Letters, 1879-1918, of Adelaide Deming: She writes to Victor Hugo, 1879, requesting an autographed photo of him; the reply from his secretary includes the photo. Booker T. Washington requests a painting for the Tuskegee Institute, and in a second note acknowledges a drawing which she sent. Other letters are from Julia Marlowe Sothern, Hamilton Holt, William Beebe, and Helen Woodrow Bones.
Biographical / Historical:
Adelaide Deming, born in Litchfield, Conn., was a mural and landscape painter.
Provenance:
Litchfield Historical Society lent the Adelaide Deming letters in addition to the Anson Dickinson sketchbook and sketches, which have been described separately.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Africa, West -- Description and Travel -- 1851-1950
Date:
1923-1986
Scope and Contents:
Photographs, artwork, scrapbooks, and Tulk's autobiography document his career as an artist. Over 160 photographs (ca. 1920's-1980's) depict Tulk and his work. Eighty-three drawings and paintings range from student work at Yale to professional designs for the Rambusch Company and other design firms. Two scrapbooks assembled by Tulk contain reviews and exhibit announcements. His autobiography, describing his two-year residence in West Africa in the 1930's, and a descriptive list of murals painted between 1925-1960 are included among his notes and writings. Letters (1940-1986) are mostly business-related correspondence between Tulk and the Rambusch Company. Clippings (1936-1984) discuss the altar designs Tulk created for ships and camps during World War II and his work for the Rambusch Company. Other materials include a 1985 video-taped interview with Tulk and many copyright certificates for his designs.
Biographical / Historical:
Born in London, England. Tulk received his Bachelors Degree from Yale University in 1923 and his Masters Degree from the University of Guanajualo, Mexico. Mural painting occupied most of his earlier years with commissions in painting, stained glass, and mosaics. He painted over 300 large murals between 1925 and 1954 for theatres, churches, hotels, restaurants, and private homes. During World War II Tulk worked with camouflage and the painting of altar triptychs for U.S. Chaplains in camps and on battleships. From 1960 to 1987 he painted landscapes, portraits, and abstract paintings.
Provenance:
Papers were bequeathed to Tulk's daughter, Sheila Tulk Payne, who donated them to the Archives.
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.
United States. Department of the Treasury. Section of Fine Arts Search this
Extent:
3.5 Linear feet
2.9 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Video recordings
Interviews
Date:
circa 1930-2005
Summary:
The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and 2.90 GB and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, several recorded interviews and talks, correspondence, subject files, printed and digital material, photographs, artwork, and scrapbooks.
Scope and Contents:
The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and 2.90 GB and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, some recorded interviews and talks, correspondence, subject files, printed and digital material, photographs, artwork, and scrapbooks.
Biographical materials include awards and certificates, audio and video recordings from interviews and talks, resumes, inventories of works, membership cards, and writings. Correspondence pertains to Jones' dealings with galleries, museums, collectors, and also includes Christmas cards illustrated by Jones. Subject files include records of the sale and exhibition of her artwork; custodial history of her archive; project files; and some papers relating to her work as an art educator. Printed materials include newspaper and magazine clippings, exhibition announcements, catalogs, and posters, and publications that reproduced Jones' work. Photographs depict Jones as well as many of her watercolor landscapes, still lifes, and portraits. Artwork consists of loose sketches and drawings as well two sketchbooks. Scrapbooks contain correspondence, photographs, notes and sketches, contracts, expenses, and printed material documenting three of Jones' mural paintings between 1937-1941 as part of the U.S. Treasury Relief Art Project.
Arrangement:
The collection is arranged as 7 series.
Series 1: Biographical Material, circa 1950s-2015 (Box 1; .5 linear feet, ER01; 2.90 GB)
Series 2: Correspondence, 1943-2000 (Box 1; 8 folders)
Series 3: Subject Files, 1941-1993 (Box 1-2; .6 linear feet)
Series 4: Printed Material, 1930s-1992 (Box 2-3; 1 linear feet)
Series 5: Photographs, 1910s, 1930s-1980s (Box 3; 9 folders)
Series 6: Artwork, circa 1930s-1980s (Box 3; 9 folders)
Series 7: Scrapbooks, 1935-1943, 1980 (Box 3-5; .6 linear feet)
Biographical / Historical:
Amy Jones (Frisbie) (1899-1992) was a painter, printmaker, sculptor, and art educator in New York.
After attending Erasmus Hall High School in Brooklyn, New York, Jones studied under Xavier Gonzalez, Ben Wolf, and Anthony di Bona at the Pratt Institute. She left school early and moved to Buffalo, New York with her new husband, Blair Jones, and they had a daughter, Lucy. Jones continued to work on her art over the next few years designing Christmas cards and painting still lifes, portraits, and landscapes. Jones completed three murals between 1937-1941 for the U.S. Treasury Relief Art Project in Winsted, Connecticut; Painted Post, New York; and Scotia, New York. Jones established herself as a watercolorist in the U.S. and internationally by the 1940s. Her solo exhibitions include those held at Mount Holyoke College, Galleria Santo Stefano in Venice, Italy, a 10-year survey at New Britain Museum of American Art, and Katonah Gallery; and group exhibitions at National Gallery of Art, Corcoran Gallery, American Institute of Arts and Letters, and Albright-Knox Art Gallery. Her work may be found in the collections of the Ford Motor Company, Springfield College of Illinois, New Britain Museum of American Art, and the homes of many private collectors.
Provenance:
A portion of the collection was donated by Amy Jones in 1985, and the remainder was donated in 2015 by Lucy Jones Berk, Amy Jones' daughter.
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.
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.
Amy Jones papers, 1910s-2015. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
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:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
The papers of mural painter and illustrator Arthur Sinclair Covey measure 5.7 linear feet and date from 1882 to 1960. Found within the papers are biographical material; correspondence with art institutions, patrons, and colleagues; scattered business and financial records; notes and writings by Covey and others, including a transcript of an interview with Covey by a radio station; art work and sketchbooks by Covey and his colleagues including Paul Bransom, Harvey Dunn, and Edward Penfield; project files concering Covey's mural projects; a scrapbook of clippings; additional printed material; and photographs of Covey, family members, colleagues, and art work.
