Skip to main content Smithsonian Institution

Search Results

Collections Search Center
124 documents - page 1 of 7

[Portrait of Charles Sheeler : photoprint, ca. 1950-1960.]

Photographer:
Adams, Ansel 1902-1984  Search this
Subject:
Sheeler, Charles 1883-1965  Search this
Physical description:
Silver gelatin on paper
1 item, 9-1/8 x 6-3/4 in., unmounted
Type:
Two-dimensional graphics
Photographs
Date:
1950
1960
ca 1950-1960
[Ca. 1950-1960.]
Local number:
AC0145-0000061.tif
Restrictions & Rights:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves
Copyrighted: not to be reproduced without permission from Ansel Adams Trust
See more items in:
Donald H. Sultner-Welles Collection: ca. 1790-1981
Data Source:
Archives Center, National Museum of American History
EDAN-URL:
edanmdm:siris_arc_235912

Exhibition and Publication Records, 1991-1999

Creator:
National Museum of American Art (U.S.) Curatorial Office  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Robertson, Charles (Charles J.)  Search this
Smithsonian Institution Traveling Exhibition Service Exhibitions  Search this
Abbott Thayer: The Nature of Art (Exhibition) (1999: Washington, D.C.)  Search this
Ansel Adams, A Legacy: Masterworks from the Friends of Photography Collection (Exhibition) (1997-1998: Washington, D.C.)  Search this
Calido!: Contemporary Warm Glass (Traveling exhibition) (1997: Tucson, AZ)  Search this
Colonial Art from Puerto Rico: Selections from the Gift of Teodoro Vidal (Exhibition) (1997-1998: Washington, D.C.)  Search this
Daniel Brush: Gold Without Boundaries (Exhibition) (1998-1999: Washington, D.C.)  Search this
David Beck: L'Opera (Exhibition) (1998-1999: Washington, D.C.)  Search this
David Hockney: Grand Canyon (Exhibitions) (1998: Washington, D.C.)  Search this
Elihu Vedder's Drawings from the Rubaiyat (Exhibition) (1995-1996: Washington, D.C.)  Search this
Eyeing America: Robert Cottingham Prints (Exhibition) (1998-1999: Washington, D.C.)  Search this
Homecoming: William H. Johnson and Afro-America, 1938-1946 (Exhibition) (1991-1992: Washington, D.C.)  Search this
Inspiring Reform: Boston's Arts and Crafts Movement (Exhibition) (1998: Washington, D.C.)  Search this
Paintings of Charles Burchfield (Exhibition) (1997-1998: Washington, D.C.)  Search this
Pueblo Indian Watercolors from the National Museum of American Art (Exhibition) (1999: Washington, D.C.)  Search this
Shaker: Furnishings for the Simple Life (Exhibition) (1999: Washington, D.C.)  Search this
Silver and Gold: Photographs of the Gold Rush (Exhibition) (1998-1999: Washington, D.C.)  Search this
Singular Impressions: The Monotype in America (Exhibition) (1997: Washington, D.C.)  Search this
Spirited Objects: Traditional Craft for the 21st Century (Exhibition) (2000: Washington, D.C.)  Search this
Stonewares of Charles Fergus Binns (Exhibition) (1998-1999: Washington, D.C.)  Search this
Stuart Davis (Exhibition) (1998: Washington, D.C.)  Search this
Time Out! Sports in Art (Exhibition) (1997-1998: Washington, D.C.)  Search this
White House Collection of American Crafts (Exhibition) (1995: Washington, D.C.)  Search this
Physical description:
2 cu. ft. (2 record storage boxes)
Type:
Brochures
Collection descriptions
Manuscripts
Place:
Puerto Rico
Date:
1991
1991-1999
Topic:
Art museums  Search this
Museums--Administration  Search this
Museum exhibits  Search this
Traveling exhibitions  Search this
Local number:
SIA Acc. 01-021
Restrictions & Rights:
Restricted for 15 years, until Jan-01-2015; Transferring office; 2/23/1988 memorandum, Shaffer to McManus; Contact reference staff for details
See more items in:
Exhibition and Publication Records 1961-2012 [Smithsonian American Art Museum Office of the Deputy Director]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_247144

Exhibition Records, 1995-1998

Creator:
National Museum of American Art (U.S.) Office of Registration and Collections Management  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Binns, Charles Fergus 1857-1934  Search this
Burchfield, Charles Ephraim 1893-1967  Search this
Dewing, Thomas Wilmer 1851-1938  Search this
Gross, Chaim 1904-1991  Search this
Hockney, David  Search this
Lucero, Michael 1953-  Search this
Renwick Gallery  Search this
American Art Forum: Selected Gifts (Exhibition) (1996: Washington, D.C.)  Search this
American Kaleidoscope: Themes and Perspectives in Recent Art (Exhibition) (1996-1997: Washington, D.C.)  Search this
American Photographs: The First Century from the Isaacs Collection in the National Museum of American Art (Exhibition) (1996-1997: Washington, D.C.)  Search this
Ansel Adams, A Legacy: Masterworks from the Friends of Photography Collection (Exhibition) (1997-1998: Washington, D.C.)  Search this
Bard Brothers: Painting America Under Steam and Sail (Exhibition) (1997: Washington, D.C.)  Search this
Chaim Gross Sculpture (Exhibition) (1996: Washington, D.C.)  Search this
Conservation By Design: Contemporary Work in Wood (Exhibition) (1996-1997: Washington, D.C.)  Search this
Contemporary Printmaking: Collaborative Prints and Presses (Exhibition) (1996: Washington, D.C.)  Search this
Daniel Brush: Gold Without Boundaries (Exhibition) (1998-1999: Washington, D.C.)  Search this
David Beck: L'Opera (Exhibition) (1998-1999: Washington, D.C.)  Search this
David Hockney's Snails in Space: Painting as Performance (Exhibition) (1997: Washington, D.C.)  Search this
David Hockney: A Bigger Grand Canyon (Exhibition) (1998: Washington, D.C.)  Search this
Elihu Vedder's Drawings from the Rubaiyat (Exhibition) (1995-1996: Washington, D.C.)  Search this
Guilded Age - Watercolors and Pastels (Exhibition) (1995-1996: Washington, D.C.)  Search this
Inspiring Reform: Boston's Arts and Crafts Movement (Exhibition) (1998: Washington, D.C.)  Search this
Lia Cook: Material Allusions (Exhibition) (1996: Washington, D.C.)  Search this
Mark Lindquist: Revolutions in Wood (Exhibition) (1996: Washington, D.C.)  Search this
Michael Lucero: Sculpture (Exhibition) (1997: Washington, D.C.)  Search this
Miriam Schapiro: A Woman's Way (Exhibition) (1997: Washington, D.C.)  Search this
Nam June Paik's Megatron Matrix (Exhibition) (1997: Washington, D.C.)  Search this
On Location: Landscapes and Cityscapes in American Photography from the Museum's Collection (Exhibition) (1993-1994: Washington, D.C.)  Search this
Paintings of Charles Burchfield (Exhibition) (1997-1998: Washington, D.C.)  Search this
Posters American Style (Exhibition) (1998: Washington, D.C.)  Search this
Recent Acquisitions: Furniture (Exhibition) (1998: Washington, D.C.)  Search this
Renwick 2nd Floor Reinstallation (Exhibition) (1997: Washington, D.C.)  Search this
Renwick at 25 (Exhibition) (1997: Washington, D.C.)  Search this
Singular Impressions: The Monotype in America (Exhibition) (1997: Washington, D.C.)  Search this
Stonewares of Charles Fergus Binns (Exhibition) (1998-1999: Washington, D.C.)  Search this
Thomas Wilmer Dewing: Beauty Reconfigured (Exhibition) (1996: Washington, D.C.)  Search this
White House Collection of American Crafts (Exhibition) (1995: Washington, D.C.)  Search this
Physical description:
8 cu. ft. (8 record storage boxes)
Type:
Manuscripts
Collection descriptions
Brochures
Clippings
Pamphlets
Floppy disks
Posters
Black-and-white photographs
Color photographs
Date:
1995
1995-1998
Topic:
Art museums  Search this
Ceramics  Search this
Museum registrars  Search this
Museums--Collection management  Search this
Wood-carving  Search this
Local number:
SIA Acc. 00-083
Restrictions & Rights:
Restricted for 15 years, until Jan-01-2014; Transferring office; 12/17/1984 memorandum, from Bain to Rahe; Contact reference staff for details
See more items in:
Exhibition Records 1920-2004 [Smithsonian American Art Museum Registrar's Office]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_228810

