Quotes and excerpts must be cited as follows: Oral history interview with Gertrude Goodrich, 2008 Mar. 13. Archives of American Art, Smithsonian Institution.
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Peter and Paula Lunder, 2017 October 19-20. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- Massachusetts -- Boston -- Interviews Search this
Philanthropists -- Massachusetts -- Boston -- Interviews Search this
The papers of sculptor Janet DeCoux date from 1895-2000 and measure 3.92 linear feet. The collection documents DeCoux's career through scattered biographical material, correspondence, audio cassette tapes of an autobiographical narrative, an interview transcript, miscellaneous notes and writings, sketchbooks and drawings, files for commissioned sculpture projects, printed material, photographs of DeCoux, family members, friends, colleagues, and artwork.
Scope and Content Note:
The papers of sculptor Janet deCoux measure 3.92 linear feet and date from 1895 to 2000. Found within the papers are scattered biographical material, including curriculum vitae and a file concerning deCoux's induction as a Distinguished Daughter of Pennsylvania. Correspondence is primarily between family, friends, and colleagues. It includes letters from Carl Milles, Bruce Moore, C.P. Jennewein, the Guild of Liturgy, Art and Design (GLAD), the Liturgical Arts Society, Inc., sculptor James Earle Fraser, offering advice on various sculpture projects, his wife Laura Gardin Fraser, a letter of congratulations from Paul Manship on the occasion of deCoux's election to the National Academy of Design, and approximately fifty letters, 1944-1952, from Anne Morrow Lindbergh, writer and wife of aviator Charles Lindbergh. There are also one or two letters from Lu Duble, Joseph Bailey Ellis, Mark Tobey, and Albert Wein.
Found within the papers are a transcript of an interview of deCoux by George Gurney, and audio cassettes with transcripts of an autobiographical narrative by deCoux. Miscellaneous notes and writings include autobiographical accounts and poems by deCoux and miscellaneous writings by others. Seven of deCoux's sketchbooks and a folder of drawings by deCoux, as well as a portrait of deCoux by C. Paul Jennewein are found in the Artwork series. Project files contain letters, receipts, clippings, brochures, and photographs for sculpture projects primarily commissioned by religious organizations. Printed material includes clippings, exhibition catalogs, and miscellaneous brochures. Photographs are of deCoux, family members, friends including Anne Morrow Lindbergh and her children, colleagues including James Earle Fraser, Laura Gardin Fraser, Carl Milles, and Bruce Moore, and sculpture.
Arrangement:
The collection is arranged as 8 series. Glass plate negative housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1895-1993 (Box 1; 13 folders)
Series 2: Correspondence, 1895-2000 (Boxes 1-2; 1.0 linear feet)
Series 3: Interviews, 1978, 1990 (Box 2; 3 folders)
Series 4: Notes and Writings, 1937-1996 (Box 2; 23 folders)
Series 5: Artwork, 1928-1929 (Boxes 2, 6; 9 folders)
Series 6: Project Files, 1942-1982 (Boxes 2-3, 6; 36 folders)
Series 7: Printed Material, 1906-2000 (Box 3; 20 folders)
Series 8: Photographs, 1926-1996 (Boxes 3-6, MGP 1; 1.3 linear feet)
Biographical Note:
Janet deCoux was born on October 5, 1904 in Niles, Michigan, the youngest of the five children of Bertha Wright deCoux and Rev. Charles John deCoux, an Episcopal clergyman. The family moved to Grand Rapids in 1908 and four years later to a farm in Gibsonia, outside Pittsburgh, Pennsylvania.
deCoux studied with Joseph Bailey Ellis at the Carnegie Institute of Technology from 1925 to 1927. She then apprenticed in the New York studio of C. Paul Jennewein for fifteen months, followed by a year at the Gorham Bronze Division learning architectural modeling. She also worked with Aristide Cianfarani in Providence, and for Alvin Meyer in Chicago. While serving her apprenticeships, she attended night school at the New York School of Industrial Arts, the Rhode Island School of Design, and the Art Institute of Chicago. deCoux was then employed in James Earle Fraser's studio where she had previously assisted Gozo Kawamura.
In 1932 deCoux met Eliza Miller in the sculpture department of Carnegie Tech, beginning a sixty-year relationship in which they shared a shop and adjoining studios in Gibsonia, Pennsylvania. For several months in 1935, deCoux traveled to Germany, Italy, and Switzerland, where she joined her friend Aly Moore, the wife of sculptor Bruce Moore. She first met longtime friend Father Hughson on a ship returning to the United States from Europe.
