Contains a collection of LPs recorded by Cheatham and others. Includes a "test" recording of Cheatham's 1973 self-titled album.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Doc Cheatham Papers, 1939-1998, Archives Center, National Museum of American History
The papers of art historian, arts administrator, consultant, and author Richard McLanathan, measure 29.8 linear feet and date from 1901 to 1995, with the bulk of the records dating from the 1940s to 1990s. The collection documents McLanathan's career through correspondence, education records, writings, and lecture files; papers related to his career at the Museum of Fine Arts, Boston, and his directorship at the Munson-Williams-Proctor Arts Institute; and project files from his consulting work in arts, education, historic preservation, administrative reorganization, funding, and publicity. The collection is primarily composed of correspondence, writings, reports, printed matter, as well as some photographs and audiovisual material.
Scope and Contents:
The papers of art historian, arts administrator, consultant, and author Richard McLanathan, measure 29.8 linear feet and date from 1901 to 1995, with the bulk of the records dating from the 1940s to 1990s. The collection documents McLanathan's career through correspondence with artists, museum professionals, and collectors; records from his education at Harvard, including papers related to the American architect Charles Bulfinch; papers pertaining to various lectures, essay, and book projects; material documenting his career at the Museum of Fine Arts, Boston, and his directorship at the Munson-Williams-Proctor Arts Institute; and project files from his consulting work in arts, education, historic preservation, and administrative reorganization, funding, and publicity. Also included is a significant amount of material related to McLanathan's post as art curator at the American National Exhibition, Moscow, USSR, in 1959; and his work as writer, researcher, and editor at the National Gallery of art form the late-1960s to late-1970s.
Arrangement:
This collection is arranged as 9 series
Series 1: Biographical Material, 1942-1994 (1.0 linear feet; Boxes 1, 30-31, FC 32)
Series 2: Correspondence, 1901-1995, bulk 1940s-1990s (0.4 linear feet; Box 1)
Series 3: Writings, 1934-1995 (9.6 linear feet; Boxes 1-10, 31)
Series 4: Association and Membership Records, 1950-1987 (3.5 linear feet; Boxes 11-14, FC 33)
Series 5: Museum of Fine Arts, Boston, circa 1946-1976 (2.0 linear feet; Box 14-16)
Series 6: Munson-Williams-Proctor Arts Institute, 1958-1963 (1.0 linear feet; Box 16-17)
Series 7: Consulting Projects, 1950s-1991 (10.8 linear feet; Box 17-28, 31)
Series 8: Printed Material, 1930s-1990s (1.0 linear feet; Box 28-29)
Series 9: Photographs, circa 1940s-1990s (0.5 linear feet; Box 29)
Biographical / Historical:
Richard McLanathan (1916-1998) was an art historian, curator, museum administrator, consultant, and author in New York and Boston. McLanathan began his career at the Museum of Fine Arts, Boston, followed by the Munson-Williams-Proctor Arts Institute, Utica, New York before moving on to consulting work for the remainder of his career. He published numerous books and articles, was a key member of several professional and cultural organizations, and consulted on multiple projects for corporations, municipalities, museums, and educational institutions.
McLanathan graduated from high school from The Choate School in 1934, followed by his bachelor's degree and doctorate from Harvard University. While writing his dissertation on the early-American architect Charles Bulfinch, McLanathan was hired as assistant curator of paintings at the Museum of Fine Arts, Boston (MFA). Other titles he held there include Secretary of the Museum (1949-1956), Editor of Museum Publications (1952-1957), and Curator of Sculpture and Decorative Arts (1954-1957). Additionally, McLanathan was a member of the art and executive committees for the Boys' Club of Boston (circa 1950-1956).
McLanathan moved to Utica, New York, in 1957, for the position of director at the Munson-Williams-Proctor Arts Institute, Museum of Art (MWP) where he organized exhibitions, was responsible for the institute's community arts program, oversaw the planning and completion of a new museum building designed by Philip Johnson, and worked on the restoration of Fountain Elms, a nearby 1850s Tuscan villa. McLanathan was then assigned as curator of the art exhibition at the American National Exhibition, Moscow, USSR, in 1959. This led to additional roles as an American specialist for the State Department in West Germany (1959), Poland (1959), Denmark (1959), and Yugoslavia (1961). Around this time, McLanathan also served on the Commissioner's Committee for the Arts and Museum Resources under the New York State Council of the Arts (1960-1964).
