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Aleksandra Kasuba papers

Creator:
Kasuba, Aleksandra, 1923-2019  Search this
Names:
Columbia University  Search this
Institute for Architecture and Urban Studies  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Berlind, Jerilyn  Search this
Freudenheim, Nina  Search this
Whitridge, Thomas  Search this
Extent:
12.4 Linear feet
42.7 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sound recordings
Scrapbooks
Interviews
Video recordings
Date:
circa 1900-2019
bulk 1960-2010
Summary:
The papers of sculptor and environmental artist Aleksandra Kasuba measure 12.4 linear feet and date from circa 1900-2019, with the bulk of the material from 1960-2010. The collection documents Kasuba's career through biographical material, correspondence, interviews, lectures and writings, extensive project files, printed material, a scrapbook, artwork, and photographs.
Scope and Contents:
The papers of sculptor and environmental artist Aleksandra Kasuba measure 12.4 linear feet and date from circa 1900-2019, with the bulk of the material from 1960-2010. The collection documents Kasuba's career through biographical material, correspondence, interviews, lectures and writings, extensive project files, printed material, a scrapbook, artwork, and photographs.

Biographical material includes artist's statements and letters of recommendation. Biographical data consists of curriculum vitae, bibliographies, checklists of commissioned work and biographical entries; also found are drafts of biographical accounts used for press releases. Included is a citation to Kasuba from the Women's Architectural Auxiliary, New York Chapter of the American Institute of Architects in honor of her participation in a West Side urban renewal project. Digital biographical materials include a CV and preserved copies of Kasuba's various websites.

General correspondence mostly consists of invitations to lecture at academic institutions and professional associations. There are letters between Kasuba and interior design firms, publishers, museums, and academic institutions. Included are letters from Columbia University, Museum of Modern Art, and the Institute for Architecture and Urban Studies. Correpondence relates to commissioned projects, proposed exhibitions, and the scheduling of workshops and speaking engagements. Also found is correspondence with Thomas Whitridge about the publication of a monograph by Kasuba, extenisve family correspondence in Lithuanian, and correspondence with Algirdas Julien Greimas later organized for a publication.

Writings include various manuscripts and complementary visual schematics that Kasuba worked on throughout her career. Also included are Aleksandra Kasuba's lectures on the effects of alternative living environments on human behavior presented at academic forums and corporations. Writings include an essay by Kasuba and a typescript of an article on Kasuba that was published in Woman's Art Journal (Fall 1988/Winter 1984). Also included is a subseries of journals kept by Kasuba since the 1940s, before her successful emigration to the United States. Many of the earlier journals throughout the 1960s are of mixed Language content, much of them being written in Lithuanian.

Project Files document Kasuba's installations, exhibitions, tensile-fabric dwellings, shell dwellings, and live-in environments. Included are correspondence, artist's statements, project notes, plans, sketches and diagrams, business-related materials including agreements and cost estimates, printed material, clippings, and exhibition installation photographs and slides of artwork. There are files on Aleksandra Kasuba's professional activities, including teaching positions, speaking engagements, and publishing projects. Digital Project Records related to many of Kasuba's projects including digital video recordings are found in this series, as well as one super 8 mm film reel and two 8 mm motion picture film reels.

Printed material includes exhibition catalogs, announcements, and brochures; news and magazine clippings document various projects, including Kasuba's wall mosaics, shell dwellings, and alternative living environments. Many of the later tiles in this series are self-published. A scrapbook consists mainly of news clippings and reviews on Kasuba's work.

Artwork consists of sketches and drawings used as preliminary designs for Kasuba's projects. Also included are prints and elements used in the creation of the Jetty print series. Photographs are of Kasuba's wall mosaics, reliefs, space shelters, and live-in environments. Also found are slides and three slide binders of wall installations, shell dwellings, and environments made of tensile fabrics; included are slides used for lectures. Also included are photographs of Kasuba's New York City and New Mexico homes and studios, many in digital format.
Arrangement:
The collection is arranged in 9 series.

Series 1: Biographical Material, circa 1900-2017 (Boxes 1, 11: 0.5 linear ft.; 0.037 Gigabytes: ER001-ER005)

Series 2: Correspondence, circa 1941-2015 (Boxes 1, 11: 0.5 linear ft.)

Series 3: Interviews, 1976-1983 (Box 1: 0.2 linear ft.)

Series 4: Lectures and Writings, circa 1938-2019 (Boxes 1, 11-14, 16 3.8 linear ft.; 5.81 Gigabytes: ER006-ER0024)

Series 5: Project Files, 1960-2018 (Boxes 1-4, 15, Film cans FC 8-10: 4.6 linear ft.; 33.44 Gigabytes: ER025-ER057)

Series 6: Printed Material, 1950-2016 (0.5 Linear feet: Boxes 5, 15)

Series 7: Scrapbook, 1971-2010 (Box 6; 1 folder)

Series 8: Artwork, circa 1938-2017 (0.8 Linear feet: Boxes 5-6, 15, 17)

Series 9: Photographs, circa 1920-2017 (0.9 Linear feet: Boxes 5,7, 16-17; 3.35 Gigabytes: ER058-ER072)
Biographical / Historical:
Aleksandra Kasuba (1923-2019) was a Lithuanian-born sculptor, best known for her innovative architectural environments, who lived in New York and New Mexico. She attended the Kaunas Art Institute and the Academy of Fine Arts in Vilnius, Lithuania from 1941-1943. She studied with the sculptor, Vytautus Kasuba, whom she married in 1944. In response to the Soviet Army's occupation of their country, Aleksandra Kasuba and her husband emigrated to the United States in 1947. By 1963, Aleksandra Kasuba, her husband, and two children had moved to the Upper West Side in New York City. At the start of her career, Kasuba received commissions to make ceramic tiles for use in furniture. About the same time, she was also collaborating with architects in designing mosaic wall installations for public works. Aleksandra Kasuba's commissioned projects have included a plaza on Pennsylvania Avenue, Washington, D.C., and wall mosaics for the Container Corporation in Chicago, and 560 Lexington Avenue in New York City. Some of Kasuba's mosaic compositions were made as individual pieces to be included in museum and gallery exhibitions.

