muralist, painter, printmaker, and art educator based in New York, N.Y. Ludins completed mural projects for the Works Progress Administration Treasury Section of Painting and Sculpture and the Mexican government. She taught art at Teachers College, Columbia University, Ohio University, and North Carolina College for Women at Greensboro. She died in New York, N.Y. on August 30, 1957.
Provenance:
Donated 2009 by Ryah Ludins via Janis Conner and Joel Rosenkranz, estate executors.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art teachers  Search this
Muralists -- New York (State) -- New York  Search this
Mural painting and decoration--Photographs  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Women artists  Search this
Genre/Form:
Photographs
Citation:
Ryah Ludins portfolio, circa 1920-1950. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ludiryah
See more items in:
Ryah Ludins portfolio
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ludiryah

René Santos papers

Creator:
Santos, René, 1954-1986  Search this
Extent:
0.9 Linear feet
Type:
Archival materials
Collection descriptions
Sound recordings
Diaries
Date:
1970-1987
Summary:
The papers of painter, photographer, and art history instructor René Santos measure 0.9 linear feet and date from 1970 to 1987. The papers document Santos's career through biographical records including one sound recording of Santos's memorial service, correspondence to Santos and sympathy letters upon Santos's death, writings and notes by Santos including one diary, printed material, and photographic material including slides of Santos with friends and his artwork.
Scope and Contents:
The papers of painter, photographer, and art history instructor René Santos measure 0.9 linear feet and date from 1970 to 1987. The papers document Santos's career through biographical records including one sound recording of Santos's memorial service, correspondence to Santos and sympathy letters upon Santos's death, writings and notes by Santos including one diary, printed material, and photographic material including slides of Santos with friends and his artwork.
Arrangement:
The collection is arranged as one series.

Series 1: René Santos papers, 1970-1987 (Boxes 1-2, OV 3; 0.9 linear feet)
Biographical / Historical:
René Santos (1954-1986) was a painter, photographer, and educator in New York, New York. Santos was born Carlos René Santos in Puerto Rico. He received a bachelor's degree from Tufts University in 1973 and a master's degree in 1976 from Hunter College where he studied with art critic Rosalind Krauss. His work is in the collections of The New Museum of Contemporary Art in New York and the Museo de Arte de Puerto Rico in San Juan, Puerto Rico. Santos's work has been shown in numerous exhibitions including several held after he died in 1986.
Provenance:
The René Santos papers were donated by Brad Baker in 1994 and 1995.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual records with no duplicate copies requires advance notice.
Occupation:
Painters -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Hispanic American artists  Search this
Genre/Form:
Sound recordings
Diaries
Citation:
René Santos papers, 1970-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.santrene
See more items in:
René Santos papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-santrene

Eve Peri papers

Creator:
Peri, Eve, 1897-1966  Search this
Extent:
0.6 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
circa 1900-1996, bulk 1939-1966
Summary:
The papers of painter and embroidery artist Eve Peri measure 0.6 linear feet and date from circa 1900 to 1996 with the bulk of materials dating from 1939 to 1966. The papers are scattered and include biographical materials, travel documents, correspondence, financial records, printed material, designs for embroidered clothing, and photographs.
Scope and Contents:
The papers of painter and embroidery artist Eve Peri measure 0.6 linear feet and date from circa 1900 to 1996 with the bulk of materials dating from 1939 to 1966. The papers are scattered and include biographical materials, travel documents, correspondence, financial records, printed material, designs for embroidered clothing, and photographs.
Arrangement:
The collection is arranged as one series.

Series 1: Eve Peri papers, circa 1900-1996 (0.6 linear feet; Box 1, OV2-3)
Biographical / Historical:
Eve Peri (1897-1966) was a collagist, embroiderer, and painter active in New York City, New York.

Eve Peri was born in Bangor, Maine in 1897. From her mother and aunts, Peri learned traditional quilting and embroidery techniques. A largely self-trained artist, she used her skills to design clothing, tapestry, and collages and also painted. She collaborated with her husband Alfonso Umana Mendez, a designer for Fred Leighton, designing women's embroidered clothing. After divorcing in 1939, she traveled around Europe and began to exhibit her works.