After resigning from MWP in 1961, McLanathan worked primarily as a freelance writer, lecturer, and consultant. His consulting projects included program planning, future development, curriculum development, administrative reorganization, exhibitions, historic preservation, budgeting and funding, and policy development. His clients included the Atlanta Art Association, IBM, the Metropolitan Museum of Art, Time-Life, State University of New Mexico, and U. S. Plywood. In the late 1960s, McLanathan began working as a project consultant for the National Gallery of Art in Washington, D.C. While there, his projects included Art & Man (1969-1973), A Guide to Civilisation: The Kenneth Clark Films on the Cultural Life of Western Man (1970), East Building, National Gallery: A Profile (1978), and various other writings and films .
As a writer, McLanathan contributed to the Encyclopedia of World Art and Webster's Unabridged Dictionary, and published articles on artists, architecture, art history in general, and museums in the Atlantic Monthly, New York Times, Art News, and Journal of the Society of Architectural Historians. The books he wrote include Images of the Universe: Leonardo da Vinci, The Artist as Scientist (1966), The Pageant of Medieval Art and Life (1966), The American Tradition in the Arts (1968), Art in America, A Brief History (1973), The Art of Marguerite Stix (1977), and World Art in American Museums, A Personal Guide (1983).
Provenance:
This collection was donated in two installments by Richard McLanathan, 1994-1995, and by Jane McLanathan, 2005-2007, via her estate's executor.
Restrictions:
The 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.
Richard McLanathan papers, 1901-1995. 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 papers of Frances Colpitt measure 9.0 linear feet and date from 1932 to 2022. The papers document Colpitt's career as an art historian and educator through artist files, research writing project records, teaching files, other professional activities files, printed materials, sound recordings of interviews and lectures, video recordings, and born-digital materials.
Scope and Contents:
The papers of Frances Colpitt measure 9.0 linear feet and date from 1932 to 2022. The papers document Colpitt's career as an art historian and educator through artist files, research writing project records, teaching files, other professional activities files, printed materials, sound recordings of interviews and lectures, video recordings, and born-digital materials.
Artist files consist of notes, articles and clippings, exhibition announcements and some catalogs, interview transcripts, and some photographs of artwork related to various artists.
Research writing projects records consist of files on various topics related to abstract art and Los Angeles art compiled by Colpitt for essay and book projects. The files primarily contain photocopies of research articles from the 1930s-1990s with some of Colpitt's notes, but do not typically contain drafts of writings.
Teaching files contain course materials for courses taught by Colpitt at the University of Southern California, University of Texas at San Antonio, and Texas Christian University. Records include some lecture notes.
Professional activity files consist of administrative material related to teaching positions, some curatorial projects, and contract writing work.
Printed materials include a copy of Colpitt's dissertation, articles, and exhibition catalogs for exhibitions Colpitt either wrote essays for or helped curate.
Also found are sound recordings of interviews Colpitt conducted with artists and sound recordings of some of Colpitt's lectures.
A series of unidentified born-digital material remains unprocessed.
Arrangement:
The collection is arranged into seven series.
Series 1: Artist Files, 1933-2022 (2.8 linear feet; Boxes 1-3)
Series 2: Research Writing Projects, 1930-2022 (2.8 linear feet; Boxes 3-6)
Series 3: Teaching Files, 1981-2021 (1.8 linear feet; Boxes 6-8)
Series 4: Professional Activity Files, 1977-2020 (0.7 linear feet; Boxes 8-9)
Series 5: Printed Material, 1975-2018 (0.3 linear feet; Boxes 9)
Series 6: Audio Interviews and Lectures, 1980-1983 (0.3 linear feet; Box 9)
Series 7: Unprocessed Born-Digital Material, undated (0.2 linear feet; Box 9)
Biographical / Historical:
Frances Jean Colpitt (1952-2022) was an art historian, art museum curator, and educator in Fort Worth, Texas, who specialized in American art after the 1960s and wrote extensively on abstract art.Â
Colpitt was born in 1952 and completed her undergraduate studies in Fine Arts at the University of Tulsa in 1974. Colpitt then went on to receive a PhD in art history from the University of Southern California in 1982. Colpitt taught at the University of Southern California from 1988 to 1990, the University of Texas San Antonio from 1990 to 2005, and at Texas Christian University from 2005 to 2021. Colpitt died in 2022.