Aleksandra Kasuba has also devoted her career to designing alternative living environments. In the late 1960s, Kasuba built dwellings that she referred to as Space Shelters, which were made from a fabric of her own design. In 1970, the American Craft Museum featured Kasuba's tensile-fabric structure in an exhibition "Contemplative Environments." She has also used nylon fabric to build her alternative or live-in environments. In addition, Kasuba has held several faculty positions. She taught at the School of Visual Arts in New York City from 1971-1972 and was an artist-in-residence at Cranbrook Academy of Art in 1976 and the Philadelphia College of Textiles & Science in 1977. Kasuba has received awards from the American Institute of Architects in 1971 and 1972; in 1983, she was granted a Fellowship from the National Endowment for the Arts. Aleksandra Kasuba has written several books, including a memoir published in 2001. Kasuba's husband, Vytautus died in 1997. From 2001 on, Aleksandra Kasuba had been living in Albuquerque, New Mexico, where she purchased a tract of land in the desert to continue her work on experimental housing. She died in 2019.
Provenance:
The collection was donated in 2013 by Aleksandra Kasuba. Additions were donated in 2018 by Aleksandra Kasuba and in 2019 by Guoda M. Burr, Kasuba's daughter.
Restrictions:
Subseries 4.2 (Journals) is access restricted; written permission is required.

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Aleksandra Kasuba 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:
Sculptors -- New Mexico  Search this
Environmental artists -- New Mexico  Search this
Environmental artists -- New York (State) -- New York  Search this
Sculptors -- New Mexico  Search this
Topic:
Women artists  Search this
Genre/Form:
Drawings
Sound recordings
Scrapbooks
Interviews
Video recordings
Citation:
Aleksandra Kasuba papers, circa 1900-2019. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kasualek
See more items in:
Aleksandra Kasuba papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kasualek

Announcement: "Performance Spectacle in the Post-Industrial Age" (Perfomance at Cranbrook Academy of Art by Stuart Sherman, 1987)

Designer:
Allen Hori  Search this
Type:
graphic design
Poster
Object Name:
Poster
Date:
ca. 1987
Credit Line:
Gift of Katherine McCoy
Accession Number:
1997-57-3
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1997-57-3

James Surls, Recent Work

Designer:
David Frej  Search this
Director of Production:
Cranbrook Academy Design Department  Search this
Medium:
Offset lithograph on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
1987
Credit Line:
Gift of Katherine McCoy
Accession Number:
1995-162-14
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1995-162-14

Cranbrook Architecture 1980/81, Masters Program, Cranbrook Academy of Art, Bloomfield Hills, MI

Designer:
Katherine McCoy, American, b. 1945  Search this
Medium:
Offset color lithograph on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
ca. 1980
Credit Line:
Gift of Katherine McCoy
Accession Number:
1995-162-18
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1995-162-18

Cranbrook in New York

Designer:
Mark Tweed, American  Search this
Editor:
Aura Oslapas, American  Search this
Printer:
Signet, Detroit, Michigan, USA  Search this
For:
Cranbrook Academy of Art, Bloomfield Hills, Michigan, USA  Search this
Medium:
Offset lithograph on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
Bloomfield Hills, Michigan, USA
Date:
1981
Credit Line:
Gift of Katherine McCoy
Accession Number:
1995-162-20
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1995-162-20

Cranbrook Architecture 19

Director of Production:
Cranbrook Academy of Art, Bloomfield Hills, Michigan, USA  Search this
Designer:
Katherine McCoy, American, b. 1945  Search this
Artist:
James Abbott  Search this
Medium:
offset lithograph Support: paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
1979–80
Credit Line:
Gift of Katherine McCoy
Accession Number:
1991-69-111
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1991-69-111

L. Brent Kington papers

Creator:
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Names:
American Craft Council  Search this
Artist-Blacksmith's Association of North America  Search this
Cranbrook Academy of Art -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Society of North American Goldsmiths  Search this
Southern Illinois University at Carbondale -- Faculty  Search this
Yellin, Samuel, 1885-1940  Search this
Interviewer:
Hsu, Ilin  Search this
Extent:
9 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Interviews
Slides (photographs)
Sketches
Sound recordings
Date:
1944-2012
Summary:
The papers of influential blacksmith, sculptor, metalsmith and educator, L. Brent Kington, measure 9 linear feet and date from 1944 to 2012. The collection provides a valuable overview of Kington's career through correspondence relating primarily to exhibitions, subject files, drawings, photographs of Kington and his artwork, printed matter and audiovisual material. An additional 5.2 linear feet of papers was accessioned from 2007 to 2012 and remains unprocessed.
Scope and Content Note:
The papers of influential blacksmith, sculptor, metalsmith, and educator, L. Brent Kington, measure 9 linear feet and date from 1944 to 2012. The collection provides a valuable overview of Kington's career through correspondence, subject files, drawings, photographs of Kington and his artwork, printed matter and audiovisual material.

Correspondence in Series 1 relates primarily to exhibitions in the United States at institutions such as the the American Craft Museum, the Evansville Museum of Arts and Science, and the National Ornamental Metal Museum, in which Kington's work was represented.

Kington's education at Cranbrook Academy of Art, his career at Southern Illinois University, his involvement with various professional organizations, his appearances at conferences and workshops, and his relationships with individual galleries, are more fully represented in Series 2: Subject Files.