Peri moved to Philadelphia, Pennsylvania late in life and opened a gallery in New Hope to show her works. She died in 1966.
Provenance:
The Eve Peri papers were donated by Elizabeth Bullock and Judith Stein, executor and curator of the estate in 2001.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Women artists -- United States  Search this
Fiber artists -- New York (State) -- New York  Search this
Topic:
Embroidery  Search this
Fiberwork  Search this
Collagists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Eve Peri papers, circa 1900-1996, bulk 1939-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.perieve
See more items in:
Eve Peri papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-perieve

María Luisa Pacheco papers

Creator:
Pacheco, María Luisa, 1918-1982  Search this
Extent:
0.5 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1951-circa 1979
Summary:
The papers of painter María Luisa Pacheco measure 0.5 linear feet and date from 1951 to circa 1979. The collection is comprised of exhibition announcements and catalogs; greeting cards including one card designed by Pacheco; newsletters; photographs and transparencies of Pacheco, an exhibition catalog, and works of art; and Pacheco's student card from La Escuela Central de Bellas Artes de San Fernando de Madrid.
Scope and Contents:
The papers of painter María Luisa Pacheco measure 0.5 linear feet and date from 1951 to circa 1979. The collection is comprised of exhibition announcements and catalogs; greeting cards including one card designed by Pacheco; newsletters; photographs and transparencies of Pacheco, an exhibition catalog, and works of art; and Pacheco's student card from La Escuela Central de Bellas Artes de San Fernando de Madrid.
Arrangement:
The collection is arranged as one series.

Series 1: María Luisa Pacheco papers, 1951-circa 1979 (Box 1, OV 2; 0.5 linear feet)
Biographical / Historical:
María Luisa Pacheco (1918-1982) was a painter in New York, N.Y. She was born in La Paz, Bolivia and studied at the Academia de Bellas Artes in La Paz where she later taught. She also studied with Velasquez Diaz. In La Paz she worked as an illustrator and editor for the newspaper La Razón. In 1951 Pacheco was allowed to attend La Escuela Central de Bellas Artes de San Fernando in Madrid, Spain as a graduate student and instructor. She moved to New York in 1956 as a Guggenheim Fellowship Award recipient. She also worked as a textile designer and as an illustrator at Life magazine.

Pacheco painted archaeological and mountain shapes translating them into semi-abstract forms. Her preferred media was wood, sand, acrylic, oil, and collage. She has been called a pioneer in the development of Bolivian contemporary art. Pacheco lived in New York until her death in 1982.
Provenance:
The papers were donated in 1982 by Maria Eugenia Ascarrunz, daughter of María Luisa Pacheco.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Hispanic American women artists  Search this
Topic:
Women painters -- New York (State) -- New York  Search this
Painters  Search this
Genre/Form:
Photographs
Citation:
María Luisa Pacheco papers, 1951-circa 1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pachmari
See more items in:
María Luisa Pacheco papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pachmari

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

Boris Lovet-Lorski journals

Creator:
Lovet-Lorski, Boris, 1894-1973  Search this
Extent:
0.4 Linear Feet
Type:
Archival materials
Collection descriptions
Diaries
Date:
1945-1966
Summary:
The journals of New York City sculptor and graphic artist, Boris Lovet-Lorski, measure 0.4 feet and a date from 1945-1966. The volumes consist of ten appointment diaries, which document aspects of Lovet-Lorski's daily life, such as medical appointments, dates with friends and other typical activities. The journals do not cover the entire period of 1945-1966 but are a random selection of annual volumes from this period.
Scope and Contents:
The journals of New York City sculptor and graphic artist Boris Lovet-Lorski, measure 0.4 feet and a date from 1945-1966. The volumes consist of ten appointment diaries, which document aspects of Lovet-Lorski's daily life, such as medical appointments, dates with friends and other typical activities. The journals do not cover the entire period of 1945-1966 but are a random selection of annual volumes from this period.
Arrangement:
The collection is arranged in 1 Series:

Series 1: Journals, 1945-1966 (Box 1; 0.4 linear feet)
Biographical / Historical:
Boris Lovet-Lorski (1894-1973) was a sculptor and grapic artist. Born in Lithuania, he studied at the Imperial Academy of Arts in St. Petersburg, Russia, where he worked briefly as an architect. In 1920 he emigrated to the United States, living not only in New York, but also in Boston, Milwaukee, Paris, France, and Beverly Hills, California. Lovet-Lorski became a US citizen in 1925. As an artist, Lovet-Lorski focused on the female nude often in a French Art Deco style. He is known for sculpting with broad and diverse materials including various types of stone and metals, slate, onyx, wood, plaster, jade and lava.
Provenance:
The papers were donated to the Archives of American Art in 2009 by Juan Rodriguez, dealer and friend.
Restrictions:
Use of original materials requires an appointment.
Rights:
The Boris Lovet-Lorski journals 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:
Lithographers -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Citation:
Boris Lovet-Lorski journals, 1945-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lovebori
See more items in:
Boris Lovet-Lorski journals
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lovebori