Exhibition Records, 1994-1999

Creator:
Smithsonian American Art Museum Office of Design and Production  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Cook, Lia 1942-  Search this
Gross, Chaim 1904-1991  Search this
Hopper, Edward 1882-1967  Search this
Lucero, Michael 1953-  Search this
Thayer, Abbott Handerson 1849-1921  Search this
Vedder, Elihu 1836-1923  Search this
Abbott Thayer: The Nature of Art (Exhibition) (1999: Washington, D.C.)  Search this
American Photographs: The First Century from the Isaacs Collection in the National Museum of American Art (Exhibition) (1996-1997: Washington, D.C.)  Search this
Ansel Adams, A Legacy: Masterworks from the Friends of Photography Collection (Exhibition) (1997-1998: Washington, D.C.)  Search this
Bard Brothers: Painting America Under Steam and Sail (Exhibition) (1997: Washington, D.C.)  Search this
Chaim Gross Sculpture (Exhibition) (1996: Washington, D.C.)  Search this
Contemporary Crafts from the Saxe Collection (Exhibition) (1994: Washington, D.C.)  Search this
Contemporary Printmaking: Collaborative Prints and Presses (Exhibition) (1996: Washington, D.C.)  Search this
Edward Hopper: The Watercolors (Exhibition) (1999-2000: Washington, D.C.)  Search this
Elihu Vedder's Drawings from the Rubaiyat (Exhibition) (1995-1996: Washington, D.C.)  Search this
Gilded Age: Treasures from the Smithsonian American Art Museum (Traveling exhibition) (2000-2003)  Search this
Lia Cook: Material Allusions (Exhibition) (1996: Washington, D.C.)  Search this
Michael Lucero: Sculpture (Exhibition) (1997: Washington, D.C.)  Search this
Posters American Style (Exhibition) (1998: Washington, D.C.)  Search this
Silver and Gold: Photographs of the Gold Rush (Exhibition) (1998-1999: Washington, D.C.)  Search this
Thomas Wilmer Dewing: Beauty Reconfigured (Exhibition) (1996: Washington, D.C.)  Search this
White House Collection of American Crafts (Exhibition) (1995: Washington, D.C.)  Search this
Physical description:
3 cu. ft. (3 record storage boxes)
Type:
Manuscripts
Collection descriptions
Floppy disks
Floor plans
Drawings
Black-and-white negatives
Color transparencies
Color negatives
Black-and-white photographs
Date:
1994
1994-1999
Topic:
Art museums  Search this
Exhibitions  Search this
Local number:
SIA Acc. 05-186
Restrictions & Rights:
Restricted for 15 years, until Jan-01-2015; Transferring office; 7/26/1996 memorandum, Nichols to Rielly; Contact reference staff for details
See more items in:
Exhibition Records 1963-2000 [Smithsonian American Art Museum Office of Design and Production]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_259008

Exhibition Records, 1970-2000

Creator:
Smithsonian American Art Museum Office of Design and Production  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Binns, Charles Fergus 1857-1934  Search this
Brooks, Romaine  Search this
Burchfield, Charles Ephraim 1893-1967  Search this
Cole, Thomas 1801-1848  Search this
Hockney, David  Search this
La Farge, John 1835-1910  Search this
Metzker, Ray K  Search this
Nourse, Elizabeth 1859-1938  Search this
Thayer, Abbott Handerson 1849-1921  Search this
Noguchi, Isamu 1904-1988  Search this
Ireland, David 1930-2009  Search this
Barney Studio House (Washington, D.C.)  Search this
Peter A. Juley & Son  Search this
Abbott Thayer: The Nature of Art (Exhibition) (1999: Washington, D.C.)  Search this
American Art Forum: Selected Gifts (Exhibition) (1996: Washington, D.C.)  Search this
American Kaleidoscope: Themes and Perspectives in Recent Art (Exhibition) (1996-1997: Washington, D.C.)  Search this
American Photographs: The First Century from the Isaacs Collection in the National Museum of American Art (Exhibition) (1996-1997: Washington, D.C.)  Search this
Ansel Adams, A Legacy: Masterworks from the Friends of Photography Collection (Exhibition) (1997-1998: Washington, D.C.)  Search this
Art in New Mexico, 1900-1945: Paths to Taos and Santa Fe (Exhibition) (1986: Washington, D.C.)  Search this
Bard Brothers: Painting America Under Steam and Sail (Exhibition) (1997: Washington, D.C.)  Search this
Capital Image: Painters in Washington, 1800-1915 (Exhibition) (1983: Washington, D.C.)  Search this
Colonial Art from Puerto Rico: Selections from the Gift of Teodoro Vidal (Exhibition) (1997-1998: Washington, D.C.)  Search this
Conservation By Design: Contemporary Work in Wood (Exhibition) (1996-1997: Washington, D.C.)  Search this
Contemporary Printmaking: Collaborative Prints and Presses (Exhibition) (1996: Washington, D.C.)  Search this
Daniel Brush: Gold Without Boundaries (Exhibition) (1998-1999: Washington, D.C.)  Search this
David Hockney's Snails in Space: Painting as Performance (Exhibition) (1997: Washington, D.C.)  Search this
Edward Hopper: The Watercolors (Exhibition) (1999-2000: Washington, D.C.)  Search this
Elihu Vedder's Drawings from the Rubaiyat (Exhibition) (1995-1996: Washington, D.C.)  Search this
Elizabeth Nourse 1859-1938: A Salon Career (Exhibition) (1983: Washington, D.C.)  Search this
Eyeing America: Robert Cottingham Prints (Exhibition) (1998-1999: Washington, D.C.)  Search this
Focusing on Art: Peter A. Juley and Sons (Exhibition) (1985-1986: $c Washington, D.C.)  Search this
Lia Cook: Material Allusions (Exhibition) (1996: Washington, D.C.)  Search this
Mark Lindquist: Revolutions in Wood (Exhibition) (1996: Washington, D.C.)  Search this
Miriam Schapiro: A Woman's Way (Exhibition) (1997: Washington, D.C.)  Search this
Paintings of Charles Burchfield (Exhibition) (1997-1998: Washington, D.C.)  Search this
Perpetual Motif: The Art of Man Ray (Exhibition) (1988-1989: Washington, D.C.)  Search this
Picturing Old New England: Image and Memory (Exhibition) (1999: Washington, D.C.)  Search this
Posters American Style (Exhibition) (1998: Washington, D.C.)  Search this
Pueblo Indian Watercolors from the National Museum of American Art (Exhibition) (1999: Washington, D.C.)  Search this
Renwick at 25 (Exhibition) (1997: Washington, D.C.)  Search this
Secrets of the Dark Chamber: The Art of the American Daguerreotype (Exhibition) (1995: Washington, D.C.)  Search this
Singular Impressions: The Monotype in America (Exhibition) (1997: Washington, D.C.)  Search this
Special Delivery: Murals for the New Deal Era (Exhibition) (1988: Washington, D.C.)  Search this
Stonewares of Charles Fergus Binns (Exhibition) (1998-1999: Washington, D.C.)  Search this
Stuart Davis (Exhibition) (1998: Washington, D.C.)  Search this
Thomas Cole: Landscape into History (Exhibition) (1994: Washington, D.C.)  Search this
Tokens of Affection: The Portrait Miniature in America (Exhibition) (1991: Washington, D.C.)  Search this
White House Collection of American Crafts (Exhibition) (1995: Washington, D.C.)  Search this
Physical description:
4 cu. ft. (4 record storage boxes)
Type:
Manuscripts
Collection descriptions
Architectural drawings
Drawings
Sketches
Floor plans
Color transparencies
Black-and-white transparencies
Black-and-white photographs
Date:
1970
1970-2000
Topic:
Art museums  Search this
Arts and crafts movement  Search this
Buildings--Repair and reconstruction  Search this
Design  Search this
Mural painting and decoration  Search this
Museum exhibits  Search this
Photography  Search this
Watercolor painting  Search this
Women artists  Search this
Local number:
SIA Acc. 01-108
Restrictions & Rights:
Restricted for 15 years, until Jan-01-2016; Transferring office; 7/26/1996 memorandum, Nichols to Rielly; Contact reference staff for details
See more items in:
Exhibition Records 1963-2000 [Smithsonian American Art Museum Office of Design and Production]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_250882