The collection also includes printed matter, including exhibition announcements and catalogs for group and solo exhibitions in which Kington's work was featured, and publications containing articles about Kington.

Photographs in the collection include images of Kington's artwork and also picture Kington at various stages throughout his career. Audiovisual material includes an oral history interview with Kington from 2001, and two video recordings of a blacksmith workshop and a program entitled Brent Kington: Image of an Artist.

An additional 5.2 linear feet of papers was accessioned from 2007 to 2012 and remains unprocessed.
Arrangement:
The collection is arranged into six series. Original arrangement has generally been maintained throughout the collection, with some merging of chronological correspondence in Series 1 to facilitate access.

Series 1: Correspondence, 1955-2004, undated (box 1; 0.8 linear ft.)

Series 2: Subject Files, 1956-2005, undated (box 1-3; 1.6 linear ft.)

Series 3: Printed Material, 1952-2003, undated (box 3-4, OV 5; 0.9 linear ft.)

Series 4: Photographs, circa 1944-2001 (box 4; 0.4 linear ft.)

Series 5: Audiovisual Material, 1982, 2001, undated (box 4; 4 items)

Series 6: Unprocessed Addition to the L. Brent Kington Papers, 1956-2012 (boxes 6-12, OV 13; 5.2 linear ft.)
Biographical Note:
L. Brent Kington was born in Topeka, Kansas, in 1934. He received a BFA from the University of Kansas, Lawrence, in 1957 and an MFA from Cranbrook Academy of Art in 1961. Kington began his career primarily as a silversmith working with small-scale objects such as jewelry, silverware, and toys, and then became interested in using forged iron to create sculpture. He sought the help and instruction of the few blacksmiths he could find working in a "traditional" style and began working with large-scale sculptures forged in iron and steel, weathervanes, and other kinetic sculpture. Kington's subsequent research, such as his exploration of forge welding techniques of iron and his experimentation with laminated, non-ferrous alloys, constituted an important contribution to the resurgence of traditional blacksmithing and was highly influential in the fields of blacksmithing and metalsmithing in general.

Kington served as Director of the School of Art and Design at Southern Illinois University in Carbondale from 1981 to 1994. He was a lecturer at SIU from 1961 to 1962, assistant professor from 1962 to 1967, associate professor from 1967 to 1972, professor from 1972 to 1996, and is currently professor emeritus. A committed educator and an avid spokesman for the arts, he has been honored many times as a guest lecturer, visiting artist, exhibit juror, workshop demonstrator, and panelist in the United States and abroad. In 1987 he spent a summer in Cortona, Italy as guest professor in the University of Georgia Studies Abroad Program.

Since 1962, Kington's sculpture and metalwork has been shown in more than 350 group and solo exhibitions in museums and galleries throughout the United States, Europe, Asia, Africa, Canada, Mexico, and South America. Over the years Kington has served in various professional organizations. He has been a Trustee of the American Craft Council, Director of the Artist-Blacksmith Association of North America (ABANA), and President of the Society of North American Goldsmiths (SNAG). In 1978 he was elected to the American Craft Council's Academy of Fellows and has been the recipient of two Artist Fellowship grants from the National Endowment for the Arts.

Kington continues to work from his home and studio in Makando, Illinois.
Related Material:
The Archives also has a transcribed interview of L. Brent Kington, conducted May 3-4, 2001 by Mary Douglas for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. The interview was conducted in Kington's home and studio in Makando, Illinois.
Provenance:
The collection was donated to the Archives of American Art in installments by L. Brent Kington from 2001 to 2012. Materials donated from 2007 to 2012 remain unprocessed.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The L. Brent Kington 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:
Blacksmithing  Search this
Blacksmiths -- Illinois  Search this
Sculptors -- Illinois  Search this
Art metal-workers  Search this
Art metal-work -- Study and teaching  Search this
Genre/Form:
Video recordings
Photographs
Interviews
Slides (photographs)
Sketches
Sound recordings
Citation:
L. Brent Kington papers, 1944-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kinglbre
See more items in:
L. Brent Kington papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kinglbre

Cleveland Museum of Natural History - Cummings, Willard

Collection Creator:
Howard Wise Gallery  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1954-1964
1980-1984
Scope and Contents note:
Cleveland Museum of Natural History

Cleveland News

Cleveland Paint Varnish and Lacquer Association

Cleveland Press

Coe, Ralph M.

Cohen, Barbara Joseloff

Cohen, Bess J.

Cohen, Ira

Cohen, John H.

Cohen, Joseph H.

Cole, Timothy

Collegiate School

Colorado Springs Fine Arts Center

Columbia Museum of Art

Comité des arts du congrés pur la liberté de la culture

Conde, John P.

Container Corporation of America

Contemporaries Gallery

Contemporary Furniture Showrooms, Inc.

Continental Bank

Cook, Mrs. John

Cooper, Mr.

Cooper, Mrs. Henry C.

Corcoran, Arthur

Cordier and Ekstrom, Inc.

CORE

Cornell University

Corporate Publications, Inc.

Corrigan, Robert

Council for the Retarded Child

Cowan, Robert D.

Cowie Galleries

Cowles, John, Jr.

Archibald Cox

Cramer, Red and Beth

Cramer, Worth C.

Cranbrook Academy of Art

Credit Bureau of Greater New York, Inc.

Crehan, Hubert

Crespi, H.

Cross, Christopher

Crown, Peter

Crown Publishers, Inc.