Scope and Content Note:
The papers of mural painter and illustrator Arthur Sinclair Covey measure 5.7 linear feet and date from 1882 to 1960. Found within the papers are biographical material; correspondence with art institutions, patrons, and colleagues; scattered business and financial records; notes and writings by Covey and others, including a transcript of an interview with Covey by a radio station; art work and sketchbooks by Covey and his colleagues including Paul Bransom, Harvey Dunn, and Edward Penfield; project files concering Covey's mural projects; a scrapbook of clippings; additional printed material; and photographs of Covey, family members, colleagues, and art work.
Arrangement:
The collection is arranged into nine series according to type of material and further arranged in chronological order. Oversized material from various series has been housed in Boxes 6-8 and Oversized Folders 9-12, and is noted in the Series Descriptions/Container Listing section at the appropriate folder title with see also/see references.
Series 2: Correspondence, 1915-1960, undated (Box 1, OV 9; 28 folders)
Series 3: Business Records, 1915-1958, undated (Box 1; 14 folders)
Series 4: Notes and Writings, 1923-1958, undated (Box 1; 10 folders)
Series 5: Art Work, 1921-1957, undated (Box 1, 6, OV 9-10; 23 folders)
Series 6: Project Files, 1916-1959 (Box, 1-2, 6, OV 9-12; 68 folders)
Series 7: Scrapbook, 1914-1960 (Box 8; 1 folder)
Series 8: Printed Material, 1882-1959, undated (Box 2-4, 7; 2.4 linear feet)
Series 9: Photographs, 1891-1959, undated (Box 5, 7-8; 21 folders)
Biographical Note:
Arthur Sinclair Covey was born June 13, 1877 in Leroy, Illinois, son of Byron and Emeline Edwards Covey. His boyhood was spent in various small towns in Missouri and Kansas. As a teenager in 1893, Covey "made the run" to claim land at the opening of the Cherokee Strip in Oklahoma.
From 1895 to 1896, Covey attended Southwestern College in Winfield, Kansas, followed by three years of study under Frank Duveneck, among others, at the Chicago Art Institute, from which he graduated in 1899. From 1900 to 1901, he worked as a staff artist and art editor for the Indianapolis Press and the Cleveland Plain Dealer. For the next two years, he taught at the Chicago Art Institute and established his own studio.
In 1904, Covey traveled to the Royal Academy in Munich where he was a student of Karl Marr, and, from 1905 to 1908, served as assistant to British mural painter Frank Brangwyn and taught at the London School of Art. In 1908, Covey returned to New York and married Mary Dorothea Sale, with whom he had two children, Margaret Sale Covey and Laird Fortune Covey.
Covey received official recognition for his artwork when he assisted Robert Reid and Jules Guerin on murals for the 1914-1915 Panama-Pacific Exposition and received the Bronze Medal. The following year, Covey completed his first commission to paint murals for the Wichita, Kansas, Library, and continued to work steadily on mural projects for the rest of his career.
Following the death of his wife in 1917, Covey married children's book illustrator Lois Lenski in 1921. They had a son, Stephen John Covey.
In 1925, Covey received the Architectural League's Gold Medal of Honor in Painting for his murals at the Kohler Company. From 1926 to 1929, he served as President of the national Mural Painters Society, and from 1929 to 1942, he taught pictorial composition at the National Academy Schools in New York. From 1938 to 1939, Covey created pierced brass on redwood murals for the exterior of the Contemporary Arts Building at the New York World's Fair. In 1939, he decorated the dome and globe of the Land Plane Building at La Guardia Airport in New York.
In the 1950s, Lois Lenski Covey's failing health required that the couple move permanently to Florida's warmer climate.
Arthur Sinclair Covey died on February 5, 1960, in Tarpon Springs, Florida.
Provenance:
The Arthur Sinclair Covey papers were donated from 1961 to 1965 by the artist's widow, Lois Lenski Covey.
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.
The Austin Merrill Mecklem and Marianne Greer Appel papers measure 5.0 linear feet and 0.035 GB and date from 1910-2006, with the bulk of the materials dating from 1928-1977. Correspondence, writings, drawings, printed and digital material, miscellaneous items and photographs document Mecklem as an artist, muralist and art instructor and Appel as an artist, puppet designer and author and illustrator of children's books. A significant part of Appel's papers consists of drafts of two illustrated children's books.
There is an unprocessed addition of 3.6 linear feet donated in 2019 relating to Marianne Greer Appel including biographical material, correspondence, writings, rare published and printed material, photographs, and preliminary works of art.
Scope and Content Note:
The Austin Merrill Mecklem and Marianne Greer Appel papers measure 5.0 linear feet and 0.035 GB and date from 1910-2006, with the bulk of materials dating from 1928-1977. Correspondence, writings, drawings, printed and digital material, miscellaneous items and photographs document Mecklem as an artist, muralist and art instructor and Appel as an artist, puppet designer and author and illustrator of children's books. A significant portion of Appel's papers consist of drafts of two illustrated children's books.
Austin Mecklem's papers include biographical materials, personal and professional correspondence and letters, and printed material from the WPA. Printed material includes newspaper clippings, exhibition catalogs, announcements and press releases, and an article from Fortune Magazine concerning the Coulee Dam, a subject of interest to Mecklem. Digital material consists of "Catalogue Raisonee as of February 2009".
Of particular note are Mecklem's lecture and teaching notes on the "Fundamentals of Art" prepared for his class at the Albright Art School. Also, there are photographs of Mecklem's paintings and murals, including his design for a mural for the Recorder of Deeds Building in Washington, D. C. Original artwork by Mecklem includes the blueprint for the Portland, Connecticut Post Office mural, drawings on tissue paper, a watercolor landscape, and a cartoon entitled "Life at the High."