Focus Gallery records

Creator:
Focus Gallery  Search this
Names:
George Eastman House  Search this
Torren Gallery  Search this
Abbott, Berenice, 1898-1991  Search this
Adams, Ansel, 1902-1984  Search this
Brandt, Bill  Search this
Bullock, Wynn  Search this
Caponigro, Paul, 1932-  Search this
Cunningham, Imogen, 1883-1976  Search this
Dater, Judy  Search this
Heinecken, Robert, 1931-  Search this
Hosoe, Eikō, 1933  Search this
Johnston, Helen, 1916-1989  Search this
Leibovitz, Annie, 1949-  Search this
Porter, Eliot, 1901-  Search this
Siskind, Aaron  Search this
Uelsmann, Jerry, 1934-  Search this
Weston, Brett  Search this
Extent:
11.8 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1963-1987
Summary:
The records of San Francisco Focus Gallery measure 11.8 linear feet and date from 1963-1987. The bulk of the collection consists of exhibition files. There are also artists files, sales information, correspondence, and scattered records of the gallery's companion bookshop.
Scope and Contents:
The records of San Francisco's Focus Gallery measure 11.8 linear feet and date from 1963-1987. The bulk of the collection consists of exhibition files. There are also artists files, sales information, correspondence, and scattered records of the gallery's companion bookshop.

Exhibition files comprise the bulk of the collection and generally contain a wide range of materials including correspondence, short biographies, forms requesting artists' background information, flyers, booklets, brochures, checklists, loan agreements, sales records, news releases, and photographs and negatives. Among the many photographers exhibited were Ansel Adams, Berenice Abbott, Bill Brandt, Wynn Bullock, Paul Caponigro, Imogen Cunningham, Judy Dater, Robert Heinecken, Eikoh Hosoe, Annie Leibovitz, Eliot Porter, Aaron Siskind, Jerry Uelsmann, and Brett Weston.

A relatively small amount of general business correspondence includes orders and payments for photographic prints, books, and magazine subscriptions, some personal notes, and requests for information about how to submit for exhibitions and for exhibition schedules. Correspondents include customers, photographers, publishers, law firms, museum, and colleges and universities. Correspondence from the founding year contains Johnston's letters to various venues prominent in art photography, such as George Eastman House. There is also a letter to Ansel Adams requesting prints to sell or for a small opening exhibit.

Additional records include artists' files; sales and inventory records containing print and bookshop inventories, general pricing information and receipts for photographs; and printed materials including flyers and brochures, bookshop catalogs and news releases. There are also scattered administrative records, including gallery history, a file on the Toren Gallery and five owner's notebooks, as well as The Imogen Cunningham Trust files documenting Focus Gallery's interactions with the trust before and after Cunningham's death regarding photographs printed and signed by her; financial and legal files; and guest books.

Documents in the collection that pre-date the founding of the gallery are found in the Toren Gallery file and a few of the exhibition files.
Arrangement:
The collection is arranged as 8 series.

Series 1: Administrative Records, 1963-1985 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1966-1987 (Boxes 1-2; 1 linear foot)

Series 3: Exhibition Files, 1966-1985 (Boxes 2-10; 8.5 linear feet)

Series 4: Artists Files, 1966-1978 (Boxes 10-11; 0 .5 linear feet)

Series 5: Financial and Legal Files, 1966-1987 (Box 11; 0 .2 linear feet)

Series 6: Sales and Inventories, 1966-1987 (Box 11; 0.4 linear feet)

Series 7: Printed Materials, 1966-1987 (Boxes 11-12; 0.3 linear feet)

Series 8: Guest Books, 1966-1970, 1978-1985 (Boxes 12-13; 0.6 linear feet)
Biographical / Historical:
Focus Gallery was founded by Helen Head Johnson (1916-1989) in 1966 on Union Street in San Francisco. The gallery exhibited and sold primarily art photographs and other contemporary art.

Helen Head Johnston believed that photography deserved its own exhibition space. As stated in the gallery's first press release, "in seeking to encourage print collecting it (the gallery) offers not only a show place but also a market place for photographers." While retaining an emphasis on Bay Area photographers, the gallery's exhibitions soon became international in scope, featuring little known and well-established photographers through both solo and group exhibitions. With few exceptions, the gallery's policy was to feature an artist only once. To help keep the gallery going in its early days, Johnston started a bookshop mail-order business. At the time of its closing in August 1985, Focus Gallery was the longest continuously operating photography gallery in the country. The bookshop continued in another location for an additional two years.

The collection is arranged as 8 series

Series 1: Administrative records, 1963-1985, (Box 1 8 folders)

Series 2: Correspondence, 1966-1987, undated (Box 1-2 1 linear foot)

Series 3: Exhibition files, 1966-1985 (Box 2-10 8.5 linear feet)

Series 4: Artists files, 1966-1978, undated (Box 10-11, 9 folders)

Series 5: Financial and Legal files, 1966-1987 (Box 11 6 folders)

Series 6: Sales and Inventories, 1966-1987, undated (Box 11 11 folders)

Series 7: Printed Materials, 1966-1987, undated (Box 11 and Hol 12 7 folders)

Series 8: Guest Books, 1966-1985 (Hol 12-13 6 folders)
Related Materials:
Among the holding of the Archives of American Art is an untranscribed interview of Helen Johnston by Louise Katzman or Irene Borger in the collection Interviews of California Photographers 1981 Jun.-Nov.20.

Helen Johnston left her private photography collection to the de Saisset Museum, the Oakland Museum of California, and the San Francisco Museum of Modern Art.
Provenance:
The Focus Gallery records were donated by the estate of owner Helen Johnston, care of Gerald O'Conner, executor.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Focus 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:
Visitors' books  Search this
Women photographers  Search this
Photography -- Exhibitions  Search this
Photography, Artistic  Search this
Photographic art galleries -- California -- San Francisco  Search this
Photographers -- United States  Search this
Gallery owners -- local  Search this
Art galleries, Commercial -- California -- San Francisco  Search this
Art dealers -- California -- San Francisco  Search this
Genre/Form:
Photographs
Citation:
Focus Gallery records, 1963-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.focugall
See more items in:
Focus Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-focugall
Additional Online Media:

Dorr Bothwell papers

Creator:
Bothwell, Dorr  Search this
Names:
Pollock-Krasner Foundation  Search this
Adams, Ansel, 1902-1984  Search this
Adams, Virginia Best  Search this
Adnan, Etel  Search this
Chinn, Benjamen, 1921-2009  Search this
Falkenstein, Claire, 1908-1997  Search this
Howard, Charles, 1899-1978  Search this
Jackson, Martha Kellogg  Search this
Packard, Emmy Lou, 1914-1998  Search this
Extent:
10.6 Linear feet
1.72 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Date:
1900-2006
Summary:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.
Scope and Content Note:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.

Biographical material consists of biographical sketches, resumés, identity cards, award certificates, typescripts of autobiographical interviews, address books, and a file concerning UFOs, spirituality, and philosophy.

Correspondence consists of letters exchanged between Bothwell and her colleagues and friends discussing their art-related activities, travel, and birthday greetings. There are scattered letters from Ansel and Virginia Adams, Etel Adnan, Benjamin Chinn, Claire Falkenstein, and Emmy Lou Packard.

Personal business records include teaching contracts, contracts and royalty statements for the publication of Bothwell's book Notan, insurance records, income tax records, records concerning a grant from the Pollock-Krasner Foundation, estate records, card files, lists of art work, price lists, exhibition entry cards, receipts for the sale of art work, travel receipts, medical receipts, and consignment/sales records.