Provenance:
Donated in 2023 by the Estate of Frances Jean Colpitt via Mary Margaret Colpitt, estate executor.
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 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.
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 88.9 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
There is a 35.4 linear foot unprocessed addition to this collection donated in 2015, 2021 and 2023 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley numerous notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence." Materials date from circa 1965-2010.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
A small amount of biographical material comprises resumes and an address book.
Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.
Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.
A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.
Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.
Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.
Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.
There is a 35.4 linear foot unprocessed addition to this collection donated in 2015, 2021 and 2023 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley numerous notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Arrangement:
The collection is arranged as nine series:
Missing Title
Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)
Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)
Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)
Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)
Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)
Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)
Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)
Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)
Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-113; 35.4 linear feet)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.
Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y ComunicacÃon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.
Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.
Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.
Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.
Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.
Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015, 2021 and 2023.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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.
Occupation:
Curators -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
The Elisabeth Zogbaum papers regarding Franz Kline measure 11.5 linear feet and date from 1892 to circa 2005, bulk 1930-1990. Zogbaum was a close companion to the New York-based painter Franz Kline and she managed his estate after his death. These papers include biographical material on Franz Kline, documents related to the Franz Kline estate and Franz Kline Foundation, and other material about the artist compiled by Elisabeth Zogbaum. In addition to the aforementioned material, the collection also includes correspondence, exhibition files, printed material, Zogbaum's research and notes, photographic material, artifacts, sound recordings of interviews, and books from Franz Kline's personal library.
Scope and Contents:
The Elisabeth Zogbaum papers regarding Franz Kline measure 11.5 linear feet and date from 1892 to circa 2005, bulk 1930-1990. Zogbaum was a close companion to the New York-based painter Franz Kline and she managed his estate after his death. These papers include biographical material on Franz Kline, documents related to the Franz Kline estate and Franz Kline Foundation, and other material about the artist compiled by Elisabeth Zogbaum. In addition to the aforementioned material, the collection also includes correspondence, exhibition files, printed material, Zogbaum's research and notes, photographic material, artifacts, sound recordings, and books from Franz Kline's personal library.
Franz Kline biographical material includes Kline's passport, will, address books, biographical outlines, obituaries, health and financial records, high school yearbooks, military training camp material, bills and receipts, loose pages of a high school scrapbook, and other material. There are also drawings and sketches by Franz Kline and a few drawings by others.
Correspondence is divided into two sections: correspondence with Franz Kline and correspondence with Elisabeth Zogbaum. Franz Kline correspondence mostly consists of letters to Franz Kline from friends, colleagues, artists, museums, and galleries. Notable correspondents include Sabro Hasegawa, Hedy Lamarr, John Ferren, Jack Micheline, William Morris, and Shinichi Segui. Elisabeth Ross Zogbaum correspondence consists of condolence letters upon the death of Franz Kline and professional correspondence with museums, galleries, foundations and collectors regarding his art.
The estate of Franz Kline includes financial and legal records on the Franz Kline estate, which Elisabeth Zogbaum managed as the sole executrix. There are art inventories, price lists, condition reports, sales reports, correspondence, contracts, tax records, and documents related to Marlborough Gallery and other galleries.
The Franz Kline Foundation series includes a range of material, such as a survey of public and private collections with Franz Kline artwork, related to the catalogue raisonne which the foundation began work on but did not complete. The series also contains correspondence, administrative records, lists, inventories, and sound recordings.
Elisabeth Zogbaum research and notes includes lists, notes, printed material, correspondence, and sound recordings compiled by Zogbaum regarding Franz Kline. Zogbaum produced an audiovisual presentation consisting of slides of Kline's artwork and an accompanying soundtrack. She recorded dozens of conversations with artists, friends, dealers, and contemporaries of Kline, including James Brooks, Louise Bourgeois, Willem de Kooning, George McNeil, Joan Mitchell, Giuseppe Panza, Ludwig Sander, Aaron Siskind, Ray Spillenger, and Joe Stefanelli, among others.