Cummings, Willard
Collection Restrictions:
The collection is open for research. Use requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Howard Wise 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.
Collection Citation:
Howard Wise Gallery records, 1943-1969. Archives of American Art, Smithsonian Institution.
See more items in:
Howard Wise Gallery records
Howard Wise Gallery records / Series 1: Correspondence / 1.1: Correspondence, A-Z
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-howawisg-ref37

Marianne Strengell papers

Creator:
Strengell, Marianne, 1909-1998  Search this
Names:
Cranbrook Academy of Art  Search this
Hammarstrom, Olav, 1906-2002  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Date:
1904-1980s
Summary:
The papers of weaver, fiber artist and educator Marianne Strengell date from 1904 to the 1980s and measure 1.5 linear feet. The scattered papers focus on Strengell's career as an artist and include biographical materials, correspondence, writings, six scrapbooks, printed material, photographs, and artwork.
Scope and Contents:
The papers of weaver, fiber artist and educator Marianne Strengell date from 1904 to the 1980s and measure 1.5 linear feet. The scattered papers focus on Strengell's career as an artist and include biographical materials, correspondence, writings, six scrapbooks, printed material, photographs, and artwork.
Biographical / Historical:
Finnish-American textile artist Marianne Strengell (1909-1998) was known for the use of synthetic fibers in her work. She was an educator and was at the Cranbrook Academy of Art from 1937 to 1962.

Born in Helsinki, Finland in 1909, Marianne Strengell studied industrial arts at a Helsinki university. She spent her early career designing textiles and rugs throughout Scandinavia but came to the United States in 1936. Strengell was invited to teach at the Cranbrook Academy of Art by Eliel Saarinen, a family friend. She began as a professor but became the head of the Department of Weaving and Textile Design after the retirement of Loja Saarinen. Strengell focused on texture in her weavings and often used synthetic fibers. She took many commissions during her career, including many for automotive companies in Detroit. Also, she exhibited her works at institutions and in print.

Under the United States government in 1951, Strengell travelled to the Philippines to establish weaving as a cottage industry. In the mid-1960s she acted as a consultant on textile production to the United Nations Technical Assistance Administration with her husband, Olav Hammarstrom.

Marianne Strengell married fellow Cranbrook artist Charles Yerkes Dusenbury in 1940. They had two children but divorced in 1949. Later, she married architect Olav Hammarstorm.
Related Materials:
Additional papers are held at the Cranbrook Archives, Bloomfield Hills, Michigan.
Provenance:
Along with her husband Olav Hammarstrom, Marianne Strengell donated her papers to the Archives of American Art in 1982-1983 and 1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Fiber artists -- Michigan -- Bloomfield Hills  Search this
Weavers -- Michigan -- Bloomfield Hills  Search this
Educators -- Michigan -- Bloomfield Hills  Search this
Topic:
Women artists  Search this
Textile crafts  Search this
Weaving  Search this
Finnish Americans  Search this
Genre/Form:
Scrapbooks
Drawings
Citation:
Marianne Strengell papers, 1904-1980s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stremari
See more items in:
Marianne Strengell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stremari

Olav Hammarstrom papers

Creator:
Hammarstrom, Olav, 1906-2002  Search this
Names:
Strengell, Marianne, 1909-1998  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1939-1980
Summary:
The scattered papers of architect and furniture designer Olav Hammarstrom measure 0.7 linear feet and date from 1939 to 1980. The bulk of the collection consists of project files of architectural works in the United States and around the world. Project files may include correspondence, drawings and architectural renderings, photographs, and printed material.
Scope and Contents:
The scattered papers of architect and furniture designer Olav Hammarstrom measure 0.7 linear feet and date from 1939 to 1980. The bulk of the collection consists of project files of architectural works in the United States and around the world. Project files may include correspondence, drawings and architectural renderings, photographs, and printed material.
Biographical / Historical:
Olav Hammarstrom (1906-2002) was a Finnish-born architect active in Bloomfield Hills, Michigan and Wellfleet, Massachusetts.

Born in Heinola, Finland in 1906, Olav Hammarstrom studied and began his career as an architect in Helsinki. In 1948, Hammarstrom came to the United States to work on a project with Alvar Aalto in Massachusetts. He stayed in the United States after marrying textile artist Marianne Strengell and settled in Bloomfield Hills, Michigan.

Together, Strengell and Hammarstrom served as consultants for the United States government and the United Nations and reported on the cottage industry of weaving in the Philippines and Jamaica. After Strengell retired from the Cranbrook Academy of Art, she and Olav moved to Wellfleet, Massachusetts where Hammarstrom took many commissions.

Olav Hammarstrom died in 2002 in Wellfleet, Massachusetts.
Related Materials:
The Archives of American Art also holds an oral history interview with Olav Hammarstrom, conducted 1982 October 21-1983 March 10 by Robert F. Brown. The Cranbrook Archives also holds a collection of Olav Hammarstrom's papers.
Provenance:
Olav Hammarstrom donated his papers to the Archives of American Art in 1983.
Restrictions:
The collection is open for research. Access to original papers requires an appointment and is limited to the Archive's Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Architects -- Massachusetts -- Wellfleet  Search this
Architects -- Michigan -- Bloomfield Hills  Search this
Furniture designers -- Massachusetts -- Wellfleet  Search this
Furniture designers -- Michigan -- Bloomfield Hills  Search this
Topic:
Furniture design -- United States  Search this
Finnish Americans  Search this
Genre/Form:
Drawings
Citation:
Olav Hammarstrom papers, 1939-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hammolav
See more items in:
Olav Hammarstrom papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hammolav

Cranbrook Academy of Art

Collection Creator:
Daley, William, 1925-  Search this
Container:
Box 7, Folder 62
Type:
Archival materials
Date:
1990, undated
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The William P. Daley 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.
Collection Citation:
William P. Daley papers, 1905-2004 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
See more items in:
William P. Daley papers
William P. Daley papers / Series 5: Workshops, Seminars, and Lectures
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-dalewill-ref392