Notes and writings include three diaries, two travel journals, guest books, miscellaneous lists, schedules of classes for various organizations and art schools including the Ansel Adams Yosemite Workshop, typescripts of lecture notes, and miscellaneous notes. There are also scattered writings by Bothwell and others.

Seventeen sketchbooks, including several completed during Bothwell's travels, and one dated 1942 illustrated with daily drawings of her activities while preparing for World War II, are found within the papers. There are also miscellaneous drawings, collages, a serigraph It's Time for a Change, an etching by Martha Jackson, and a drawing by Charles Howard.

Three scrapbooks contain clippings, exhibition announcements and catalogs, programs, and photographs of art work. Scrapbook 3 contains materials concerning spiritualism and mysticism. Additional printed material consists of clippings, exhibition announcements and catalogs, press releases, brochures for art classes, the sale of art work, travel, and camera equipment, reproductions of art work, picture postcards, programs, books, and miscellaneous commercial business cards.

Photographs are of Bothwell, her mother and brother, her studio/residences, miscellaneous friends and colleagues including her former husband, sculptor Donal Hord, miscellaneous events, and art classes conducted by Bothwell. There are also photographs of art work by Bothwell and others, as well as numerous photographs and slides of travel various forms in nature that Bothwell would incorporate into her art work.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1939-2001 (Box 1, 11, 13, 15; 0.6 linear feet)

Series 2: Correspondence, 1942-2002 (Box 1-3, 13; 2.3 linear feet)

Series 3: Personal Business Records, 1925-2006 (Box 3-4; 0.7 linear feet)

Series 4: Notes and Writings, 1949-1998 (Box 4, 11, 14, 15; 0.8 linear feet.)

Series 5: Art Work, 1920-1994 (Box 4-5, 11, 13, 16, 17; 1.5 linear feet)

Series 6: Scrapbooks, 1926-1979 (Box 5, 11, 12; 0.5 linear feet)

Series 7: Printed Material, 1923-2000 (Box 5-7, 12, 13; 1.8 linear feet)

Series 8: Photographs, 1900-2001 (Box 7-9, 10; 2.4 linear feet, ER01-ER04; 1.72 GB)
Biographical Note:
Dorr Bothwell (1902-2000) worked primarily in California as a painter, printmaker, and art instructor.

Doris Bothwell was born on May 3, 1902 in San Francisco, and later changed her first name to Dorr in order to more easily enter the art business. Bothwell began her art studies in 1916 with her parents' friend Anna Valentien, a student of Rodin. Between 1921 and 1922, she studied at the California School of Fine Art, and continued her studies at the University of Oregon at Eugene. After attending the Rudolph Schaeffer School of Design in 1924, she established her own studio in San Francisco from 1924 to 1927. Also during this time Bothwell, with eight other artists opened the Modern Gallery on Montgomery Street, mounting her first solo exhibition there in 1927.

Between 1928 and 1929, Bothwell traveled to American Samoa, where she created paintings and drawings, and documented tapa (barkcloth) drawings for the Bishop Museum of Honolulu. She then spent a year of study in Europe, returning to San Diego, California in 1931 and marrying sculptor Donal Hord. Four years later, they divorced and she moved to Los Angeles where she worked for the pottery manufacturer Gladding McBean, joined the post-surrealist group around Lorser Feitelson and Helen Lundeberg and opened the Bothwell-Cooke Gallery.

Between 1936 and 1939, Bothwell worked in the mural division of the Federal Arts Project of Los Angeles, and learned the art of serigraph printing. She designed dioramas and mechanized exhibitions for the Los Angeles County Museum. In 1940 she also created murals in the Manning Coffee Restaurant in San Francisco.

After teaching color and design at the California School of Fine Art in San Francisco from 1944 to 1948, Bothwell was awarded the Abraham Rosenberg Traveling Scholarship that financed study in Paris from 1949 to the fall of 1951. In 1952 she taught textile design for mass production at the Parsons School of Design in New York City.

Returning to San Francisco, Bothwell taught again at the California School of Fine Art from 1953 to 1958, and at the San Francisco Art Institute from 1959 to 1960. From 1960 to 1961 she took a sabbatical in England and France, creating paintings for an exhibition. In 1962 she was asked to teach at the new Mendocino Art Center and she taught there until 1983. She was also asked by Ansel Adams to teach design and composition for photographers at his Yosemite Workshop summer sessions, which she did from 1964 to 1977.

From 1966 to 1967, Bothwell documented indigo dying techniques, strip weaving, and pottery in Western Nigeria and Tunisia. In 1968, she published her book, co-authored with Marlys Frey, NOTAN The Principle of Dark-Light Design. The book was reissued in 1991. Bothwell continued her travels from 1970 to 1971, when she studied 12th century enamels in England, France, and Holland, and conducted a symposium, "Notan Design," for the London Educational Authority. In 1974, she traveled to Bali, Java, and Sumatra, making a slide documentary on batik, woodcarving, and folk design.

In 1977 Bothwell moved to Joshua Tree, California, from Mendocino in Northern California, but moved back and forth between the two studio/residences until 1992 when she moved to her last residence on the desert at Apache Junction, Arizona. From 1979 to 1980, she taught composition at the Victor School of Photography in Colorado and a design course at the Women's Art Guild in Kauai, Hawaii. Following a tour of China with a watercolor artists' group in 1982, Bothwell conducted workshops at the Mendocino Art Center. In 1985, she traveled to Japan.

Dorr Bothwell died on September 24, 2000 in Fort Bragg, California.
Provenance:
The Dorr Bothwell papers were donated in 1978 by the artist, and in 2002, 2009, and 2012 by the Dorr Bothwell Trust.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Dorr Bothwell 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:
Women artists -- California  Search this
Art teachers -- California  Search this
Artists' studios -- Photographs  Search this
Painters -- California  Search this
Surrealism  Search this
World War, 1939-1945  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Citation:
Dorr Bothwell papers, 1900-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bothdorr
See more items in:
Dorr Bothwell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bothdorr

Barbara Rose papers

Creator:
Rose, Barbara  Search this
Names:
Adams, Ansel, 1902-1984  Search this
Andre, Carl, 1935-  Search this
Bannard, Walter Darby, 1934-  Search this
Bellamy, Richard  Search this
Bierman, A. K., 1923- (Arthur Kalme)  Search this
Bladen, Ronald, 1918-1988  Search this
Bowles, John  Search this
Castelli, Leo  Search this
Davis, Jim, 1901-1974  Search this
Davis, Ron, 1937-  Search this
De Forest, Roy, 1930-2007  Search this
Di Suvero, Mark, 1933-  Search this
Dzubas, Friedel, 1915-  Search this
Flavin, Dan, 1933-  Search this
Frazier, Charles  Search this
Geldzahler, Henry  Search this
Hare, David, 1917-1992  Search this
Hopps, Walter  Search this
Judd, Donald, 1928-  Search this
Karp, Ivan C., 1926-2012  Search this
Kauffman, Craig, 1932-  Search this
Krasner, Lee, 1908-1984  Search this
LeWitt, Sol, 1928-2007  Search this
Lefebre, John  Search this
Lichtenstein, Roy, 1923-1997  Search this
Locks, Seymour, 1919-  Search this
Lye, Len, 1901-1980  Search this
Mack, Heinz, 1931-  Search this
McCracken, John, 1934-2011  Search this
McShine, Kynaston  Search this
Meier, Richard, 1934-  Search this
Morris, Robert, 1931-  Search this
Motherwell, Robert  Search this
Mundt, Ernest Karl, 1905-  Search this
Murray, Robert, 1936-  Search this
Myers, John Bernard  Search this
Oldenburg, Claes, 1929-  Search this
Padovano, Anthony  Search this
Piene, Otto, 1928-  Search this
Poons, Larry  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rexroth, Kenneth, 1905-1982  Search this
Rose, Barbara  Search this
Rudolph, Paul, 1918-  Search this
Sandler, Irving, 1925-  Search this
Segal, George, 1924-2000  Search this
Stella, Frank  Search this
Taylor, Edward Silverstone  Search this
Wasserman, Tamara E.  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
1.4 Linear Feet
Type:
Archival materials
Collection descriptions
Interviews
Transcripts
Sound recordings
Lectures
Date:
1962-circa 1969
Summary:
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, writings, printed material, interviews with artists, panel discussions, and lectures relating to Barbara Rose's research as an art historian.
Scope and Contents:
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, interviews with artists, panel discussions, lectures, writings, and printed material relating to Barbara Rose's work as an art historian and critic.

