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The Yaddo collection / [inventoried by Paul Eugene Sigrist, Jr. ; assisted by Susan Berg and Nancy Johnson]

Author:
Sigrist, Paul Eugene  Search this
Subject:
Trask, Katrina 1853-1922 Private collections  Search this
Trask, Spencer 1844-1909 Private collections  Search this
Yaddo (Artist's colony)  Search this
Physical description:
59 p. : ill. ; 28 cm
Type:
Books
Catalogs
Place:
New York (State)
Saratoga Springs
Date:
1985
[1985]
Topic:
Art--Private collections  Search this
Furniture--Private collections  Search this
Call number:
N5220.T73 S54 1985
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_903412

Charles Schucker Papers

Creator:
Schucker, Charles, 1908-1998  Search this
Names:
Federal Art Project (Ill.)  Search this
Katonah Museum of Art  Search this
Pratt Institute  Search this
Yaddo (Artist's colony)  Search this
Louis, Morris, 1912-1962  Search this
Louzonis, Valerie Velasquez  Search this
Extent:
1.2 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Photographs
Drawings
Video recordings
Date:
1934-2001
Summary:
The papers of New York abstract painter and educator Charles Schucker measure 1.2 linear and date from 1934 to 2001. Schucker's career as a painter is documented by biographical material, letters, writings, subject files, printed material, artwork, and photographs.
Scope and Contents:
The papers of New York abstract painter and educator Charles Schucker measure 1.2 linear and date from 1934 to 2001. Schucker's career as a painter is documented by biographical material, letters, writings, subject files, printed material, artwork, and photographs.

Biographical material includes a video recording of a memorial tribute. Letters mostly relate to business arrangements with galleries and institutions. Among Schucker's writings are 9 notebooks, some of which include notes from his study abroad. Writings about Schucker include an unpublished manuscript by Valerie Velasquez Louzonis in which she discusses his childhood, travels, and his start as an artist. Subject files touch upon his association with Pratt Institute, Katonah Museum of Art, Yaddo, various galleries, his work with the Chicago WPA, and his friendship with Morris Louis. Over 60 years of artistic work are documented in exhibition catalogs and announcements. Artwork and sketchbooks from the 1930s and 1940s offer a glimpse of his earlier style of drawing.
Arrangement:
The collection is arranged in 7 series:

Series 1: Biographical Materials, 1938, 1984-1999 (Box 1; 0.1 linear feet)

Series 2: Letters, 1937-2001 (Box 1; 0.1 linear feet)

Series 3: Writings, 1934-1998 (Box 1; 0.3 linear feet)

Series 4: Subject Files, circa 1940-1999 (Box 1; 0.3 linear feet)

Series 5: Printed Material, circa 1930s-1990s (Boxes 1-2; 0.3 linear feet)

Series 6: Artwork and Sketchbooks, 1930s-1940s (Box 2; 0.1 linear feet)

Series 7: Photographs, 1951-circa 1980s (Box 2; 0.1 linear feet)
Biographical / Historical:
Charles L. Schucker (1908-1998), an abstract painter known for poured oil paintings on unprimed canvases, began his career in Chicago with the WPA before moving to New York City in 1946. He was also an educator and taught at the Pratt Institute in Brooklyn, New York for nearly 30 years.
Provenance:
Lent for microfilming in 1971 by Charles Schucker and later donated with additional audio and video recordings in August 2011 by Carrie Schucker, the artist's daughter.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Charles Schucker 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:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Photographs
Drawings
Video recordings
Citation:
The Charles Schucker Papers, 1934-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schuchar
See more items in:
Charles Schucker Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schuchar

Eugenie Gershoy papers

Creator:
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Federal Art Project (N.Y.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Yaddo (Artist's colony)  Search this
Baker, Mildred, 1905-  Search this
Blanch, Arnold, 1896-1968  Search this
Blanch, Lucile, 1895-1981  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Dehn, Virginia  Search this
Force, Juliana, 1876-1948  Search this
Fruhauf, Aline, 1909-1978  Search this
Gottlieb, Harry, 1895-  Search this
Hart, Agnes, 1912-1979  Search this
Knight, Frederic C., 1898-1979  Search this
Marantz, Irving, 1912-1972  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Nakian, Reuben, 1897-1986  Search this
Picken, George, 1898-  Search this
Pollet, Joseph C., 1897-1979  Search this
Presser, Josef, 1906-1967  Search this
Refregier, Anton, 1905-  Search this
Scaravaglione, Concetta, 1900-1975  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Thomson, Virgil, 1896-  Search this
Varda, Jean  Search this
Extent:
7.2 Linear feet
Type:
Archival materials
Collection descriptions
Prints
Christmas cards
Photographs
Sketchbooks
Sketches
Place:
Woodstock (N.Y.)
Date:
1914-1983
Summary:
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.

Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.

Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)

Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)

Series 3: Business Records, 1952-1978 (box 6; 5 folders)

Series 4: Notes, 1967-1970, undated (box 6; 3 folders)

Series 5: Writings, 1970, undated (box 6; 2 folders)

Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)

Series 7: Printed Material, 1932-1983, undated (boxes 7, 9; 19 folders)

Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.

With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.

Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.

In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.

Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Eugenie Gershoy 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
Federal aid to the arts  Search this
Artists -- New York (State) -- Woodstock  Search this
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Women painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Women sculptors -- New York (State) -- New York  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Prints
Christmas cards
Photographs
Sketchbooks
Sketches
Citation:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gerseuge
See more items in:
Eugenie Gershoy papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gerseuge

Roger Crossgrove papers

Creator:
Crossgrove, Roger, 1921-  Search this
Names:
American Artists Group  Search this
Brooks Memorial Art Gallery  Search this
Philadelphia Museum of Art  Search this
Pratt Institute -- Faculty  Search this
University of Connecticut -- Faculty  Search this
Yaddo (Artist's colony)  Search this
Avery, Milton, 1885-1965  Search this
Balkin, Steve  Search this
Bearden, Romare, 1911-1988  Search this
Carle, Eric  Search this
Fernández, Justino, 1904-1972  Search this
Owens, Louis  Search this
Perez, Vincent  Search this
Pfeiffer, Werner, 1937-  Search this
Schoenherr, John  Search this
Smith, Joseph A. (Joseph Anthony), 1936-  Search this
Torres, Antonia  Search this
Zalce, Alfredo, 1908-2003  Search this
Extent:
21.1 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Illustrations
Drawings
Sketchbooks
Prints
Date:
1888-2012
bulk 1950-2006
Summary:
The papers of Connecticut painter, educator, photographer, and watercolorist Roger Crossgrove measure 21.1 linear feet and date from 1888 to 2012 with the bulk of the collection dating from 1950 to 2006. The collection consists of biographical material, correspondence, writings and notes, professional files, teaching files, subject files, exhibition files, printed materials, personal business records, artwork, sketchbooks, and photographic materials.
Scope and Contents:
The papers of Connecticut painter, educator, photographer, and watercolorist Roger Crossgrove measure 21.1 linear feet and date from 1888 to 2012 with the bulk of the collection dating from 1950 to 2006. The collection consists of biographical material, correspondence, writings and notes, professional files, teaching files, subject files, exhibition files, printed materials, personal business records, artwork, sketchbooks, and photographic materials.

Biographical materials consist of appointment notebooks and planners, awards, calendars, a marriage announcement, and graduate school coursework. Correspondence is with family, friends, colleagues, museums, and galleries. Correspondents include American Artists Group, Brooks Memorial Art Gallery, the Philadelphia Museum of Art, and artists Eric Carle, John Schoenherr, Joseph A. Smith, Antonia Torres, and Alfredo Zalce, among others.

Writings and notes include essays, a thesis by Crossgrove, a play manuscript, notebooks, and notes. There are also writings by Justino Fernandez about contemporary Mexican prints. Professional files contain correspondence, printed materials, and notes related to Crossgrove's involvement with various arts organizations, the Yaddo Fellowship, and other professional activities. Teaching files contain documents compiled during Crossgrove's tenure at the Pratt Institute and the University of Connecticut.

Subject files created by Crossgrove about topics of interest, Mexican art, and artists Milton Avery, Romare Bearden, and others contain clippings, exhibition catalogs, and museum publications. Exhibition files are both general and specific. There are files for Roger Crossgrove Selected Works: Photographs 1978-1993, Three Decades (1961-1990): Works on Paper and Photographs, and numerous additional exhibitions of Crossgrove's work.

Personal business records document loans and sales of Crossgrove's artwork, purchases of artwork, personal ledgers, and expense lists. Printed materials include clippings, invitations, exhibition announcements, exhibition catalogs, flyers, gallery and museum publications, periodicals, and posters.

Artwork consists of drawings, illustrations, and monotypes by Crossgrove, as well as photographs by Steve Balkin, and artwork by Louis Owens, Vincent Perez, and Warner Pfeiffer. Eighteen sketchbooks contain drawings and notes by Crossgrove. Photographs and negatives are of Crossgrove, artwork, family and friends, and travel.
Arrangement:
The collection is arranged as 12 series.