Cranbrook Academy of Art Museum

Collection Creator:
Terry Dintenfass, Inc.  Search this
Container:
Box 3, Folder 98
Type:
Archival materials
Date:
1973-1976
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Terry Dintenfass, Inc. 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.
Collection Citation:
Terry Dintenfass, Inc. records, 1947-1987, bulk 1961-1983. Archives of American Art, Smithsonian Institution.
See more items in:
Terry Dintenfass, Inc. records
Terry Dintenfass, Inc. records / Series 3: Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-terrdint-ref140

Florence Knoll Bassett papers

Creator:
Knoll, Florence, 1917-  Search this
Names:
Cranbrook Academy of Art  Search this
Cranbrook Kingswood School (Bloomfield Hills, Mich.)  Search this
Hans G. Knoll Furniture Company  Search this
Knoll Associates, inc.  Search this
Knoll International, inc.  Search this
Cheek, Leslie, 1908-  Search this
Eames, Charles  Search this
Gandhi, Indira, 1917-1984  Search this
Graham, Katharine, 1917-  Search this
Helm, John  Search this
Johnson, Philip, 1906-2005  Search this
Knoll, Walter C.  Search this
Miller, R. Craig  Search this
Milles, Carl, 1875-1955  Search this
Raseman, Rachel de Wolfe  Search this
Reagan, Nancy, 1923-  Search this
Saarinen, Eero, 1910-1961  Search this
Saarinen, Eliel, 1873-1950  Search this
Slavin, Maeve  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Drawings
Photographs
Sketchbooks
Date:
1932-2000
Summary:
The papers of architect and designer Florence Knoll Bassett, measure approximately 2 linear feet dating from 1932 to 2000. Through correspondence, sketches, drawings, designs, subject files, photographs, and printed material, the collection selectively documents Knoll Bassett's education, her work with Knoll Associates from the 1940s until her resignation in 1965, and projects undertaken since her retirement. It is an important source of information on the development of interior architecture and design from the 1940s to the 1970s.
Scope and Content Note:
The papers of architect, and interior designer and planner Florence Knoll Bassett, measure approximately 2 linear feet dating from 1932 to 2000. The collection selectively documents Knoll Bassett's education and her career at Knoll Associates, Inc. from the 1940s until her resignation in 1965, in addition to personal design projects and other activities after leaving the company. It is an important source of information on the development of interior architecture and design from the 1940s to the 1970s, chronicling the Knoll mission to synthesize space, furniture, and design by creating interiors based on practical use, comfort, and aesthetics.

The collection documents the growth of Knoll's international reputation for its modern furnishings and interiors and the impact of a business philosophy that encompassed design excellence, technological innovation, and mass production. The material includes a chronology of Knoll Bassett's career; a portfolio of sketches, drawings and designs; photographs of Knoll Bassett and others; subject files containing sketches and photographic material; letters from friends, colleagues, clients and others; awards received by Knoll Bassett throughout her career; and printed material.

Much of the material is annotated with historical and biographical notes written by Knoll Bassett which provide invaluable contextual information for the materials found therein. The notes are dated 1999 in the Container Listing, under the assumption that they were written by Florence Knoll Bassett as she was arranging her archival papers.
Arrangement:
Before donating her papers to the Archives of American Art, Knoll Bassett organized the material in portfolios and color-coded files and designed four containers for them. Because the method of arrangement in itself provides insight into Knoll Bassett's style and creativity the collection has been minimally processed with the addition of acid-free materials for preservation reasons and the transcription of labels which may, over time, become detached. The original order of the collection has been retained throughout.

The collection was organized into what Bassett termed "storage units," the first container being divided into three units and the collection as a whole being divided into six units. Knoll Bassett supplied a detailed inventory of the contents of each container and the subjects represented in each porfolio or folder. Subject headings from this inventory have been used in the Series Description/Container Listing. Knoll Bassett also supplied a vita summarizing her career and copies of this, and her original container inventory are enclosed with the collection and can be consulted at AAA's research center in Washington D.C.

The collection is arranged as seven series. These series represent the categories into which Knoll Bassett organized the material, with the exception that Letters and Awards are presented as two series in the finding aid. Most of the items in Series 1 to 4 are presented as portfolios in spiral-bound notebooks and the remainder of the collection is organized in folders.

Series 1: Biographical Material, 1932-1999 (Box 1; 1 portfolio)

Series 2: Selected Publications, 1946-1990, 1999 (Box 1; 1 portfolio)

Series 3: Drawings, Sketches, and Designs, 1932-1984, 1999 (Boxes 1-2; 2 portfolios)

Series 4: Photographs and Printed Material, 1956-1997, 1999 (Box 2; 1 portfolio)

Series 5: Subject Files, circa 1930s-1999 (Box 3; 1.0 linear ft.)

Series 6: Letters, circa 1930s-2000 (Box 4; 7 folders)

Series 7: Awards, 1954-1999 (Box 4; 6 folders)
Biographical Note:
Florence Knoll Bassett was born Florence Schust in 1917 and was affectionately known as Shu by her colleagues and friends. She was orphaned at age 12 and then cared for by Emile Tessin, a friend of the family whom her mother had appointed as Florence's legal guardian in the event of her death. When arrangements were being made for Florence to attend boarding school she was given the opportunity to make the selection. Kingswood School in Bloomfield Hills, Michigan, held a strong aesthetic appeal for her and she "made an immediate decision that it was the right place for me," beginning her architectural studies under the school's art director, Rachel de Wolfe Raseman.