Letters consist of responses to queries and questionnaires Rose and Irving Sandler sent to contemporary artists as research for writing projects. Questionnaires were sesnt in preparation for an article in Art in America on artists' sensibility of the 1960s, with responses from Robert Motherwell, Robert Craig Kauffman, Len Lye, Robert Morris, George Segal, David Hare, and others. A separate query asked sculptors for their assessment of contemporary sculptor's needs and the potential for patronage, and responses are found from Carl Andre, Charles Frazier, Robert Murray, Anthony Padovano, Ron Bladen, Roy Lichtenstein, Len Lye, Sol LeWitt, Heinz Mack, Otto Peine, Dan Flavin, and Donald Judd.

Interviews conducted by Rose between 1965 and circa 1969 are found with Richard Bellamy, Leo Castelli, James E. Davis, Henry Geldzahler, Ivan Karp, Lee Krasner, John Lefebre, John Myers, Donald Judd with Frank Stella, and Tom Wesselmann. All interviews include original sound recordings, and the Judd and Stella, Krasner, and Myers interviews include transcripts. Panel discussions and lectures include sound recordings and transcripts of seven events on a variety of contemporary art and architecture subjects held between 1962 and 1968. Sound recordings are present for five of the events on 10 sound tape reels, and transcripts are present for all events. Participants in the panel discussions and lectures include Barbara Rose, Ronald Davis, Dan Flavin, Robert Kauffman, John Harvey McCracken, Friedel Dzubas, Ansel Adams, Arthur Bierman, Kenneth Rexroth, Edward Taylor, Ernst Karl Mundt, John Bowles, Roy Dean De Forest, Seymour Locks, Walter Hopps, Mark Di Suvero, Donald Judd, Robert Morris, Kynaston McShine, Walter Darby Bannard, Donald Judd, Larry Poons, Robert Rauschenberg, Richard Meier, Paul Rudolph, Claes Oldenburg, and Robert Murray.

Writings include photocopied typescripts of "Myth, Symbol, or Me," by Emily Wasserman and "Excerpts from a Work Journal on Flying Sculpture," by Charles Frazier. Printed material consists of two copies of the premiere issue of the 57th Street Review, from Nov. 15, 1966.
Arrangement:
This collection is arranged as 4 series.

Series 1: Letters (0.2 linear feet; Box 1)

Series 2: Interviews (0.6 linear feet; Box 1)

Series 3: Panel Discussions and Lectures (0.5 linear feet; Boxes 1-2)

Series 4: Writings and Printed Material (0.1 linear feet; Box 2)
Biographical / Historical:
Barbara Rose is an American art historian and critic who has published widely in the field of modern American art. Born in 1938 in Washington, DC, Rose studied at the Sorbonne, Smith College, Barnard, and finally, Columbia University under Meyer Shapiro. Rose became immersed in the New York-based circle of modernist artists and curators in the late 1950s and early 1960s, and made her substantial contribution to the discourse on contemporary art with the insider's perspective this afforded her. In 1961, she married the painter Frank Stella and they had two children before their divorce in 1969.

Rose taught at Yale University, Sarah Lawrence, University of California at Irvine and San Diego, and the American University Art in Italy program, and was senior curator at the Museum of Fine Arts, Houston, from 1981-1985. A prolific writer, Rose is the author of American Art Since 1900 (1967), The Golden Age of Dutch Painting (1969), American Painting: The 20th Century (Skira, 1969), and monographs on the artists Magdalena Abankawicz, Helen Frankenthaler, Robert Rauschenberg, Alexander Liberman, Larry Rivers, and others, as well as dozens of exhibition catalog essays. She held editorial positions at Art in America, Vogue, Artforum, Partisan Review, and Journal of Art, and her writing has also appeared in Art International, Studio International, Arts Magazine, and ARTnews, among many others.
Separated Materials:
Additional papers of Barbara Rose are held by The Getty Research Institute.
Provenance:
Donated 1971-1977 by Barbara Rose.
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 Barbara Rose papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- New York (State) -- New York  Search this
Art, American  Search this
Art critics -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Transcripts
Sound recordings
Lectures
Citation:
Barbara Rose papers, 1962-circa 1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosebarb
See more items in:
Barbara Rose papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosebarb

Judith Wechsler papers

Creator:
Wechsler, Judith  Search this
Names:
Museum at Large Ltd.  Search this
Universal Limited Art Editions (Firm)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Cage, John, 1912-1992  Search this
Callahan, Harry M.  Search this
Cohen, John, 1932-  Search this
Falkenberg, Paul  Search this
Hockney, David  Search this
Hopps, Walter  Search this
Johns, Jasper, 1930-  Search this
Menil, Dominique de  Search this
Meyerowitz, Joel, 1938-  Search this
Namuth, Hans  Search this
Pearlstein, Philip, 1924-  Search this
Siskind, Aaron  Search this
Steichen, Edward, 1879-1973  Search this
Stella, Frank  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
16 Linear Feet
Type:
Archival materials
Collection descriptions
Interviews
Motion pictures (visual works)
Sound recordings
Date:
circa 1940-2003
bulk 1971-1994
Summary:
The papers of filmmaker and art historian Judith Wechsler measure 16 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Documentaries with production material in the collection include Jasper Johns: Take An Object, produced with Hans Namuth, Harry Callahan (1994), Aaron Siskind: Making Pictures (1991), and five episodes of The Painter's World: Changing Constants of Art from the Renaissance to the Present (1989), a six-part television series produced by WGBH in Boston. Episodes of the series for which records are found include "The Training of Painters," "The Arrested Moment," "Portraits," "Abstraction," and "Painting and the Public". Also found are two reels of soundtrack labeled "Two Photographers," a title for which no other documentation is found. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, found in their unedited state among the original sound recordings. Production elements found include original sound recordings, work print picture and soundtrack, outtakes, various pre-print master material, and video copies of completed works.
Scope and Contents:
The papers of filmmaker and art historian Judith Wechsler measure 16 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Documentaries with production material in the collection include Jasper Johns: Take An Object, produced with Hans Namuth, Harry Callahan (1994), Aaron Siskind: Making Pictures (1991), and five episodes of The Painter's World: Changing Constants of Art from the Renaissance to the Present (1989), a six-part television series produced by WGBH in Boston. Episodes of the series for which records are found include "The Training of Painters," "The Arrested Moment," "Portraits," "Abstraction," and "Painting and the Public". Also found are two reels of soundtrack labeled "Two Photographers," a title for which no other documentation is found. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, found in their unedited state among the original sound recordings. Production elements found include original sound recordings, work print picture and soundtrack, outtakes, various pre-print master material, and video copies of completed works.

The episodes "Abstraction," "The Arrested Moment," and "Portraits" address the evolution of painting style and traditions, and the "Painting and the Public" episode addresses the role of patronage and the evolution of art museums. Footage found for "The Training of Painters" consists of footage of Josef Albers teaching at Yale University shot around 1955, likely shot by John Cohen.

Jasper Johns: Take An Object was a collaborative project between Wechsler, Hans Namuth, and Paul Falkenberg, who worked together under the corporate name of Museum at Large. Footage consists of multiple interviews with Johns, a 1971 session of Johns working in his Houston Street studio, and a 1989 session of Johns working at Universal Limited Art Editions, as well as additional material of John Cage and others speaking about Johns' work. In Harry Callahan, Callahan discusses the inspiration behind his work and recollects about his time with Ansel Adams, Alfred Stieglitz, Edward Steichen, and Aaron Siskind. For Aaron Siskind: Making Pictures, Siskind covers the beginning of his career, and the inspiration and methods behind his work. The "Two Photographers" content and relationship to the collection is unknown.
Arrangement:
The collection is arranged as 5 series.