Appel's papers consist of drafts of children's books, "The Story of Juliet" (1945) and "Perlydew" (after 1953), correspondence, writings, sketches and clippings from the period after Mecklem's death. Correspondence includes personal letters and letters from the Federal Works Agency Public Buildings Administration regarding the Agency's purchase of Appel's artwork. Also found are sketch books and an original watercolor signed by Appel.
Also found are photographs of friends and family as well as photographs of Appel's paintings and puppets she designed. Some photographs of puppets carry notes by Jim Henson, creator of the Muppets. Appel's book drafts include manuscripts, both typed and hand-written, with layouts and illustrations in tempera or gouache.
This collection contains scattered notes by the donors which identify or explain materials.
There is an unprocessed addition of 3.6 linear feet donated in 2019 relating to Marianne Greer Appel including biographical material, correspondence, writings, rare published and printed material, photographs, and preliminary works of art.
Arrangement:
The collection is arranged as 4 Series. Materials are generally arranged by record type and chronolgically thereafter.
Missing Title
Series 1: Austin Merrill Mecklem papers, 1910-2006 (Boxes 1-2; OV3; 0.9 linear feet, ER01; 0.035 GB)
Series 2: Marianne Greer Appel papers, 1928-2006 (Boxes 1-2; 0.4 linear feet)
Series 3: Family Photographs, 1928-1950 (Box 1; 0.1 linear feet)
Series 4: Unprocessed Addition, circa 1928-2006 (Boxes 4-7; OV 8-10); 3.6 linear feet)
Biographical Note:
Artists Austin Merrill Mecklem "Meck" (1894-1951) and Marianne Greer Appel (1913-1988) married in 1937 and lived and worked in Woodstock, New York as part of the Woodstock artists' colony, Maverick. Mecklem died in 1951 at age 56. In 1953, Appel and her two daughters moved to New York City where she pursued a career as a puppet designer and author and illustrator of children's books. She worked for puppeteer, Bill Baird, and later, Jim Henson, creator of the Muppets. Appel married Carl Harms, actor and puppeteer, in 1960.
Both Mecklem and Appel were associated with the Works Progress Administration (WPA). Mecklem received notable commissions from the WPA, including the painting of murals for the Recorder of Deeds Building in Washington, D. C., the Wrangell, Alaska Custom House and Post Office, and the Post Office in Portland, Connecticut. Mecklem also taught art at the Museum School in Portland, Oregon, the Art Students League in New York, the Albright Art School in Buffalo, New York, and the Woodstock School of Painting. Mecklem's work has been exhibited in a number of one-man shows and at major museums such as the Whitney Museum of American Art, the Corcoran Gallery in Washington, D.C., and the Metropolitan Museum of Art.
Austin Mecklem was born in Califax, Washington and studied at Washington State University, the San Francisco School of Fine Arts, the Art Students League in New York and in Paris and Holland. His first marriage to Hannah Small, also of the Woodstock artist's colony, ended in divorce. In 1906 Appel began her studies at the Woodstock School, where she met Mecklem. Appel's work has been exhibited at museums such as the Corcoran Gallery of Art in Washington, D.C., the Whitney Museum of American Art, and the Art Institute of Chicago.
Provenance:
The papers were donated in 2010 by Sarah Greer Mecklem and Merrill Mecklem Piera, Austin Mecklem's and Marianne Appel's daughters, and in 2019 by Sarah Greer Mecklem.
Restrictions:
Use of original papers 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:
Art teachers -- New York (State) -- New York Search this
Topic:
Puppeteers -- New York (State) -- New York Search this
Financial and business records relating to various commissions, including the decorative work on the S.S. America, the S.S. United States, and Grace Line ships Santa Rosa and Santa Paula; the mural decoration of the World War II battle monument in Draguignan, France; the decorative map in the Boston Federal Reserve Bank; and the spandrel sculpture on the barracks at the United States Military Academy, West Point, New York.
Biographical / Historical:
Sculptor, mural painter, craftsman, and educator; Litchfield, Conn. Studied at the Pennsylvania Academy of Fine Arts, Academie Julian, Paris, the American Conservatory, Fontainebleau, and studied fresco painting independently in Italy.
Provenance:
Provenance unknown.
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.
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, two photograph albums and photographs, and one scrapbook. Correspondents include family members, Witter Bynner, Ann and Eric Gugler, Leon Kroll, Isabel Manship, James Johnson Sweeney, Maxfield Parrish and others. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Scope and Content Note:
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, photograph albums and photographs, and one scrapbook. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Biographical materials include biographical sketches, awards, and records documenting Faulkner's military service. Also found are a list of medications, a list of Faulkner's writings, party guest lists, an address book, a calendar, and materials related to the posthumous publication of Sketches From an Artist's Life. Of special interest are oversized architectural drawings by Eric Gugler for Faulkner's Keene, New Hampshire house.
Correspondence includes letters from Faulkner's friends, family, fellow artists, and art organizations and institutions. Faulkner's correspondence with his parents document his 1900-1901 trip to Italy with the Thayer family. Of special interest is his correspondence with writer Witter Bynner about Faulkner's daily life in New Hampshire, his travels through Europe, his artistic practice and career, Bynner's writings, his opinions on artistic and literary works, and his service in World War One. Many of the letters to Bynner include sketches by Faulkner of Abbott Handerson Thayer, Rockwell Kent, Augustus Saint-Gaudens, Homer Saint-Gaudens, George de Forest Brush, Kahlil Gibran, and Mark Twain. Additional correspondents include sculptor Frances Grimes, architect Eric Gugler, painter Leon Kroll, and museum director James Johnson Sweeney.