At Kingswood Knoll Bassett met the Saarinen family, studying under Eliel Saarinen and developing her interest in texture and color through her friendship with Loja Saarinen who supervised the school's weaving studio. Following Florence's graduation from Kingswood in 1934, Eliel Saarinen encouraged her to spend some time at Cranbrook Academy of Art before attending an accredited architecture school. She spent the next two years at Cranbrook working closely with advanced students and artists such as the Saarinens and Carl Milles, and gaining experience in all aspects of design.

Knoll Bassett then studied for two years at the Architectural Association in London, spending summers with the Saarinens in Europe. She completed her formal training at the Illinois Institute of Technology where she studied under Mies van der Rohe, whom she credits with having "a profound effect on my design approach and the clarification of design."

After graduation Knoll Bassett worked for architecture firms in Boston and New York where she met Hans Knoll who was then in the process of establishing a furniture business. In 1943 she began working for him in her spare time as an interior space planner and designer. In 1946 the two were married and formed Knoll Associates, Inc.

As director of the Knoll Planning Unit, Knoll Bassett established herself as one of the most important and influential interior planners and designers of the second half of the twentieth century. Believing that intelligent design "strikes at the root of living requirements and changing habits," she established the practice of working closely with the corporate sector to determine the needs of the people who would actually use the spaces that her company designed. Her connections with leading contemporary architects and designers, and the company's commitment to crediting designers by name and paying them royalties, laid the foundations for the strong working relationships upon which the commercial success of Knoll Associates was built. Drawing on a pool of top architects and designers, many of whom were personal friends, Knoll Bassett directed the company's Bauhaus approach, incorporating design excellence, technological innovation, and mass production in a seamless package of "total design."

While Knoll Bassett oversaw the creative process of the Planning Unit's operations in its entirety, she was also directly responsible for many of the individual elements used in the Unit's projects. During the war years, she worked with her designers to overcome the scarcity of materials, establishing Knoll Textiles in response to the dearth of available fabrics and textile colors, and developing the company's hallmark style of spare clean lines and vibrant colors in a functional, comfortable, and aesthetically appealing space. Finding that much of the "fill-in" furniture, primarily cabinetry, that she envisaged in many of her plans was not available, Knoll Bassett designed the pieces herself. She used the Knoll showrooms as "experimental laboratories" to convince clients to use modern ideas and materials, showcasing and putting into production the classic designs of people such as Eero Saarinen, Mies van der Rohe, Jens Risom, Harry Bertoia, Isamu Noguchi, and Marcel Breuer.

After the war Knoll Associates expanded to Europe through a series of government contracts which resulted ultimately in the formation of Knoll International. When Hans Knoll died suddenly in an automobile accident in 1955 Florence became president of the company. She married Harry Hood Bassett in 1958 and began to divide her time between New York and Florida. In 1959 she sold her interest in Knoll Associates to Art Metal and retired as President of the company the following year, while continuing to work as a consultant and serving as Design Director. In 1961 she became the first woman to be awarded the Gold Medal for Industrial Design by the American Institute of Architects, one of many awards received over the course of her career. In 1965 she resigned from Knoll Associates entirely after completing the interior design for the CBS headquarters in New York.

Following her retirement Knoll Bassett devoted more time to private commissions and other interests such as her campaign against billboards in Miami in the mid 1980s. She spent summers in Vermont and winters in Florida with her husband, until his death in 1991. In July 2001, Metropolis magazine published a rare interview with Knoll Bassett in which she reflects upon the life she so skillfully documented in the extraordinary gift of her archival papers to the Archives of American Art.
Provenance:
The collection was donated to the Archives of American Art by Florence Knoll Bassett in 2000.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Florence Knoll Bassett 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:
Interior decoration firms  Search this
Interior decorators  Search this
Furniture designers  Search this
Architects  Search this
Women architects  Search this
Interior decoration  Search this
Design, Industrial  Search this
Women designers  Search this
Designers  Search this
Genre/Form:
Sketches
Drawings
Photographs
Sketchbooks
Citation:
Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.knolflor
See more items in:
Florence Knoll Bassett papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-knolflor
Additional Online Media:

Michigan, Cranbrook Academy of Art

Collection Creator:
Christ-Janer, Albert, 1910-1973  Search this
Container:
Box 23, Folder 2
Type:
Archival materials
Date:
circa 1980-circa 1981
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Albert Christ-Janer 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.
Collection Citation:
Albert Christ-Janer papers, 1915-circa 1993, bulk 1930-1981. Archives of American Art, Smithsonian Institution.
See more items in:
Albert Christ-Janer papers
Albert Christ-Janer papers / Series 5: Professional Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-chrialbe-ref252

Kingswood; Cranbrook Academy of Art

Collection Creator:
Knoll, Florence, 1917-  Search this
Container:
Box 3, Folder 1
Type:
Archival materials
Date:
circa 1930s, 1983-1994, undated
Scope and Contents note:
(Kingswood includes photographs of Rachel de Wolfe Raseman, taken 1936; Cranbrook includes photos of Eliel and Eero Saarinen and Carl Milles)
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Florence Knoll Bassett 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.
Collection Citation:
Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Florence Knoll Bassett papers
Florence Knoll Bassett papers / Series 5: Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-knolflor-ref29

Cranbrook Academy of Art Museum

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box 155, Folder 62
Type:
Archival materials
Date:
1977-1978, 1989
Collection Restrictions:
Use of original records requires an appointment.
Collection Rights:
The Leo Castelli 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.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 7: Castelli Graphics / 7.1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-leocast-ref13111

Fred Mitchell papers

Creator:
Mitchell, Fred, 1923-  Search this
Names:
Mississippi Art Colony  Search this
Gonzales, Justo  Search this
Kline, Franz, 1910-1962  Search this
McQuade, James M.  Search this
Ochman, Jim  Search this
Pajerski, Elizabeth  Search this
Reed, Harry Hope  Search this
Rooney, Peter  Search this
Rucker, Patrick  Search this
Stevens, Dick, 1928-  Search this
Sultz, Phil  Search this
Extent:
14.3 Linear feet
Type:
Archival materials
Collection descriptions
Diaries
Photographs
Sketches
Scrapbooks
Watercolors
Drawings
Date:
1938-2007
Summary:
The papers of Fred Mitchell, 1938-2007, measure 14.3 linear feet. Correspondence, writings, 29 diaries, and subject files, document his personal life and career as a painter and educator in New York City. The papers also include biographical materials, artwork, sketchbooks, printed material, and photographs.
Scope and Contents:
The papers of Fred Mitchell, 1938-2007, measure 14.3 liner feet. Correspondence, writings, 29 diaries, and subject files document his personal life and career as a painter and educator in New York City. The papers also include biographical materials, artwork, sketchbooks, printed material, and photographs.

