The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.
Scope and Contents:
The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.
Biographical material and family papers consist of awards and certificates, calendars, marriage, divorce, and estate papers, and military service records. Also included are family papers and a scrapbook belonging to Jenkins's aunt, Louise Jenkins.
Correspondence, which makes up the bulk of the collection, is with family, friends, and fellow artists, including Alice Baber, Norman Bluhm, Willem de Kooning, and Lee Krasner Pollock, as well as art organizations, schools, museums, galleries, and gallery owners, such as the Art Students League of New York, New York University, Museum of Modern Art, Martha Jackson Gallery, Zoe Dusanne, and Peggy Guggenheim.
Writings includes scattered writings by Paul Jenkins, two of his travel diaries, and the guest book for an exhibition in Tokyo. Also found are a copy of Lili Krahmer Verame's China travel diary and the writings and research materials of others.
Personal business records consist of financial records, lease documents, price lists, travel documents, and papers regarding Jenkins's rental property. Also included are a file on the New York University medal designed by Jenkins and a file concerning a Karl Prantl statue.
Printed material consists of event programs, newsletters, bulletins, member reports, press releases, art exhibition announcements and catalogs, concert and theater announcements and programs, news and magazine clippings, and obituaries and memorial announcements.
Artwork contains miscellaneous sketches and collages by Paul Jenkins. Additional artworks include sketches, watercolors, and prints by other artists, as well as 8 oversize mixed media sketches by Frank Prince of Jenkins's Meditation Mandala Sundial sculptures.
Photographs of Paul Jenkins depict him in his studio, with family and friends, and at events. Photographs of family and friends include Esther Ebenhoe Jenkins, Alice Baber Jenkins, Norman Bluhm, Thomas Erma, Françoise Gilot, Matsumi "Mike," Carole, and Bunshi Paul Kanemitsu, and Frank Prince.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material, circa 1915-1997 (Box 1; 9 folders)
Series 2: Correspondence, circa 1930-2010 (Box 1-9, 13; 9 linear feet)
Series 3: Writings, circa 1950-2003 (Box 9-10; 0.5 linear feet)
Series 4: Personal Business Records, circa 1944-1990 (Box 10; 0.3 linear feet)
Series 5: Printed Material, circa 1952-2010 (Box 10-11; 0.6 linear feet)
Aeries 6: Artwork, circa 1935-2007 (Box 11-12, OV 14; 0.2 linear feet)
Series 7: Photography, circa 1940-1998 (Box 12; 0.4 linear feet)
Biographical / Historical:
Paul Jenkins (1923-2012) was an abstract expressionist painter and playwright in New York, New York, and Paris, France. Jenkins was born in Kansas City, Missouri in 1923, and moved to Youngstown, Ohio as a teenager. After serving in the U.S. Maritime Service and the U.S. Naval Air Corps, Jenkins studied playwriting with George McCalmon at the Carnegie Institute of Technology (now Carnegie Mellon University). In 1948, he moved to New York City, where he studied with Yasuo Kuniyoshi at the Art Students League of New York.
Over the course of his career, Jenkins experimented with multiple techniques, including oil on primed canvas, flowing paints, acrylics, watercolor, and mixed media collages. After traveling extensively and meeting many artists, Jenkins ultimately became associated with the Abstract Expressionists. His work gained the attention of other members of the art world and he held solo exhibitions at venues such as the Zoe Dusanne Gallery in Seattle and the Martha Jackson Gallery in New York. Jenkins' paintings were purchased by both museums and private collectors, including the Museum of Modern Art, the Whitney Museum of American Art, and Peggy Guggenheim.
In addition to his painting, Jenkins continued to explore other creative endeavors. He experimented with sculpture, producing works for events and permanent displays, including the Sculptors' Symposium at the Cooper-Hewitt Museum and the Sculpture Garden of the Hofstra Museum. His plays, such as Strike the Puma, were published and performed off Broadway in New York City. Jenkins's art served as the backdrop for multiple stage productions, and in 1978, his paintings were featured in the Academy Award nominated movie An Unmarried Woman. Jenkins also collaborated on a number of book projects, including Anatomy of a Cloud, a collection of autobiographical collages and texts.
Throughout his adult life, Jenkins split most of his time between New York and Paris. He continued to create and exhibit new works until his death in New York in 2012.
Related Materials:
Also found at the Archives of American Art are an interview of Paul Jenkins, August 1969, conducted by Albert Elsen, and an oral history interview, 1968, conducted by Colette Roberts.
Provenance:
The papers were donated 2007-2009 and in 2012 by Paul and Suzanne Jenkins.