Faulkner's writings are about art, artists, and the New Hampshire art community. Found are essays on Gifford Beal, George de Forest Brush, James Earle Fraser, Harriet Hosmer, Paul Manship, Charles Adams Platt, Hiram Powers, Edward Willis Redfield, Joseph Lindon Smith, Mary Lawrence Tonetti, Mark Twain, Lawrence Grant White, and Mahonri Young. Other writings discuss Faulkner's mural commissions, various aspects of New Hampshire history, and the history of the Dublin and Cornish art colonies whose inhabitants included George de Forest Brush, Augustus Saint-Gaudens, and Abbott Handerson Thayer. Of special interest is a manuscript for Faulkner's posthumously published memoir Sketches From an Artist's Life, and an unpublished manuscript titled A Neighborhood of Artists about the history and culture of the Connecticut River Valley.
Four sketchbooks by Faulkner contain drawings of landscapes, city scenes, architecture, people, nature, and studies of artwork by others. Also found are two loose sketches.
Five diaries document Faulkner's 1922-1924 trip through Europe, Africa, and Asia including stops in France, Italy, Egypt, and Turkey. Diaries record Faulkner's thoughts on architecture, tourist sites, and travel amenities. Found is one diary from 1956 that discusses social events, the Saint-Gaudens Memorial, the MacDowell Colony of artists, and various artists including Gifford Beal, Maxfield Parrish, Paul Manship, and Eric Gugler.
The bulk of printed material consists of clippings which document published writings by Faulkner, obituaries and published rememberances of Faulkner, local events in Keene, New Hampshire, and reproductions of Faulkner's artwork. Also found are exhibition catalogs of other artists, an announcement of Faulklner's death from the American Academy of Arts and Letters, and a publication illustrated with reproductions of Faulkner's murals for the National Archives.
Photographs include formal and informal images of Faulkner throughout his life, and photographs of his family and friends, his studio, and reproductions of his artwork. Also included are two photograph albums, one of which contains photographs of Faulkner during his youth and one that contains photographs primarily from the 1930s of Faulkner's Keene, New Hampshire house, himself, and his friends and family.
The collection also includes a scrapbook prepared for Faulkner's seventieth birthday containing photographs, cards, telegrams, and placecards with hand drawn illustrations which show the "taste and characteristics" of Faulkner.
Series 2: Correspondence, 1900-1973 (Box 1; 0.5 linear feet)
Series 3: Writings, 1912-1966 (Boxes 1-2; 1.0 linear foot)
Series 4: Sketchbooks and Sketches, circa 1910s-1930s (Boxes 2-3; 8 folders)
Series 5: Diaries, 1922-1956 (Box 2; 6 folders)
Series 6: Printed Materials, circa 1858-1966 (Boxes 2-3; 8 folders)
Series 7: Photographs, 1892-1960s (Boxes 2-3; 15 folders)
Series 8: Scrapbook, 1951 (Box 3; 2 folders)
Biographical Note:
Francis Barrett Faulkner was born on July 12, 1881 in Keene, New Hampshire. He attended Phillips Exeter Academy and went on to study at Harvard College. Around this same time, Faulkner began an apprenticeship with his cousin and painter Abbott Handerson Thayer and painter George de Forest Brush. He also met sculptors James Earle Fraser and Augustus Saint-Gaudens, both of whom became Faulkner's lifelong friends.
In 1901, Faulkner traveled to Italy for the first time with Thayer and his family. He returned to New York in 1902 and studied at the Art Students League and Chase School. He also completed illustration work for Century magazine.
In 1907, Faulkner won the Rome Prize Fellowship from the American Academy in Rome. shortly thereafter, he left to study in Italy for three years, studying with George de Forest Brush and befriending sculptor Paul Manship. Upon his return in 1910, he started working on his first mural, commissioned by the wife of railroad executive E.H. Harriman. Having found his niche, Faulkner continued taking mural commissions until his career was interrupted by World War I and his service in the camouflage section of the army. Shortly after the war, he completed a mural for the marine headquarters in Quantico, Virginia.
Between 1923-1924, Faulkner worked in collaboration with Eric Gugler and Paul Manship to create the American Academy in Rome war memorial. Also following the war, Faulkner completed murals for the Eastman School of Music in 1922, the Rockefeller Center in 1932, and the National Archives in 1936. That same year, Faulkner bought and refurbished a house named "The Bounty" in Keene, New Hampshire, and built a studio nearby. In 1930, he was elected as a trustee of the American Academy in Rome.
During the 1940s, Faulkner created murals for numerous public buildings and sites around New Hampshire including the Senate Chambers in Concord, the Elliot Community Hospital, Keene National Bank, and the Cheshire County Savings Bank in Keene. During his final decades, Faulkner wrote an unpublished manuscript on the history of art in the Connecticut River Valley entitled A Neighborhood of Artists, and his posthumously published memoirs, Sketches of an Artist's Life. Faulkner died in 1966, in Keene, New Hampshire.
Related Material:
Found in the Nancy Douglas Bowditch papers at the Archives of American Art is correspondence, photographs, and printed materials related to Barry Faulkner. The Library of Congress, Manuscript Division also holds a small collection of Barry Faulkner's papers. Additional correspondence from Faulkner is found in the papers of Witter Bynner at the University of New Mexico and at Harvard University.
Provenance:
The collection was donated by Francis Faulkner, Barry Faulkner's nephew, in 1974. An addition to the collection was donated by Jocelyn Faulkner Bolle in 2014.
Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website.
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.
The papers of painter and muralist Daniel Putnam Brinley and his wife, linguist and writer Kathrine Sanger Brinley, date from 1879 to 1984 and measure 14.3 linear feet. The Brinleys' careers and lives are documented in biographical materials, as well as extensive correspondence with one another, family, friends, art galleries, organizations, publishers, and others. Also found within the papers are writings by both, including 16 diaries (1 by Daniel Putnam Brinley and the rest by Kathrine), essays, manuscripts, typescripts, notes and notebooks, poetry, and various other writings. There are mural commission files, files for organizations of which the Brinleys were members, financial and legal records, exhibition catalogs, news clippings, and other printed material. Also found are photographs of the Brinleys, family, friends, travels, and artwork, and six sketchbooks and original artwork by Daniel Putnam Brinley.