Series 1: Biographical Material, 1888-2002 (1.0 linear feet; Boxes 1-2, 23, OV 24)

Series 2: Correspondence, 1921-2000s (1.5 linear feet; Boxes 2-3)

Series 3: Writings and Notes, 1951-2000 (0.5 linear feet; Box 3)

Series 4: Professional Files, 1951-2009 (2.5 linear feet; Boxes 3-6)

Series 5: Teaching Files, 1953-2009 (1.0 linear feet; Boxes 6-7, 23)

Series 6: Subject Files, 1950s-1999 (1.0 linear feet; Boxes 7-8, OV 24)

Series 7: Exhibition Files, 1950-2005 (3.0 linear feet; Boxes 8-11)

Series 8: Personal Business Records, 1963-2009 (0.2 linear feet; Box 11, OV 24)

Series 9: Printed Material, 1906-2012 (8.5 linear feet; Boxes 11-20, 23, OV 24)

Series 10: Artwork, 1933-2000 (0.5 linear feet; Boxes 20, 23)

Series 11: Sketchbooks, 1950s-1980s (1.0 linear feet; Boxes 20, 22-23)

Series 12: Photographic Material, 1920s-2006 (0.4 linear feet; Boxes 21)
Biographical / Historical:
Roger Crossgrove (1921-2016 ) is a painter, photographer, and educator working at the University of Connecticut in Storrs, Connecticut and who is best known for his monotype watercolors.

Roger Crossgrove was born in Farnam, Nebraska. He attended the University of Nebraska where he received his Bachelor of Fine Arts degree in 1949. In 1950, he spent a year painting in Mexico and later returned to live for another year in 1965. In 1951, he received a Master of Fine Arts from the University of Illinois. He also participated in the Yaddo Fellowship in Saratoga Springs, New York for several years beginning in 1957.

From 1953 to 1967, Crossgrove taught at the Pratt Institute's Art School and the Department of Graphic Art and Illustration in Brooklyn, New York, teaching under Albert Christ-Janer for some of that period. He moved to Storrs, Connecticut to teach at the University of Connecticut's School of Fine Arts where he served as head of the Art Department for 20 years. After retiring in 2008, he was awarded Professor Emeritus status and, in 2008, a Lifetime Achievement Award from the university.

Although Crossgrove produced artwork in various mediums over the course of his career, his monotypes are some of his most prolific works. Numerous exhibitions throughout the United States and Mexico have featured Crossgrove's monotypes and other works of art.
Provenance:
The Roger Crossgrove papers were donated by Roger Crossgrove in 2013.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Roger Crossgrove 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:
Art teachers -- Connecticut  Search this
Watercolorists -- Connecticut  Search this
Photographers -- Connecticut  Search this
Topic:
Art, Mexican  Search this
Art -- Study and teaching  Search this
Painters -- Connecticut  Search this
Genre/Form:
Photographs
Illustrations
Drawings
Sketchbooks
Prints
Citation:
Roger Crossgrove papers, 1888-2012, bulk 1950-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.crosroge
See more items in:
Roger Crossgrove papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-crosroge

Louis Lozowick papers

Creator:
Lozowick, Louis, 1892-1973  Search this
Names:
American Artists' Congress  Search this
John Reed Club  Search this
Extent:
5.8 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Writings
Sketches
Date:
1898-1974
Summary:
The Louis Lozowick Papers measure 5.8 linear feet and are dated 1898-1974. Correspondence, writings, business records, printed material and photographs document Lozowick's career. Also included are biographical documents, sketches, and records relating to organizations that interested him.
Scope and Content Note:
The Louis Lozowick Papers measure 5.8 linear feet and are dated 1898-1974. Correspondence, writings, business records, printed material and photographs document Lozowick's career. Also included are biographical documents, sketches, and records relating to organizations that interested him.

Correspondence with colleagues, commercial clients, organizations, museums and galleries, family and friends, concerns business and personal affairs. A small number of letters are in Russian, Yiddish, German, and French. Writings include manuscripts, drafts, and notes for articles, books, reviews, and talks on art related subjects and other topics. Among Lozowick's notes are seven notebooks relating to published and unpublished writings.

Business records consist of an extensive alphabetical file recording sales and consignments, loans for exhibitions, and other financial transactions, accompanied by related printed material. Originally housed in loose leaf notebooks, these files are arranged by name of gallery, museum, organization, or event. In addition, there are a small number of loose receipts.

Lozowick retained printed matter, unpublished notes and writings, and miscellaneous items relating to organizations and groups of interest to him. The American Artists' Congress and the John Reed Club files are of particular interest; because he served as an officer in these organizations, his papers include copies of minutes, reports, and official correspondence.

Printed material includes exhibition catalogs, invitations and announcements. Material by Lozowick consists of articles, reviews, illustrations and reproductions. In addition, there are articles and miscellaneous items about Lozowick including announcements of his lectures, a course syllabus, and brochure about a tour of the U.S.S.R. led by him. Miscellaneous printed material includes research materials collected by Lozowick for his writing; illustrations of artists at work, in their studios, galleries, etc., and a 1922 broadside in French and Russian announcing a lecture.