Exhibition files consist of correspondence, loan forms and agreements, checklists, and itineraries on various posthumous Franz Kline exhibitions.
Printed material includes exhibition catalogs, announcements, clippings, press releases, newsletters, magazines, postcards, and other miscellaneous material. Most of the material is about Franz Kline, but there is also material about other artists.
Photographic material includes photographs of Franz Kline, Elisabeth Zogbaum, family, friends, other artists, houses, studios, artwork, exhibition installations, Japanese calligraphy, and other subjects. There are mostly photographic prints, but there are also a few negatives, slides, and transparencies. There is an album of Franz Kline's artwork.
Franz Kline Library consists of various books which were probably in his office. Some books contain articles about Franz Kline or images of his artwork. The rest are miscellanous titles that have been inscribed to Kline. There are also books with artwork by the artist Phil May.
There is a random assortment of artifacts that belonged to Franz Kline including a metal lantern, model car, tea pot, dominoes, a ring, and other objects.
Arrangement:
This collection is arranged as 10 series.
Series 1: Franz Kline Biographical Material, 1925-1962, circa 1998 (Box 1, OV 13; 0.6 linear feet)
Series 2: Correspondence, 1929-1998 (Boxes 1-2, OV 13; 0.7 linear feet)
Series 3: Estate of Franz Kline, 1955-1991 (Box 2; 0.4 linear feet)
Series 4: Franz Kline Foundation, circa 1961-1997, bulk 1980-1990 (Boxes 2-4, 19; 1.6 linear feet)
Series 5: Elisabeth Zogbaum Research and Notes, 1951-1995 (Box 4, 19, OV 14; 1.3 linear feet)
Series 6: Exhibition Files, 1954-1995, bulk 1963-1995 (Box 4; 0.4 linear feet)
Series 7: Printed Material, 1936-circa 2005 (Boxes 4-6, OV 14-15; 2.7 linear feet)
Series 8: Photographic Material, circa 1915-1962, bulk 1936-1962 (Boxes 6-7, OV 14; 0.7 linear feet)
Series 9: Franz Kline Library, 1892-1962 (Boxes 7-10, BV 16-18; 3.2 linear feet)
Series 10: Artifacts, circa 1930-circa 1962 (Boxes 11-12; 0.4 linear feet)
Biographical / Historical:
Elisabeth Zogbaum was a close friend and companion of Franz Kline. She was married to sculptor Wilfrid Meynell Zogbaum. Upon Kline's death in 1962, Elisabeth Zogbaum became the sole executrix of his estate and later the president of the Franz Kline Foundation.
Franz Kline was an Abstract Expressionist painter based in New York City. Kline was born in a coal-mining town in Pennsylvania in 1910. He studied art at Boston University and at the Heatherley Fine Art School in England. He moved to New York City in the late 1930s and became a widely recognized and acclaimed artist. He died in 1962.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Elisabeth Zogbaum conducted by Garnett McCoy on December 3, 1981.
Provenance:
The Elisabeth Zogbaum papers regarding Franz Kline were donated to the archives in multiple installments from 1991 to 2010. The first 1991 donation was made by Elisabeth Ross Zogbaum. Subsequent donations in 2004 and 2010 were made by her son, Rufus Zogbaum.
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:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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 -- New York (State) -- New York Search this
Most of the research and notes are about Franz Kline. While the bulk of the subseries consists of notes, there are also lists of articles and catalogs about Franz Kline, a folder of mailings lists with addresses of contacts to invite to exhibitions and events, and writings by others which Elisabeth Zogbaum presumably collected for research and reference. Most of the writings consist of typescript drafts of essays about Franz Kline and typed excerpts of reviews. A few writings, such as the poems by Pierre Oberling, are not related to Kline. Sound recordings contain primarily reflections by Zogbaum on her own life and social circle.
Arrangement:
This subseries is in alphabetical order.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Content on this tape may duplicate folder 3, item 3
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
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.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Conversation with Katherine Kuh also found on tape 1 of 2; unedited sound effects also found on tape 2 of 2
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
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:
Elisabeth Zogbaum papers regarding Franz Kline, 1892-circa 2005, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