Scope and Content Note:
The papers of painter and muralist Daniel Putnam Brinley and his wife, linguist and writer Kathrine Sanger Brinley, date from 1879 to 1984 and measure 14.3 linear feet. The Brinleys' careers and lives are documented in biographical materials, as well as extensive correspondence with one another, family, friends, art galleries, organizations, publishers, and others. Also found within the papers are writings by both, including 16 diaries (1 by Daniel Putnam Brinley and the rest by Kathrine), essays, manuscripts, typescripts, notes and notebooks, poetry, and various other writings. There are mural commission files, files for organizations of which the Brinleys were members, financial and legal records, exhibition catalogs, news clippings, and other printed material. Also found are photographs of the Brinleys, family, friends, travels, and artwork, and six sketchbooks and original artwork by Daniel Putnam Brinley.
Biographical material consists of biographical sketches and professional summaries for both Daniel Putnam Brinley and Kathrine Sanger Brinley, passports, personal mementos, award certificates, two radio interview transcripts, and military records documenting Daniel Putnam Brinley's service in the American Expeditionary Forces and the Camouflage Corps.
The papers contain extensive correspondence (4.6 linear feet) divided into family correspondence and general correspondence. Family correspondence includes letters between Daniel Putnam Brinley and Kathrine Sanger Brinley and with their parents and siblings. General correspondence primarily includes the Brinley's personal correspondence with friends and extended family. These letters discuss travel, mutual acquaintances, social events, and general news. Also found is professional correspondence regarding the exhibition and commission of artwork by Daniel Putnam Brinley and the publication of writings by Kathrine Sanger Brinley. Also discussed in the letters are the Brinleys' participation in art, social, and religious organizations. Correspondence of note is with Edwin Blashfield, Edward Bruce, William A. Coffin, Charles H. Davis, John Erskine, Anthony Euwer, Esperanza Gabay, Robert Henri, Hildreth Meiere, Ernest Peixotto, and Hugh Troy.
Writings and notes are by Daniel Putnam Brinley and Kathrine Sanger Brinley. Included among their writings are one diary by Daniel Putnam Brinley, 15 diaries by Kathrine Sanger Brinley, essays, notebooks and notes, manuscripts, and typescripts. Subjects of their writings include essays about religion, poetry, and autobiographical and travel essays. Also found among Daniel Putnam Brinley's writing are lecture notes, fictional stories and plays, essays about art, and historical research for his mural projects.
Mural commission files include correspondence, lists, contracts, financial agreements, notes, plans, sketches, and photographs for specific murals. There is extensive documentation on murals Brinley completed for the Metropolitan Life Insurance Company in New York and the Liberty War Memorial in Kansas City Missouri. Organization files document the Brinleys' participation in art and social organizations.
Scattered financial and legal records include receipts, account books, leases, estate and power of attorney documents, and records regarding their house and property in New Canaan, Connecticut. Printed material consists of published items documenting the careers, social activities and personal interest of the Brinleys, and includes books, exhibition catalogs and announcements, news clippings, newsletters, and items from their travels abroad.
Photographs depict Daniel Putnam Brinley and Kathrine Sanger Brinley, individually and with family and friends, and include photographs of Daniel Putnam Brinley working on mural commissions. Also found are photographs of their travels, their homes, Daniel Putnam Brinley's artwork, and reference photographs for his murals. Artwork in this collection includes six of Daniel Putnam Brinley's sketchbooks, primarily from his travels in Europe and Canada, loose drawings and mural studies, drawings by Albert Sterner and Reinhold Palenske, and a lithograph by John Steuart Curry.
Arrangement:
The collection is arranged into 9 series:
Missing Title
Series 1: Biographical Material, 1879-1970s (Box 1, OV 16; 0.8 linear feet)
Series 2: Correspondence, 1879-1984 (Box 1-6; 4.6 linear feet)
Series 3: Writings and Notes, circa 1895-1964 (Box 6-9; 3.3 linear feet)
Series 4: Commission Files, 1920-1979 (Box 9-10; 0.8 linear feet)
Series 5: Organization Files, 1909-1964 (Box 10-11; 0.9 linear feet)
Series 6: Financial and Legal Records, 1896-1965 (Box 11; 0.4 linear feet)
Series 7: Printed Material, 1895-1979 (Box 11-13, OV 16-17; 1.8 linear feet)
Series 8: Photographs, 1881-1971 (Box 13-14, OV 22; 0.8 linear feet)
Series 9: Artwork, 1891-1950s (Box 14-15, OVs 18-21; 0.9 linear feet)
Biographical Note:
Daniel Putnam Brinley (1879-1963) was a muralist and painter in New York City and New Canaan, Connecticut. Brinley was born in Newport, Rhode Island, and studied from 1900 to 1902 at the Art Student's League under Kenyon Cox and John Henry Twachtman. Influenced by Twachtman, he became an impressionist landscape painter for a time. In 1904, he married his childhood friend, writer Kathrine Gordon Sanger (1877-1966). For the next four years they traveled throughout Europe and lived in Paris, where Brinley studied art independently and became a member of the modernist circle of painters.
In 1908 the Brinleys returned to the United States and Daniel established a studio in New York City. During this period his work was heavily influenced by the modernist movement, with flattened forms and a deeper hued palette. Brinley had his first one-man show at Madison Avenue Galleries in 1910, exhibited at Alfred Stieglitz's gallery at 291, and helped organized the 1913 Armory Show. He was also a founding member of the Association of American Painters and Sculptors and the Grand Central Art Galleries. In 1914 the Brinleys built a home, Datchet House, in New Canaan, Connecticut, and spent part of each year there for the remainder of their lives.