A Guggenheim Fellowship awarded to deCoux in 1938 was renewed for a second year. In 1943, she became resident instructor at Cranbrook Academy of Art.
Janet deCoux died in December 1999.
Related Material:
Also found in the Archives of American Art is an oral history interview with Janet deCoux done by George Gurney, May 5, 1978.
Provenance:
The Janet deCoux papers were donated in 1992 by the artist and in two later installments in 2000-2001 by her longtime companion, Eliza Miller.
Restrictions:
The collection is open for research. Use requires an appointment.
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:
Sculptors -- Pennsylvania -- Philadelphia Search this
An oral history interview with Peter and Paula Lunder conducted 2017 October 19-20, by James McElhinney, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Colby College in Waterville, Maine.
Mr. and Ms. Lunder discuss their time living in Waterville and Dexter, Maine and Mr. Lunder's work as a partner at the Dexter Shoe Company; their exposures to art and culture while growing up in Boston and Chicago; their initial interests in art collecting and the shift of their focus from European art to American art; their associations with Hugh Gourley and other directors and curators at the Colby College Museum of Art; the relationships they made with fellow art collectors, museum curators, art dealers and gallery owners while growing their collection and when working on finding a home for their collection; their relationship with the former director of the Smithsonian American Art Museum Betsy Broun; Mr. Lunder's initial interest in Southwestern art and the development of their collection to include a wide range of American art; and Mr. Lunder's partial ownership of the Boston Red Sox beginning in 1977. Mr. and Ms. Lunder also describe living part-time in Florida and their patronage of the Norton Museum of Art in West Palm Beach; their desire to endow their collection to a Northeast regional museum in Maine; their belief in the importance of art conservation and their focus on having the collection be used for teaching; Ms. Lunder's work as a volunteer docent at the Colby Art Museum; and their work with the Clark Art Institute to support a place for art conservation in the region. Mr. and Ms. Lunder also recall Max Stern; Jere Abbott; Bro Adams; Thomas Colville; Margaret MacDonald; Sharon Corwin; Ann and Gil Maurer; Alice Walton as well as Jay Cantor; Seelye Bixler; Michael Greenbaum; George Gurney; Cy Twombly; Stephen Hannock; Doug Baxter; Christa Gaehde; and Michael Conforti, among others.
Biographical / Historical:
Peter Lunder (1933-) and Paula Lunder (1934- ) are art collectors and philanthropists in Boston, Massachusetts. James McElhinney (1952- ) is a painter and educator of New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- Massachusetts -- Boston -- Interviews Search this
Philanthropists -- Massachusetts -- Boston -- Interviews Search this
An interview of Gertrude Goodrich conducted 2008 Mar. 13, by George Gurney, for the Archives of American Art, at the Archives of American Art, Smithsonian Institution, in Washington, D.C.
Biographical / Historical:
Gertrude Goodrich (1914- ) is an artist and writer from Newton, N.J. George Gurney (1939- ) is a curator from Arlington, Va.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Correspondence concerning Gurney's planned exhibition regarding approaches to carving sculpture, and in particular, Emanuel's work owned by the Museum, "Head of a Prophet." Emanuel provides a brief history of the work, responds to Gurney's questions regarding carving, and encloses a 5 p. typescript, "Recollections of Zadkine," (1975) in which he writes of the period he worked under Ossip Zadkine in Paris (and made "Head of a Prophet"), Zadkine's residence in New York during WW II, and their reunion in 1962 in Zadkine's Paris studio.
Biographical / Historical:
Gurney is Curator of Sculpture, National Museum of American Art, Smithsonian Institution. Emanuel is a sculptor known for his cubist style who lived in Rome, and later Westport, Ct.
Provenance:
Photocopies donated by George Gurney, 1994. Photocopies discarded after microfilming.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Carr, Carolyn Kinder, Dekker, Michelle Mead, Fortune, Brandon Brame, Gurney, George, and Rydell, Robert W. 1993. Revisiting the white city : American art at the 1893 World's Fair. Washington, D.C.;Hanover: National Portrait Gallery; National Museum of American Art;Distributed by the University Press of New England.
Catlin, George, Dippie, Brian W., and Gurney, George. 2002. George Catlin and His Indian Gallery [Exhibition catalog] Washington, D.C.: Smithsonian American Art Museum & W.W. Norton & Company.