Among the biographical materials are biographical notes, military records, passports, and resumes. Correspondence includes both professional and personal letters. Correspondents include friends, former students, colleagues, and individuals of romantic interest.

Writings by Mitchell include notebooks containing names and addresses, appointments, lists and a variety of notes. Diaries record Mitchell's personal and professional activities, plans, aspirations, and memories; also, many volumes contain loose items such as printed material, drawings, notes and letters. Other authors represented are Harry Hope Reed, Peter Rooney, and Patrick Rucker.

Subject files maintained by Mitchell concern friends, teaching activities, exhibitions; also, interests in art, dance, poetry, and music. Files on the Mitchell family concern four generations and include Elizabeth Pajerski, his artist sister with whom he sometimes exhibited. There are files on Coenties Slip artists and related exhibitions. Other subjects of note are a Franz Kline traveling exhibition curated by Mitchell, and Mississippi Art Colony. Individuals for whom threre are substantial subject files include Justo Gonzales, James M. McQuade, Jim Ochman, Peter Rooney, John W. ("Dicky") Stevens, and Phil Sultz.

Most artwork is by Mitchell and consists mainly of drawings and sketches. Artwork by others includes drawings and watercolors by Peter Rooney, students, and unidentified artists. Mitchell's sketchbooks (16 volumes) contain sketches, drawings, and a few finished watercolors.

Printed material is about or mentions Mitchell. Included are a variety of items such as exhibition catalogs and announcements, brochures, clippings, press releases, and concert programs. Photographs are of Mitchell with family and friends; artwork by Mitchell and other artists; exhibition installations and openings; and places including the Wall-South neighborhood just before the destruction of his studio and travel pictures.
Arrangement:
The collection is arranged in 9 series:

Series 1: Biographical Materials,1942-circa 2005 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1947-2004 (Boxes 1-2; 1.9 linear feet)

Series 3: Writings, circa 1940s-2004 (Boxes 2-3; 1.4 linear feet)

Series 4: Diaries, 1949-2002 (Boxes 4-6; 2.5 linear feet)

Series 5: Subject Files, 1943-2002 (Boxes 6-12; 6 linear feet)

Series 6: Artwork, circa 1940s-2002 (Boxes 12-13; 0.5 linear feet)

Series 7: Sketchbooks, 1955-1993 (Boxes 13, 15; 0.6 linear feet)

Series 8: Printed Material, 1938-2004 (Boxes 13-14; 0.5 linear feet)

Series 9: Photographs, 1940s-2002 (Box 14; 0.5 linear feet)
Biographical / Historical:
Fred Mitchell (1923-2013), a painter and educator who worked in New York City, was among the first artists to open a studio in Coenties Slip on the East River in downtown Manhattan.

A native of Meridian, Mississippi, Madison Fred Mitchell (always called Fred), won a Scholastic Magazine award and his work was shown in its "15th Annual National High School Art Exhibit" held at the museum of the Carnegie Institute in 1942. Mitchell studied at the Carnegie Institute of Technology for a year before entering the U. S. Army. After World War II ended, he resumed his education at Cranbrook Academy of Art (BFA 1946 and MFA 1956). He moved to New York in 1951 and became a member of the "Downtown Group." In 1952 he was among the organizers of Tanager Gallery and in 1954 founded the Coenties Slip School of Art.

Mitchell enjoyed a long career as a highly regarded teacher of drawing, painting, and art history. He taught at Finch College, the Positano Art Workshop in Italy, and Cranbrook Academy in the 1950s. During the 1960s, he was affiliated with Downtown Art Center at Seamens Church Institute in Coenties Slip, New York University, Cornell University, and Ithaca College. In the early 1970s Mitchell taught at Queens College, and from the mid-1980s-early 2000s served on the faculties of Parsons School of Design, Art Students League of New York, and City University of New York's Kingsborough Community College in Brooklyn.

He exhibited widely in group shows and solo exhibitions in the New York area and throughout the United States. Among these venues were: Howard Wise Gallery, Meridian Museum, Munson-Williams-Proctor Art Institute, State University of New York Binghamton, University of Oregon, and Whitney Museum of American Art.

After several years of declining health, Fred Mitchell died in New York City in 2013.
Provenance:
Fred Mitchell donated a small amount of printed material and photographs in 1972. The majority of the papers were donated in 2013 by Fred Pajerski, Fred Mitchell's nephew.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Fred Mitchell papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Photographs
Sketches
Scrapbooks
Watercolors
Drawings
Citation:
Fred Mitchell papers, 1938-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mitcfred
See more items in:
Fred Mitchell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mitcfred
Additional Online Media:

Cranbrook Academy of Art

Collection Creator:
Nanao, Kenjirō, 1929-2013  Search this
Container:
Box 10, Folder 3
Type:
Archival materials
Date:
circa 1981
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Kenjilo Nanao papers, circa 1885-1887, circa 1949-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Kenjilo Nanao papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-nanakenj-ref158

Margaret Merwin Patch papers

Creator:
Patch, Margaret Merwin, 1894-1987  Search this
Names:
American Craftsmen's Council  Search this
World Crafts Council  Search this
Ayers, Hester Merwin, 1902-1975  Search this
Webb, Aileen O., 1892-1979  Search this
Extent:
10.9 Linear feet
Type:
Archival materials
Collection descriptions
Diaries
Sound recordings
Date:
1885-1986
Summary:
The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material, and photographs.
Scope and Contents:
The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material; and photographs.