In 1917 Daniel Putnam Brinley trained with the American Expeditionary Forces and went to France as the Director of Decoration for the Foyers Du Soldat (YMCA), remaining there until 1919. After returning to the United States he became a mural painter and received numerous commissions for memorials, office buildings, churches, and public spaces over the next forty years. Perhaps most notable of these commissions was the Liberty War Memorial in Kansas City, Missouri, for which Brinley painted 24 decorative maps showing the history of World War I. He remained active in the art community as a member of the Architectural League of New York, the National Academy of Design, and the Silvermine Guild of Artists, among others.
Kathrine Sanger Brinley was a writer and linguist who worked in Europe, New York City, and Connecticut. She lived in Europe from 1904 to 1908 where she studied the arts and crafts of the middle ages and became an expert on English writing and language of the 14th century. She published articles and books on these subjects and during the 1920s had a successful career touring as a dramatic recitalist of the works of Geoffrey Chaucer. From 1934 to 1938 the Brinley's spent their summers traveling throughout Canada, and Kathrine published four travel books which were illustrated by Daniel Putnam Brinley. Kathrine Sanger Brinley published and wrote professionally under the name Gordon Brinley.
Related Material:
Also found in the Archives of American Art is the Elizabeth Loder research material on Daniel Putnam Brinley, 1919-1990.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1427, including select family photographs. Loaned material was returned to the lender is not described in the collection container inventory.
Provenance:
The Daniel Putnam Brinley and Kathrine Sanger Brinley papers were lent for microfilming by their niece, Elizabeth Loder, in 1978-1979. Loder subsequently donated all but select family photographs in 1991 and additional material in 1992.
Restrictions:
Use of original papers 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.
The photographs of painter Edwin Burrage Child measure 2.2 linear feet and date from 1902-1936. Included in this collection are original photographic prints and copy prints; 101 negatives; 59 glass plate negatives; and one folder of miscellaneous papers including a sketch by Edwin Burrage Child. Photographs depict artwork, interiors, furniture, and people.
Scope and Contents:
The photographs of Edwin Burrage Child measure 2.2 linear feet and date from 1902-1936. Included in this collection are original photographic prints and copy prints; 101 negatives; 59 glass plate negatives; and one folder of miscellaneous papers including a sketch by Edwin Burrage Child. Photographs depict artwork, interiors, furniture, and people.
Photographs of people and other subjects depict several portrait images of Edwin Burrage Child, as well as many photographs and negatives of unidentified groups and events, children, men building a log cabin structure at Child's Dorset, Vermont home, and several models for painting.
Photographs of landscapes, buildings, and animals include a series of landscape photographs of Central Park, complete with the city in the background; many images of the Dorset, Vermont landscape with Child's house and barn structures depicted; landscapes with rainclouds and lightning, also in Dorset, Vermont; and images of horses attached to carriages and wagons, and cows and sheep, as well as several images of a dead horse on the streets of a small town.
Photographs of interiors, furniture, and lighting are made up primarily of copy prints and negatives, and include images of pieces of furniture, light fixtures and sconces, as well as entire interior rooms of what is probably Child's Dorset home. Additionally, photographs of Child's studio with paintings hung on walls are also found here.
Photographs of artwork make up the bulk of the collection, with original prints, copy prints, negatives, and glass plate negatives of primarily portrait paintings by Edwin Burrage Child. Many of the original photographic prints have been annotated on the backs with descriptive information about the portrait model, where they are from, and their occupation. Some annotations contain anecdotal information about Child's interactions or experiences with the sitters, and have been written by Child's youngest son, Sargent Burrage Child. While some of the descriptive information has been identified as written by both Edwin Burrage Child and Sargent Burrage Child, some writing could not be identified. A set of glass plate negatives without prints also depicts several of Child's landscape paintings. Additionally, a dismantled photograph album contains original prints of Child's portraits of men, women, and children, as well as containing the most descriptive information of all the prints in the collection.
Miscellaneous papers contains a sketch with note by Edwin Burrage Child; a handwritten letter in pencil, on Child's stationery, by Child; a typed exhibition inventory of portraits in the Washington, D. C. exhibit, "Portraits by Edwin Burrage Child," in 1930; and a copy of the 5 x 7 glass plate negatives box that previously stored glass plate negatives.
Arrangement:
The collection is arranged as 6 series. Glass plate negatives are housed in Series 6 and are closed to researchers.
Missing Title
Series 1: Photographs of People and Other Subjects, circa 1908-circa 1936 (15 folders; Box 1)
Series 2: Photographs of Landscapes, Buildings, and Animals, 1903-circa 1936 (24 folderst; Box 1)
Series 3: Photographs of Interiors, Furniture, and Lighting, circa 1902-circa 1936 (0.1 linear feet; Box 1)
Series 4: Photographs of Artwork, 1902-1936 (28 folders; Boxes 2-3, 6)
Series 5: Miscellaneous Papers, circa 1930 (1 folder; Box 3)
Series 6: Glass Plate Negatives, 1910-circa 1930 (0.9 linear feet; Boxes 4-5)
Biographical / Historical:
Edwin Burrage Child (1868-1937) was a landscape and portrait painter who lived and worked in New York City and Dorset, Vermont, and was most known for his male portraiture.
Child was born in Gouverneur, New York in 1868 to Jonathan Bush Child and Sarah Burnham. In the 1880s, Child attended Amherst College and received art lessons during the summers from artist Margaret C. Whiting (1860-1946). In 1890, he graduated from Amherst College and moved to New York City to pursue a career as an artist, becoming a student in 1891 at the Art Students League. Child's artistic debut was in 1892 at the National Academy of Design annual exhibition. From 1891 to 1895, he studied under painter, muralist, and stained-glass designer John LaFarge (1835-1910), and worked as his assistant from 1896-1901. Edwin Burrage Child then spent many years working as an illustrator and writer for leading periodicals such as Scribner's, Harper's, McClure's, and others.