Series 1: -- The Painters World: Changing Constants of Art from the Renaissance to the Present -- Production Records, 1985-1989 (5.4 linear feet; Boxes 1, 3-6, 15)

Series 2: -- Jasper Johns: Take an Object -- Production Records, 1971-1972, 1989-1990 (4.9 linear feet, Boxes 2, 7-11)

Series 3: -- Aaron Siskind: Making Pictures -- Production Records, 1990-2003 (2.2 linear feet; Boxes 2, 11-12, 16-18)

Series 4: -- Harry Callahan -- Production Records, 1992-1994 (3.2 linear feet; Boxes 2, 12-14, 18-19)

Series 5: Unidentified Program Material, circa 1940-1994 (0.3 linear feet; Boxes 2, 14, FC 147)
Biographical / Historical:
Judith Wechsler is an art historian, professor, and filmmaker. Wechsler studied at Brandeis University, Columbia University, and earned her Ph.D. at Univeristy of California, Los Angeles in 1972. She published On Aesthetics in Science in 1978 and A Human Comedy: Physiognomy and Human Caricature in 19th Century Paris, focusing on the work of Honoré Daumier, in 1982. She edited the memoirs of her father, literary scholar Nahum N. Glatzer, published in 1998, and has published dozens of articles, reviews, and catalog essays for American and European institutions and publications.

She has taught at Brown University, Harvard University, Massachusetts Institute of Technology, Hebrew University, and Rhode Island School of Design and joined the faculty at Tufts University in 1989, where she remained until her retirement in 2011.

Wechsler first worked on films with designer Charles Eames, co-directing films on her early scholarly subjects, Daumier and Cézanne. In the mid-1980s, she wrote and directed a series of art documentaries for television with the series title The Painter's World: Changing Constants of Art from the Renaissance to the Present. Since that time, Wechsler has directed dozens of films, primarily on artists and photographers, and in recent years has focused on the history of ideas in early twentieth century Europe, with films on Nahum Glatzer, Walter Benjamin, Aby Warburg, and Svetlana Boym.

Wechsler received a Chevalier dans l'Ordre des Arts et des Lettres from the French government in 2007, and became professor emerita at Tufts in 2011. She lives and works in Massachusetts.
Related Materials:
Release prints of each of the titles represented in the collection are held by the Harvard Film Archive.
Provenance:
Donated 2008 and 2017 by Judith Wechsler.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Rights:
The Judith Wechsler papers are owned by the Archives of American Art, Smithsonian Institution. They may be used for research, study, and scholarship. Authorization to quote, publish or reproduce requires written permission from Judith Wechsler, Tufts University Art History Department. The Painter's World Copyright retained by Judith Wechsler.
Topic:
Art historians -- Massachusetts -- Boston  Search this
Art patronage  Search this
Art museums  Search this
Artists -- United States  Search this
Filmmakers--Massachusetts--Boston  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Sound recordings
Citation:
Judith Wechsler papers, 1940-2003, bulk 1971-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wechjudi
See more items in:
Judith Wechsler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wechjudi

Roi Partridge papers

Creator:
Partridge, Roi, 1888-1984  Search this
Names:
National Academy of Design (U.S.)  Search this
Public Works of Art Project  Search this
Adams, Ansel, 1902-1984  Search this
Anderson, Sherwood, 1876-1941  Search this
Arms, John Taylor, 1887-1953  Search this
Cunningham, Imogen, 1883-1976  Search this
Hunter, Dard, 1883-1966  Search this
Jacques, Bertha  Search this
Linsky, Elizabeth  Search this
Neuhaus, Eugen, 1879-1963  Search this
Partridge, Roi, 1888-1984  Search this
Extent:
1 Linear Feet
Type:
Archival materials
Collection descriptions
Travelogs
Scrapbooks
Christmas cards
Drafts (documents)
Photographs
Notes
Date:
1909-2003
bulk 1909-1984
Summary:
The papers of California printmaker and educator Roi Partridge measure 1.0 linear foot and date from 1909-2003, with the bulk of the material dated 1909-1984. Found here are scattered correspondence, notes and writings, a scrapbook, printed material, and photographs. Several of the documents date from the time Partridge was married to photographer Imogen Cunningham, particularly family correspondence and a travel log of family car camping trips to the west. The same travel log documents one sketching trip Partridge made with Eugen Neuhaus.
Scope and Content Note:
The papers of California printmaker and educator Roi Partridge measure 1.0 linear foot and date from 1909-2003, with the bulk of the material dated 1909-1984. Found here are scattered correspondence, notes and writings, a scrapbook, printed material, and photographs. Several of the documents date from the time Partridge was married to photographer Imogen Cunningham, particularly family correspondence and a travel log of family car camping trips to the west. The same travel log documents one sketching trip Partridge made with Eugen Neuhaus.

General and family correspondence consists largely of incoming letters with some copies and drafts of outgoing letters. General correspondence is mainly professional in nature and documents exhibitions, commissions, teaching, memberships in artists' organizations, and participation in the WPA Public Works of Art Project. A small number of letters from friends concerning personal and social matters are scattered throughout. Among the correspondents are Ansel Adams, Sherwood Anderson, John Taylor Arms, Hollywood Riviera Galleries, Dard Hunter, the Estate of Bertha Jacques [Elizabeth Linsky, executor], National Academy of Design, and Print Makers Society of California. Family correspondence includes letters to Roi Partridge from family members. Letters to Gryffyd's family are from Imogen Cunningham and Roi Partridge; letters from others about family members are also included.

Among the notes and writings are a travel log that documents car camping trips through California and New Mexico taken by Roi Partridge, Imogen Cunningham, and their three sons between 1924 and 1926. The volume also includes Roi's account of a 1926 sketching trip taken with Eugen Neuhaus along the California coast.

A scrapbook contains clippings and feature articles about Roi Partridge, along with exhibition announcements and reproductions. Additional printed material is about or mentions Roi Partridge and his family, Ansel Adams, and Imogen Cunningham. There are also family Christmas cards with reproductions of etchings and drawings by Roi Partridge.

Photographs are of people and art work, including photographs of Roi and May Ellen Partridge, and Donald Bear, the first Director of the Santa Barbara Museum of Art (Janet Lineberger - later Mrs. Gryffyd Partridge - served as his assistant in the early 1940s). There are numerous photographs and negatives of art work by Roi Partridge (with appraisal and catalog information), and a photograph of Peter Blos' portrait of Partridge.
Arrangement:
The collection is arranged into 5 series:

Series 1: Correspondence, circa 1909-1993 (Box 1; 0.3 linear ft.; reel 5028)

Series 2: Notes and Writings, 1924-1964 (Box 1; 5 folders.; reel 5028)

Series 3: Scrapbook, 1922-1977 (Box 1; 0.1 linear ft.)

Series 4: Printed Material, 1913-2003 (Box 1; 0.25 linear ft.; reel 5028)

Series 5: Photographs, 1940-1987 (Box 1; 0.3 linear ft.; reel 5028)
Biographical Note:
Roy George Partridge (later known as Roi) was born in Centralia, Washington, in 1888, the son of a newspaper publisher and a pianist mother who accompanied silent films in Seattle movie houses. His mother enrolled him in a drawing and painting course at age 10. By 1907, the family had moved to Kansas where Partridge enrolled in studio courses at the newly established Fine Arts Institute of Kansas City. From there he then went to New York City to study at the school of the National Academy of Design during 1909 and 1910.

In 1910, with an art student friend from Seattle and enough cash to last a month, Partridge traveled to Europe and through a severe economy and by selling his etchings, managed to stay for four years. Between 1910 and 1914, he studied etching with Brockhoff in Munich, and rented a studio in Paris from 1911-1914. Once he had produced a sufficient number of prints, his friends John Butler and Clare Shepard arranged for an exhibition of his work in Seattle. They were assisted by Imogen Cunningham who sent her photo to Partridge and began corresponding with him.