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.
The donor has retained all intellectual property rights, including copyright, that they may own.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
The donor has retained all intellectual property rights, including copyright, that they may own.
Collection Citation:
Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.
Friedman, B. H. (Bernard Harper), 1926-2011 Search this
Container:
Box 11, Folder 47
Type:
Archival materials
Date:
1977-1979
Collection Restrictions:
The collection is ACCESS RESTRICTED; written permission is required. Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Bernard Harper Friedman papers, 1926-2011, bulk 1943-2010. Archives of American Art, Smithsonian Institution.
This collection consists of a series of 68 "Field Reports" completed by Frank T. Coffyn logging flight activities of Wright (Brothers) aircraft, for the period from May 5, 1910, through February 24, 1911
Scope and Contents:
This collection consists of a series of 68 "Field Reports" completed by Frank T. Coffyn logging flight activities of Wright (Brothers) aircraft, for the period from May 5, 1910, through February 24, 1911. (One report is for March 26, 1917, and appears to list Coffyn's flights for that day.) The reports were completed on preprinted forms with columns for "Machine Number, Operator [pilot]," "Passenger," "Time of Flight," "Wind Direction," "Wind Velocity," "Length of Flight (Time and Distance)," and "Remarks." Spaces were also provided for Date, Gasoline Used, and Oil Used, and a signature. Fifty-six of the reports are signed by Frank Coffyn; the remaining sixteen appear to be in Coffyn's handwriting. Most are carbon copies. The reports cover flights made at Huffman Prairie, Ohio; Indianapolis, Indiana; Montreal, Canada; Atlantic City and Asbury Park, New Jersey; Hartford, Connecticut; and Augusta, Georgia. Besides Orville and Wilbur Wright, most of the pilots and passengers listed were students who became members of the Wright Exhibition Team. Pilots and passengers include: Griffith Brewer, Walter Brookins, William Starling Burgess, Frank Coffyn, Arch Hoxsey, Ralph Johnstone, Duval LaChapelle, Albert B. Lambert (President St. Louis Aero Club), Phillip O. Parmalee, Norman Prince, Frank H. Russell (first manager of the Wright Co.), Charlie Taylor, and Arthur L. "Al" Welsh [spelled by Coffyn throughout as "Welch"], and Lorin Wright. Most notable is the report of May 25, 1910, which lists the only flight Orville and Wilbur Wright made together, and the first and only flight taken by their father, Bishop Milton Wright. Remarks include notes on modifications and damage to the aircraft, reasons for takeoff failures, and (in some cases) altitude attained in flight. Additional notes on the earlier reports record total flight hours to date for several of the pilots.
Arrangement:
This collection is arranged at the item level; pages from log are displayed chronologically.
Biographical / Historical:
Wilbur Wright was born April 16, 1867, his brother Orville Wright on August 19, 1871. They, along with sister Katharine and brothers Reuchlin and Lorin, were raised near Millville, Indiana and in Dayton, Ohio by their mother, Susan Wright, and father, Milton Wright, bishop of the United Brethren Church. As young men, Wilbur and Orville launched a printing business and a bicycle shop. An interest in aeronautics, spurred by the accounts of the experiments of Otto Lilienthal, prompted Wilbur to request information on the subject from the Smithsonian Institution in 1899. In August of 1900, Wilbur built his first glider and that year and the next the brothers tested gliders at Kitty Hawk. The Wrights constructed a wind tunnel to gather accurate aeronautical data and, benefiting from this new information, another glider was built in 1902. In 1903, the brothers were ready to began construction of a powered craft. With the assistance of mechanic Charles Taylor, they added a 4-cylinder, 12-horsepower engine and propellers to the 1903 Flyer and it was sent to Kitty Hawk for testing. At 10:35 am, December 17, on Kill Devil Hill, Orville achieved a flight of 12 seconds--traveling a distance of 120 feet. By 1908 the Wrights were demonstrating their machines in Europe. The U.S. Army Signal Corps advertised for bids for a two-seat observation aircraft and in 1908 and 1909, the Wrights flew at official Army trials at Fort Myer, Virginia. (It was here that powered flight's first fatality occurred: the tragic death of Lieutenant Thomas Selfridge.) The Army was to purchase the Military Flyer (Signal Corps No. 1) for {dollar}30,000 in 1909. In that same year, The Wright Company was established to manufacture Wright aircraft. Wilbur died in Dayton, Ohio on May 30,1912. Orville Wright would live until January 30, 1948
Provenance:
Unknown, Unknown, Unknown, NASM.XXXX.0641
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