As a landscape painter, Child was awarded a medal at the Louisiana Purchase Exhibition in St. Louis in 1904, and the majority of his landscapes were modeled from his summer home in Dorset, Vermont. In 1908, his focused moved to easel painting -- primarily landscapes and portraits. Child was most known for his portraits of intellectual males, with sitters including Senator Dwight M. Morrow, Governor Wilbur L. Cross of Connecticut, Professor John Dewey, and painter Ivan G. Olinsky, among many others. His work appeared in shows at the National Academy of Design and the Society of Independent Artists in New York, as well as the Pennsylvania Academy of Fine Arts, the Art Institute of Chicago, and the Corcoran Gallery of Art in Washington, D. C. He also had many one-man shows over the years, primarily in New York City. In 1930, the National Gallery of Art in Washington, D. C. held an exhibition of his portraits.
Child was married to Anna Gertrude Sykes in 1894, and they had three children: Katherine E. (1895-1966), Bradford (1896-1948), and Sargent Burrage (1900-1972). Child also made furniture as a hobby and remodeled his home in Dorset Hollow, as well as Gray's Tavern, which later became the Dorset Village Public Library. Additionally, he was a frequent lecturer, speaking at colleges and universities, including Yale, Michigan State College, Columbia, City College of New York, and Massachusetts State College at Amherst. Child spent the last ten years of his life living in Dorset, Vermont, and died in 1937.
Provenance:
The Edwin Burrage Child photographs were transferred to the Archives of American Art on June 6, 1979, from the National Collection of Fine Arts (NCFA) Library.
Restrictions:
Use of original papers requires an appointment. Glass plates are housed separately and not available to researchers. Contact Reference 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 the Smithsonian's Terms of Use for additional information.
Edwin Burrage Child photographs, 1902-1936. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Collections Care and Preservation Fund. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Emmy Lou Packard papers measure 9.5 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material. Also found is a motion picture film documenting a mural/mosaic project that Packard did with the children at Hillcrest Elementary School in San Francisco, 1956.
Scope and Contents note:
The Emmy Lou Packard papers measure 9.5 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.
Biographical materials include resumes, personal forms, and certificates. Correspondence is with family, friends, and colleagues, including muralist Anton Refregier, songwriter Malvina Reynolds, and composer John Edmunds. There is one letter from Dorothea Lange. Also found is correspondence with various political and arts organizations, such as the American Civil Liberties Union and the Russian magazine Soviet Woman. Much of the correspondence discusses personal relationships and political and art-related activities. Additional correspondence with and concerning Diego Rivera and Frida Kahlo is arranged in Series 6.
Personal business records found within the papers include studio real estate and rent records, insurance records, price lists for artwork, consignment records, and miscellaneous receipts. There is one interview transcript of an interview with Packard for the Radical Elders Oral History Project. The papers include a series of notebooks/diaries, address lists, and other notes.
Packard's reference files and personal papers documenting her professional and close personal relationship with Diego Rivera and Frida Kahlo are arranged into a separate series. They include her research files for a planned book on the two artists, personal letters between Packard and the couple, as well as several interesting photographs. Also found in this series are notes, writings, and printed materials relating to Diego Rivera, Frida Kahlo, and other Mexican artists, such as Covarrubius, Juan O'Gorman, and Pablo O'Higgins.
The collection also includes typescripts and additional writings by Packard and others. Artwork consists of orginal drawings and prints by Packard and others not directly associated with projects. Exhibition and project files for many of Packard's commissioned projects are also found within the collection, including her files for the restoration of Anton Refregier's Rincon Annex Post Office mural in San Francisco and the Coit Tower murals in San Francisco. Many of the project files contain correspondence, reports, contracts, printed material, photographs, and artwork. Also found is a motion picture film documenting a mural/mosaic project that Packard did with the children at Hillcrest Elementary School in San Francisco, 1956.
The papers also include photographs of Packard, her family, residences, artwork, friends, and colleagues, including Cesar Chavez, Juan O'Gorman, Malvina Reynolds, Charles Safford, Ralph Stackpole, and Tennessee Williams. Two scrapbooks are found, as well as additional printed materials such as clippings and exhibition announcements and catalogs. There are also two artifact items, a vinyl record of Malvina Reynolds and a political campaign button.
Arrangement note:
The collection is arranged into 15 series.
Series 1: Biographical Material, 1942-1985 (Box 1; 1 folder)
Series 2: Correspondence, 1919-1990 (Box 1-3; 2.6 linear feet)
Series 3: Personal Business Records, 1945-1985 (Box 3; 21 folders)
Series 4: Interview Transcript, 1979 (Box 3; 1 folder)
Series 5: Notes, 1900-1985 (Box 3-4, 10; 1.1 linear feet)
Series 6: Reference Files on Diego Rivera and Frida Kahlo, 1929-1986 (Box 5, 10, OV 11; 0.9 linear feet)
Series 7: Writings by Packard, 1953-1984 (Box 6; 17 folders)
Series 8: Writings by Others, 1955-1984 (Box 6; 19 folders)
Series 9: Artwork, 1921-1976 (Box 6; 10 folders)
Series 10: Exhibition Files, 1950-1964 (Box 6, OV 11; 5 folders)
Series 11: Project Files, 1953-1985 (Box 6-7, 10, OV 11; 1.8 linear feet)
Series 12: Photographs, 1914-1982 (Box 8, 10; 0.8 linear feet)
Series 13: Scrapbooks, 1947-1950 (Box 8, 10; 0.2 linear feet)
Series 14: Printed Material, 1936-1988 (Box 8-9, 10; 1.0 linear foot)
Series 15: Artifacts, 1984 (Box 9-10, OV 11; 2 folders)
Biographical/Historical note:
Emmy Lou Packard was born in Imperial Valley, California on April 15, 1914, to Walter and Emma Leonard Packard. In the late 1920s she lived with her family in Mexico City where she became acquainted with Diego Rivera, from whom she received regular art criticism and encouragement. She graduated from the University of California, Berkeley and completed courses in fresco and sculpture at the California School of Fine Arts in 1940. That year and the next, Packard worked as a full-time painting assistant to Rivera on his 1,650 square-foot fresco at the World's Fair in San Francisco. During this project, Packard became very close to Rivera and Frida Kahlo and returned to Mexico with them and spent a year living with the couple.