The outbreak of World War I forced Partridge's return to Seattle where he and Imogen Cunningham finally met face to face. They were married within a matter of months. In their early years together, Roi managed to earn a living selling his prints and Imogen worked for Edward S. Curtis, whose photographs of American Indians had not yet achieved recognition. The couple soon produced three sons, Gryffyd and twins Padraic and Rondal. The family soon moved to San Francisco where Partridge worked as an artist in an advertising agency that also employed Maynard Dixon. During this time, he became friendly with the young Dorothea Lange who worked at the shop where Partridge had his film developed. After their marriage, Dixon and Lange established a close, long term friendship with the Partridge family.

In 1920, Partridge joined the faculty of Mills College as an art instructor, teaching design, painting, printmaking, lettering, and photography for 26 years. Partridge was such a popular teacher that the number of art students rose sharply and, for a time, art became the institution's most popular major. He was named chairman of the Art Department in 1923, and served as the first director of the college's art gallery from 1925 through 1935.

While teaching, Partridge remained an active artist and participated in exhibitions throughout the country at venues such as the Honolulu Art Academy, de Young Museum, Smithsonian Institution, Toronto Art Gallery, and the Museum of Modern Art. Among the prizes and medals awarded him were: Alaska-Yukon-Pacific Exposition, Seattle (1909), National Academy of Design (1910), Panama Pacific Exposition (1915), Art Institute of Chicago (191), Brooklyn Museum (1921), San Francisco Museum (1921), Los Angeles Museum of Art (1922, 1925, 1929), California Society of Print Makers (1929), and Library of Congress (1943). Partridge is represented in the permanent collections of many museums, colleges, and libraries, among them: Walker Art Gallery, Honolulu Academy of Art, San Diego Fine Arts Society, Milwaukee Art Gallery, Mills College, Scripps College, New York Public Library, and Library of Congress. Partridge also illustrated several books, and The Graphic Art of Roi Partridge: a Catalogue Raisonné by Anthony R. White was published in 1988.

Imogen Cunningham and Roi Partridge, both strong-willed and not given to compromise, divorced in 1934. They reconciled in the 1960s and remained on friendly terms until her death in 1976. Partridge's second wife, Marian Lyman, died in 1940. The following year, he married May Ellen Fisher, a teacher, who survived him.

In addition to his professional activities, Partridge pursued a wide variety of other interests. During the 1920s, he, Imogen, and their boys took numerous camping trips throughout California and New Mexico. With his third wife, May Ellen, he became an avid folk dancer and enthusiastic gardener, raised chickens and chinchillas, and kept bees. They had the opportunity to travel to Hawaii and Japan. In Japan, Partridge expanded his Japanese print collection which was eventually donated to the Mills College Art Gallery.

Roi Partridge died in Walnut Creek, California, on January 25, 1984.
Related Material:
The Archives of American Art holds the papers of Imogen Cunningham, Partridge's first wife, which contain additional Partridge family correspondence and photographs. An untranscribed oral history interview of Roi Partridge conducted by Steve Steinberg in 1980 is also available.
Separated Material:
A portion of the gifts received from Gryffyd Partridge were separated and filed with the Imogen Cunningham papers, some of which had been earlier donated by Gryffyd.
Provenance:
Gryffyd Partridge donated his father's papers to the Archives of American art in 1992 and 1995. A final gift was received from Janet [Mrs. Gryffyd] Partridge in 2003.
Restrictions:
The collection is open for research. Patrons must use microfilm copy. Use of the unmicrofilmed portion requires an appointment.
Rights:
The Roi Partridge 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:
Printmakers -- California -- San Francisco  Search this
Etchers -- California -- San Francisco  Search this
Genre/Form:
Travelogs
Scrapbooks
Christmas cards
Drafts (documents)
Photographs
Notes
Citation:
Roi Partridge papers, 1909-2003 (bulk 1909-1984). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.partroi
See more items in:
Roi Partridge papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-partroi

Hans Namuth photographs and papers

Creator:
Namuth, Hans  Search this
Names:
Exposition universelle et internationale (1958: Brussels, Belgium)  Search this
Jewish Museum (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Virginia Museum of Fine Arts  Search this
Yale University. School of Art and Architecture  Search this
Adams, Ansel, 1902-1984  Search this
Boynton, Jack, 1928-2010  Search this
Breuer, Marcel, 1902-  Search this
Cage, John, 1912-1992  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Castelli, Leo  Search this
Copland, Aaron, 1900-1990  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Hartigan, Grace  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930- -- Photographs  Search this
Karpel, Bernard, 1911-1986  Search this
Koch, Kenneth, 1925-  Search this
Krasner, Lee, 1908-1984 -- Photographs  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Navaretta, Cynthia  Search this
Newman, Arnold, 1918-2006  Search this
Noguchi, Isamu, 1904-1988 -- Photographs  Search this
Norman, Dorothy, 1905-1997  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rauschenberg, Robert, 1925-2008 -- Photographs  Search this
Rothko, Mark, 1903-1970 -- Photographs  Search this
Shaw, Elizabeth Roberts, 1921-  Search this
Stieglitz, Alfred, 1864-1946  Search this
Wyeth, Andrew, 1917-2009 -- Photographs  Search this
Extent:
4.5 Linear Feet
Type:
Archival materials
Collection descriptions
Interviews
Photographs
Transcripts
Place:
Massachusetts -- Boston
Date:
1945-1985
Summary:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.
Scope and Contents:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.

The first series contains materials related to the planning and production of Namuth's film Alfred Stieglitz, Photographer. Documentation includes articles, correspondence, exhibition materials, grant program request sheets, magazines and catalogs, photo requests, photographs and photographic materials, notes and research, shot lists, script drafts and fragments, interview transcripts, and correspondence. Interviewees include Ansel Adams, Arnold Newman, Aaron Copland, Dorothy Norman, and others.

The second series contains various writings and papers relating to Namuth's professional activities, including Namuth's exhibition at the 1958 Brussels World Fair, business and financial records, papers on The Construction of Boston by Kennth Koch, correspondence, a notebook, and various printed materials. Namuth's correspondence is with James Boynton, Bernard Karpel, the Museum of Modern Art, Cynthia Navaretta, Elizabeth Shaw, the Virginia Museum of Fine Arts, and the Yale University School of Art and Architecture.

Photographs taken by Hans Namuth depict prominent American (primarily New York-based) artists, architects, writers, musicians, and art critics. Artists are shown in their studios or homes, either at work or posing for the camera, and include Alexander Calder, Stuart Davis, Willem de Kooning, Grace Hartigan, Edward Hopper, Jasper Johns, Lee Krasner, Isamu Noguchi, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Andrew Wyeth, among many others. Photographs of other individuals include Marcel Breuer, John Cage, Leo Castelli, Buckminster Fuller, and Ludwig Mies van der Rohe, and others. Also found are photographs of exhibitions, openings, and art-related events from the 1950s and 1960s, such as a traveling Picasso exhibit and a Robert Rauschenberg opening at the Jewish Museum. Most photographs are black and white, but a few color prints are included.
Arrangement:
This collection is arranged as 3 series.

Series 1: Alfred Stieglitz Film Project, 1945-circa 1981 (Box 1, OV 11; 0.8 linear feet)

Series 2: Professional Files, 1953-1985 (Box 1; 0.3 linear feet)

Series 3: Photographs, 1945-1984 (Box 2-10; 3.4 linear feet)
Biographical / Historical:
Hans Namuth (1915-1990) was a German-American photographer and filmmaker who lived and worked in New York. He was primarily known for his work photographing prominent American artists in the 1950s and 1960s.

Namuth was born in Germany but left for France in 1933 after the rise of the Nazi Party. While in France, he struck up a friendship with fellow German Georg Reisner. From 1935 to 1939, Namuth and Reisner worked together as photographers primarily in Paris. His first works to catch the public's attention came from an assignment in Barcelona that accidentally coincided with the beginning of the Spanish Civil War in 1936. Following a short internment in Nazi-occupied France, Namuth left for the United States.