Brian Kazlov papers

Creator:
Kazlov, Brian, 1944-1991  Search this
Names:
Kazlov, Louise  Search this
Extent:
0.2 Linear Feet
Type:
Archival materials
Collection descriptions
Date:
1959-1991
Summary:
The papers of painter and teacher Brian Kazlov measure 0.2 linear feet and date from 1959 to 1991. Included are letters written by Kazlov and his wife Louise to his parents, Gertrude and Peter, and other relatives. In his letters he wrote about his art education, his process of painting, the books he read, his relationships, and his emotional ups and downs as an artist. Also found are a few biographical documents, exhibition catalogs, and news clippings.
Scope and Contents:
The papers of painter and teacher Brian Kazlov measure 0.2 linear feet and date from 1959 to 1991. Included are letters written by Kazlov and his wife Louise to his parents, Gertrude and Peter, and other relatives. In his letters he wrote about his art education, his process of painting, the books he read, his relationships, and his emotional ups and downs as an artist. Also found are a few biographical documents, exhibition catalogs, and news clippings.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.
Biographical / Historical:
Brian Kazlov (1944-1991) was a painter and teacher in New York City and Yachats, Oregon. Kazlov received his MFA from Yale University and later taught at Western University and the University of Oregon. In 1964 he helped found the New York Studio School, and unaccredited art school in Soho.
Provenance:
Donated in 1992 by Gerturde Kazlov, Brian Kazlov's mother.
Restrictions:
Use of original paper requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art -- Study and teaching  Search this
Art teachers--Oregon  Search this
Painters -- New York (State) -- New York  Search this
Painters--Oregon  Search this
Painting -- Technique  Search this
Citation:
Brian Kazlov papers, 1959-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kazlbria
See more items in:
Brian Kazlov papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kazlbria

Paul Bodin papers

Creator:
Bodin, Paul, 1910-1994  Search this
Names:
Gottlieb, Adolph, 1903-1974  Search this
Gottlieb, Esther Dick  Search this
Extent:
0.2 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1932-1981
Summary:
The collection measures 0.2 linear feet, dates from 1932 to 1981 (bulk dates 1932-1963), and primarily documents the friendship of painter Paul Bodin with abstract expressionist painter Adolph Gottlieb. Found within the papers are letters from Gottlieb; printed material; and photographs of Bodin's art work.
Scope and Content Note:
The papers of painter Paul Bodin measure 0.2 linear feet and date from 1932-1981 (bulk dates 1932-1963). Found within the papers are letters from Bodin's mentor, abstract expressionist Adolph Gottlieb. These letters document Bodin's long friendship with Gottlieb and provide details about Gottlieb's activities and interests. There is one letter from Gottlieb's wife, Esther. Also found with the papers are a clipping, exhibition announcements for Bodin, and photographs of Bodin's art work.
Biographical Note:
Paul Bodin was born in New York City on October 30, 1910. He studied first at the National Academy of Design, but transferred to the Art Students League in 1928, briefly studying under Boardman Robinson.

During the 1930s and early 1940s, Bodin was part of a circle of artists that included Milton Avery, Mark Rothko, and Adolph Gottlieb, who worked in New York City, and Gloucester and Provincetown, Massachusetts. During the Depression, Bodin worked with the WPA Federal Arts Project, completing many paintings of tenement interiors, portraits of family members, and self-portraits. His first solo exhibition was in 1936.

He made his first abstract paintings in 1945 and exhibited regularly in Manhattan until the early 1960s.

Paul Bodin died on February 15, 1994.
Provenance:
The Paul Bodin papers were donated in 1993 by Paul Bodin and Aaron Bodin, the artist's son.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Paul Bodin 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
Abstract expressionism  Search this
Genre/Form:
Photographs
Citation:
Paul Bodin papers, 1932-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bodipaul
See more items in:
Paul Bodin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bodipaul

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