Biographical material includes documents from Margaret Merwin Patch as well as items from Rachel Merwin-Coggeshall, George Patch, Hester Merwin, and Ruth Merwin. One scrapbook contains clippings and photographs from the Patch's time at Cranbrook Academy of Art. Correspondents include Dorothy Johnson, Luba Kruja, Mary and Frances Schimpff, Olga Valkova, and Aileen Webb. Writings by others include unpublished works by Aileen Webb and Beatrice Wood. Family photographs depict the Patch and Merwin families.

The bulk of Patch's papers relate to her involvement with numerous arts organizations including the American Craftsmen's Council, Atlantic Center for the Arts, Shelburne Falls Art Center, and the World Crafts Council. These files may include founding documents, financial material, administrative records, correspondence, notes, printed material, and photographs. Found is material from the planning, goals, and accomplishments of twenty-five international meetings of various committees and groups of the World Crafts Council.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1903-1976 (0.9 linear feet; Box 1, 12, OV13-14)

Series 2: Correspondence, 1928-1986 (0.6 linear feet; Box 1)

Series 3: Diaries, 1912-1926 (0.2 linear feet; Box 2)

Series 4: Writings and Notes, circa 1919-circa 1980s (0.4 linear feet; Box 2)

Series 5: Subject Files, 1927-1986 (1.4 linear feet; Box 2-3)

Series 6: American Craftsmen's Council Records, 1953-1987 (1.0 linear feet; Box 4)

Series 7: World Crafts Council Records, circa 1960-1986 (5.2 linear feet; Box 5-10)

Series 8: Printed Material, 1930s-1986 (0.4 linear feet; Box 10)

Series 9: Photographs, 1880s-1980s (0.8 linear feet; Box 10-11)
Biographical / Historical:
Margaret Merwin Patch (1894-1987) was an arts administrator in Massachusetts and Florida.

Born in Bloomington, Illinois in 1894, Margaret Stone Merwin graduated from Illinois Wesleyan University in 1915. She attended the University of Chicago Graduate School of Commerce and Administration from 1916 to 1917.

While living in London, Margaret enrolled at the London School of Economics and worked for the American Section of the Allied Maritime Transport Council, attending the Paris Peace Conference. Upon returning to the United States, she was a member of the National Industrial Conference Board and attended Columbia University in the early 1920s. She started a statistical graphic design company, Merwin-Davis Statistical Reports and Charts, which produced illustrated and varied graphs to display statistical information in the mid-1920s.

Margaret Merwin married George Patch in 1930. She and George moved between their summer home in Shelburne Falls, Massachusetts, New York City, where Margaret was a special consultant to the National Broadcasting Company, and Bloomfield Hills, Michigan where she studied painting under Zoltan Sepeshy and Wallace Mitchell at Cranbrook Academy of Art. During World War II, Patch worked for the Office of Price Administration. Upon her husband's death in the 1950s, Patch spent winters in New Smyrna Beach, Florida.

From the 1940s until her death in 1988, Margaret Merwin Patch devoted her time to arts administration in the United States and around the world. Her passion began when she became the art chairman of the Women's Club of Shelburne Falls, Massachusetts. With that role, she helped lead the exhibition, class instruction, and retail support of local crafts. Eventually, her activity led to the formation of the Shelburne Falls Craft Center. Among the many organizations with which she was involved were the Aid to Artisans, American Craftsmen's Council, Atlantic Center for the Arts, Deerfield Valley Art Association, Michigan League of Women Voters, and the Shelburne Falls Art Center. Through her affiliation with the American Craftsmen's Council, Patch embarked on a year-long trip around the world in 1960. This trip helped lay the foundation for the World Crafts Council, which was formally established in 1964, with the aid of her colleague, Aileen Osborn Patch. A UNESCO group, the World Crafts Council sponsored international crafts conferences and cultural assemblies.

Margaret Merwin Patch died in 1988.
Related Materials:
Also in the Archives of American Art is an interview of Margaret Merwin Patch, conducted 1980 October 16-1984 September 25, by Robert F. Brown.

Researchers interested in accessing the audiovisual recording in this collection must use an access copy. Contact References Services for more information.
Provenance:
The Margaret Merwin Patch papers were donated to the Archives of American Art by Linda M. Walker, a personal representative of Patch's estate in 1987.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing the audiovisual recording in this collection must use an access copy. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to Smithsonian's Terms of Use for additional information.
Occupation:
Arts administrators  Search this
Topic:
handicrafts  Search this
Genre/Form:
Diaries
Sound recordings
Citation:
Margaret Merwin Patch papers, 1885-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.patcmarg
See more items in:
Margaret Merwin Patch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-patcmarg

Cranbrook School, Cranbrook Academy of Art

Collection Creator:
Patch, Margaret Merwin, 1894-1987  Search this
Container:
Box 3, Folder 9-12
Type:
Archival materials
Date:
1935-1984
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing the audiovisual recording in this collection must use an access copy. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to Smithsonian's Terms of Use for additional information.
Collection Citation:
Margaret Merwin Patch papers, 1885-1986. Archives of American Art, Smithsonian Institution.
See more items in:
Margaret Merwin Patch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-patcmarg-ref72

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