After taking photography classes with Alexey Brodovitch, art director of Harper's Bazaar, Namuth met Jackson Pollock at an exhibition in 1950 and asked to photograph the artist at work. His subsequent photographs of Pollock raised both artists' profiles. Namuth would spend the next three decades photographing major New York artists, architects, and art-related events for commission and for his own studio. He directed a number of films in collaboration with Paul Falkenberg and published several books of photographs. Namuth died in Long Island in 1990.
Related Materials:
Also at the Archives of American Art is an oral history interview with Hans Namuth, Aug. 12-Sept. 8, 1971. Additional Hans Namuth papers are located at the Center for Creative Photography, University of Arizona.
Provenance:
The collection was donated 1972-1985 by Hans Namuth.
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 Hans Namuth photographs and 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:
Musicians -- New York (State) -- New York  Search this
Topic:
Artists -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Photographs
Transcripts
Citation:
Hans Namuth photographs and papers, 1945-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.namuhans
See more items in:
Hans Namuth photographs and papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-namuhans

Imogen Cunningham papers

Creator:
Cunningham, Imogen, 1883-1976  Search this
Names:
George Eastman House  Search this
Group f.64  Search this
Henry Art Gallery  Search this
Witkin Gallery  Search this
Aalto, Alvar, 1898-1976  Search this
Adams, Ansel, 1902-1984  Search this
Andreson, Laura  Search this
Bissantz, Edgar, 1901-  Search this
Bourke-White, Margaret, 1904-1971  Search this
Bristol, Horace  Search this
Bullock, Wynn  Search this
Butler, John Davidson, 1890-1974  Search this
Coburn, Alvin Langdon, 1882-1966  Search this
Feininger, Lyonel, 1871-1956  Search this
Graves, Morris, 1910-  Search this
Hellman, Lillian, 1905-1984  Search this
Kanaga, Consuelo, 1894-  Search this
Lange, Dorothea  Search this
Mann, Margery  Search this
Moholy-Nagy, László, 1895-1946  Search this
Newhall, Beaumont, 1908-1993  Search this
Newman, Arnold, 1918-2006  Search this
Noskowiak, Sonya, d. 1975  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Partridge, Roi, 1888-1984  Search this
Schoener, Allon  Search this
Sheeler, Charles, 1883-1965  Search this
Steichen, Edward, 1879-1973  Search this
Steinert, Otto, 1915-  Search this
Strand, Paul, 1890-1976  Search this
Struss, Karl, 1886-  Search this
Toklas, Alice B.  Search this
Van Dyke, Willard  Search this
Weston, Edward, 1886-1958  Search this
White, Minor  Search this
Witkin, Lee D.  Search this
Zorach, William, 1887-1966  Search this
Extent:
5.9 Linear Feet
Type:
Archival materials
Collection descriptions
Interviews
Illustrated letters
Photographs
Date:
1903-1991
Summary:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career.
Scope and Content Note:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection.
Arrangement:
The collection is arranged into ten series according to material type:

Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders)

Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet)

Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders)

Series 4: Notes, 1959-1968 (box 4; 10 folders)

Series 5: Teaching Files, 1964-1971 (box 5; 4 folders)

Series 6: Writings, circa 1910-1976 (box 5; 21 folders)

Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders)

Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet)

Series 9: Photographs, 1916-1976 (box 7; 12 folders)

Series 10: Oversized Material, 1947-1948, 1967, undated
Biographical Note:
Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden.

Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912.

In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms.

Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934.

In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976.
Provenance:
The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Imogen Cunningham 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:
Photography, Artistic  Search this
Photographers -- California -- San Francisco Bay Area  Search this
Photographers  Search this
Women photographers  Search this
Portrait photography  Search this
Genre/Form:
Interviews
Illustrated letters
Photographs
Citation:
Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cunnimog
See more items in:
Imogen Cunningham papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cunnimog

Ansel Adams: artist file, [photographs]

Artist:
Adams, Ansel 1902-1984  Search this
Photographer:
Alinder, Jim  Search this
Subject:
Adams, Ansel  Search this
Type:
Photograph
Artist files
Topic:
Portrait male  Search this
Portrait male--Occupation--Artist  Search this
Occupation--Art--Photographer  Search this
Art, American  Search this
Image number:
VFM VF000012
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136689

Ansel Adams : 400 photographs / edited by Andrea G. Stillman

Author:
Adams, Ansel 1902-1984  Search this
Stillman, Andrea Gray  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Physical description:
440 p. : chiefly ill. ; 22 x 27 cm
Type:
Books
Date:
2007
Topic:
Photography, Artistic  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_843100

Ansel Adams / Basil Cannon

Author:
Cannon, Basil  Search this
Adams, Ansel 1902-1984  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Physical description:
76 p. : ill. ; 32 cm
Type:
Books
Date:
1999
Topic:
Landscape photography  Search this
Call number:
TR647.A21 C36 1999
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_593934

Charles Sheeler papers

Creator:
Sheeler, Charles, 1883-1965  Search this
Names:
Archives of American Art  Search this
Downtown Gallery (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Bacon, Peggy, 1895-1987  Search this
Eidlitz, Dorothy  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Lane, William H.  Search this
Newhall, Beaumont, 1908-1993  Search this
Newhall, Nancy Wynne.  Search this
Rourke, Constance, 1885-1941  Search this
Sheeler, Musya, 1908-1981  Search this
Waters, George  Search this
Weston, Edward, 1886-1958  Search this
Williams, William Carlos, 1883-1963  Search this
Photographer:
Sheeler, Musya  Search this
White, Minor  Search this
Extent:
4.9 Linear feet
Type:
Archival materials
Collection descriptions
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Date:
circa 1840s-1966
bulk 1923-1965
Summary:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. Notable photographs include Sheeler with Edward Weston, Edward Steichen, and John Marin.
Scope and Content Note:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.
Arrangement:
The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Series 1: Biographical Materials, 1875, 1928-1965 (Boxes 1, 5, OV10; 0.6 linear feet)

Series 2: Correspondence, 1937-1966 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1930s-1965 (Boxes 1-2 ; 0.4 linear feet)

Series 4: Scrapbooks, 1930s-1960s (Boxes 2, 6; 0.4 linear feet)

Series 5: Printed Material, 1923-1966 (Boxes 2-4, 7; 1.5 linear feet)

Series 6: Photographs, circa 1840s-1963 (Box 4, OV11; 0.4 linear feet)

Series 7: Artwork, circa 1930s-1960s (Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)
Biographical Note:
Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.
Related Material:
The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.
Separated Material:
Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.
Provenance:
Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Charles Sheeler 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 copyright laws.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Industrial designers -- New York (State) -- New York  Search this
Genre/Form:
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Citation:
Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheechar
See more items in:
Charles Sheeler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sheechar
Additional Online Media:

[Ansel Adams : miscellaneous uncataloged material]

Author:
Adams, Ansel 1902-1984  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Type:
Books
Vertical files
Call number:
VF-- Adams, Ansel
Restrictions & Rights:
FOLDER(S) DO NOT CIRCULATE. FOLDER(S) AVAILABLE FOR USE ONLY AT THE NMAA/NPG LIBRARY.
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_563486

Ansel Adams : classic images / James Alinder, John Szarkowski

Author:
Alinder, James  Search this
Szarkowski, John  Search this
Adams, Ansel 1902-1984  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Physical description:
111 pages : chiefly illustrations ; 27 cm
Type:
Exhibitions
Exhibition catalogs
Date:
1985
©1985
Topic:
Photography, Artistic  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1080723

Photographs by Ansel Adams : [exhibition] Prints and Drawings Galleries, April 24 to June 30, 1974

Title:
Ansel Adams
Author:
Adams, Ansel 1902-1984  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Physical description:
[24] p. ; 23 cm
Type:
Exhibitions
Date:
1974
[1974]
Topic:
Photography, Artistic  Search this
Call number:
TR647 A43 1974
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_668538

Ansel Adams : divine performance / Anne Hammond

Author:
Hammond, Anne  Search this
Adams, Ansel 1902-1984  Search this
Subject:
Adams, Ansel 1902-1984  Search this
Physical description:
x, 196 p. : ill. ; 26 cm
Type:
Biography
Place:
United States
Date:
2002
C2002
Topic:
Photographers  Search this
Photography of mountains  Search this
Call number:
TR647.A21 H36 2002
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_675199

Modify Your Search






or


Narrow By