Photographs include images of Lozowick and his family. Of particular interest is a photograph of Lozowick at a 1934 demonstration sponsored by the John Reed Club and Artists' Union. Photographs of works of art include works by Lozowick, as well as by American, European, and Russian artists; many of these, including lantern slides, may have been used to illustrate his lectures and writings. Among the miscellaneous subjects are Lozowick's studio, the Soviet Pavilion at the 1939 World's Fair, and an unidentified Soviet exhibition installation.

Also included are small number of biographical documents and sketches in pen and ink.
Arrangement:
The collection is arranged into 8 series. Glass plate negatives and lantern slides are housed separately and closed to researchers.

Series 1: Biographical Information, 1923-1973 (Box 1; 10 folders; Reel 5893)

Series 2: Correspondence, 1916-1974 (Boxes 1-2; 1.25 linear ft.; Reels 5893-5895)

Series 3: Writings and Notes, 1917-circa 1970 (Boxes 2-3; 1.5 linear ft.; Reels 5895-5897)

Series 4: Business Records, 1929-1973 (Box 3; 0.25 linear ft.; Reel 5897-5898)

Series 5: Organizations, 1930-1972 (Box 4; 0.4 linear ft.; Reel 5898)

Series 6: Printed Material, 1920-1974 (Boxes 4-5 and OV 7; 1.25 linear ft.; Reels 5898-5899)

Series 7: Sketches, n.d. (Box 5; 1 folder; Reel 5899)

Series 8: Photographs, 1898-1973 (Boxes 5-6, 8; 1.05 linear ft.; Reel 5899)
Biographical Note:
Louis Lozowick (1892-1973) is known for his lithographs of New York City, many in the Precisionist mode. As a very young boy in the Ukraine, Lozowick showed an aptitude for drawing. At age eleven, with an older brother, he moved from his rural hometown to Kiev, where he received training at the Kiev Art Institute. In 1906, Lozowick came to the United States, joining a brother in New Jersey. While in high school, and for several years afterwards, Lozowick studied at the National Academy of Design under Leon Kroll, George Willloughby Maynard, Ivan Olinsky, and Douglas Volk. He graduated from Ohio State University in 1918 with a degree in art.

After a year's stint in the medical corps of the U.S. Army, Lozowick headed to Paris in the fall of 1920, where he studied French at the Sorbonne. By early 1922, he had settled in Berlin and was enrolled at the Friedrick Wilhelms Universität. During this time, Lozowick began painting seriously, made his first lithographs, and established friendships with many Russian artists in Germany, including El Lissitsky; he also made a trip to Moscow, where he met a number of leading Russian artists. While living in Berlin, Lozowick had his first solo show at K. E. Twardy Book Shop in 1922, and a second at the Gallerie Alfred Heller in the following year.

Lozowick worked mainly as a graphic artist and supplemented his income with commercial work. In addition, he taught art history and lithography classes, lectured, and wrote about art. During the Depression he worked with the Public Works of Art Project, New York City, for a brief time in 1934. Between 1935 and 1940, he was employed by the Graphic Arts Division of the Works Progress Administration.

Lozowick taught art history at the Educational Alliance Art School, New York City, for a semester prior to going to Europe, and for extended periods afterwards. He was a lithography instructor at the John Reed Club School of Art and the American Artists School, and over the years taught a number of private pupils. In 1924, Lozowick delivered lectures on modern Russian art for the Société Anonyme, and lectured regularly on a variety of art topics to a many other groups. Eventually he was represented by a speakers' bureau that arranged several lecture tours.

Russian art, art and artists in the Soviet Union, and Jewish art were among the topics that particularly interested Lozowick. He wrote extensively on these subjects and others, publishing many articles and reviews. While living in Berlin, he wrote for Broom and contributed translations to that periodical. Two major manuscripts, a book about William Gropper and a memoir titled Survivor From a Dead Age, appeared posthumously. In addition, he was a founder of the New Masses, a contributing editor, and eventually its art editor.

One of the organizers of the John Reed Club in 1929 and a charter member, Lozowick became its Executive Secretary in 1931 and remained active throughout the club's five-year existence. In 1935, Lozowick participated in organizing the first American Artists' Congress, became the group's Executive Secretary, and for several years was an extremely active member of the New York chapter.

Throughout his long career, Louis Lozowick exhibited widely in local and national exhibitions. He won a number of awards and was invited to spend several summers in residence at the Yaddo artists' colony.
Provenance:
Gift of Louis and Adele Lozowick, 1966-1980. Various portions were microfilmed on reels D254-D254A, and 1333-1337. In 2004, all portions of the gift were merged, reprocessed, and remicrofilmed.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment. Glass plate negatives and lantern slides are housed separately and closed to researchers.
Rights:
The Louis Lozowick 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:
Lithographers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Writings
Sketches
Citation:
Louis Lozowick Papers, 1898-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lozoloui
See more items in:
Louis Lozowick papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lozoloui
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