From then on, except for in 1944-1945 working for a defense plant, Packard worked and grew in various aspects of her art. In addition to her work in fresco, Packard is known for her work in watercolor, oil, mosaic, laminated plastic, concrete, and printmaking, both in linocuts and woodblocks. She received numerous commissions that included installations for ships, hotels, and private homes for which she executed large woodcuts and mural panels. During the 1950s and 1960s, Packard was hired to restore several historic murals, most notably the Rincon Annex Post Office mural by Anton Refregier and the Coit Tower murals in San Francisco.
Between 1966 and 1967 she was commissioned by architects to design and execute a number of concrete and mosaic pieces, one of which went to the Mirabeau Restaurant in Kaiser Center, Oakland. She also designed and executed a mural for the Fresno Convention Center Theater during that same period. In 1973-1974, she designed and supervised a glazed brick mural for a public library in Pinole, California.
Packard had one-woman shows at the San Francisco Museum of Art, Raymond and Raymond Gallery (San Francisco), Addison Gallery of American Art (Andover, Mass.), Connecticut Academy of Fine Arts, Pushkin Museum (Moscow), and March Gallery (Chicago). Emmy Lou Packard died in 1998.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Emmy Lou Packard conducted by Mary Fuller McChesney in 1964.
Provenance:
Emmy Lou Packard donated her papers to the Archives of American Art from 1984-1988. An additional 16mm reel of motion picture film donated in 2023 by Donald Cairns, Packard's son.
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 audiovisual recordings in this collection must use access copies. 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 the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco Search this
Sculptors -- California -- San Francisco Search this
Muralists -- California -- San Francisco Search this
Topic:
Printmakers -- California -- San Francisco Search this
Mural painting and decoration, American Search this
Mural painting and decoration, Mexican Search this
The Ezra Winter papers measure 2.4 linear feet and date from 1918-1948 and document the life and work of Ezra Winter through correspondence, writings, project and commission files, personal business records, printed materials, photographic materials, and artwork.
Scope and Contents:
The Ezra Winter papers measure 2.4 linear feet and date from 1918-1948. Correspondence consists of personal letters to Winter from friends and family, as well as letters between George Putnam and Winter regarding the property at Rye and various projects, as well as correspondence written by Winter to multiple individuals. Project and Commission Files includes materials relating to each of Winter's mural projects and commissions, as well as various committees Winter was a part of and competitions. Materials include correspondence, supply receipts, plans, sketches, and contracts. Personal Business Records consists of materials relating to the Winter chicken farm business in Falls Village, Connecticut and correspondence, bills, and other documents relating to Winter's studio in Connecticut. Printed Materials includes newspaper clippings referencing Winter's sculptures and murals, and booklets and pamphlets relating to the locations of Winter's murals and sculptures. Photographic materials present depict Winter's murals and artwork. Artwork consists of prints of murals by Winter, and prints of sketched Christmas cards sent by Winter to family and friends.
Arrangement:
This collection is arranged in 7 series:
Series 1: Correspondence, circa 1925-1945 (0.1 Linear feet: Box 1)
Series 2: Writings, circa 1918-1933 (0.1 Linear feet: Box 1)
Series 3: Project and Commission Files, circa 1920-1948 (0.9 Linear feet: Box 1-2)
Series 4: Personal Business Records, circa 1920-1939 (0.3 Linear feet: Box 2)
Series 5: Printed Materials, circa 1922-1941 (0.3 Linear feet: Box 2, OV 3)
Series 6: Photographic Materials, circa 1929-1932 (0.4 Linear feet: Box 2, OV 4)
Series 7: Artwork, circa 1929-1932 (0.3 Linear feet: Box 2, OV 5, OV 6)
Biographical / Historical:
Ezra Winter (1886-1949) was a prominent muralist, illustrator, and painter based in Falls Village, Connecticut. Winter was born in Traverse City, Michigan and would pursue training in art; in 1908 he trained at the Chicago Academy of Fine Arts and at the American Academy of Rome in 1914. Throughout his training Winter gravitated towards murals. His best-known works include The Canterbury Tales at the Library of Congress and Fountain of Youth located in the foyer of Radio City Music Hall. Winter was associated with the National Society of Mural Painters, the Architectural League of New York, the US Commission of Fine Arts, and was a member of the National Institute of Arts and Letters. Throughout his career Winter also completed works for the US Supreme Court Building, the US Chamber of Commerce, the University of Rochester and Eastman School of Music, and a six-story work for the Guardian Building in Detroit. During World War 1, Winter was a designer for the US Shipping Board. Later in his career Winter taught at the Grand Central School of Art and maintained a studio in Falls Village, Connecticut. While painting a mural Winter fell which resulted in a broken and compacted tailbone. Due to his injuries Winter was unable to continue painting. In 1949 he ended his own life near his Connecticut studio at the age of 63.
Separated Materials:
The Archives of American Art also holds microfilm of material donated for microfilming (reels 971-972) including: Correspondence, clippings, receipts, contracts, sketches and descriptions related to mural commissions for the Birmingham Public Library, George Rogers Clark Memorial, University of Rochester and the Eastman School of Music, Library of Congress, U.S. Supreme Court Building, and the Chase National Bank International Building; biographical material; and material relating to the Commissions of Fine Arts, Washington, D.C. and the Commissions of Sculpture, State of Connecticut.
Provenance:
Papers were donated in 1969 by the Cooper Hewitt Museum and in 1973 by son in law Albert W. Moss. The bulk of the microfilmed materials were donated in 1973 by Albert W. Moss. Unmicrofilmed materials were donated by the Cooper Hewitt Museum in 1969.
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:
Muralists -- Connecticut -- Falls Village Search this
Mural painting and decoration -- 20th century -- United States Search this
Genre/Form:
Drawings
Citation:
Ezra Winter papers, circa 1918-1948. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
