The Byron Browne papers measure 2.1 linear feet and date from 1920-1979 and document the life and work of Byron Browne through biographical materials, correspondence, personal business records, printed materials, photographic materials, and artwork.
Scope and Contents:
The Byron Browne papers measure 2.1 linear feet and date from 1920-1979. Biographical materials include documents regarding tributes to Browne after his death and his career, a self-portrait, and film with recorded audio. Correspondence is with friends, artists, and family members and consists mainly of holiday and sympathy cards addressed to Rosalind, the majority dating after Browne's death. Correspondence regarding art donations by Rosalind and other professional activities as well as documents regarding Browne's time spent teaching for the Art Students League of New York and New York University are included. Other financial documents relating to his art expenses and newspaper and magazine clippings are present. Various exhibition announcements are present, as are photographs of both Browne and his artwork.
Arrangement:
This collection is arranged in 6 series:
Series 1: Biographical Materials, Biographical Materials, 1960-1973 (0.4 Linear feet: Box 1, OV 4, FC03, FC04)
Series 2: Correspondence,1952-1979 (0.7 Linear feet: Box 1)
Series 3: Personal Business Records, 1930-1977 (0.3 Linear feet: Box 1)
Series 4: Printed Materials, 1920-1979 (0.3 Linear feet: Box 2, OV 6)
Series 5: Photographic Materials, 1920-1979 (0.2 Linear feet: Boxes 2-3)
Series 6: Artwork, 1930-1969 (0.2 Linear feet: Box 3, OV 5)
Biographical / Historical:
Byron Browne (1907-1961) was born in Yonkers, New York on June 26, 1907, as George Byron Browne and was a painter, sculptor, and educator in New York City. He helped found the American Abstract Artists, an organization centered in New York that was devoted to exhibiting abstract art, with his wife Rosalind Bengelsdorf and Balcomb Greene in 1935. Browne specialized in still life in the Synthetic Cubism style and was influenced by his friends John Graham, Arshile Gorky, and Willem de Kooning. By the 1950s Browne migrated to creating more romantic imagery. Browne started his early career as an academic artist and won numerous awards at the National Academy including the Third Hallgarten Prize for still-life composition. His career consisted of creating murals under the Works Progress Administration for the Chronic Disease Hospital and the 1939 New York World's Fair. He also taught painting at the Art Students League of New York from 1948 to 1959 and went on to then teach at New York University. A survivor of the Great Depression, Browne would continue to struggle to sell art beyond the 1930s, when his most notable work was created. Browne's work is represented at over eighty permanent art museum collections. Browne died on December 25, 1961, in New York City at age 54.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Rosalind Bengelsdorf conducted by Irving Sandler in 1968 and the Rosalind Bengelsdorf Browne papers.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 97 and NBB 1-NBB 2) including correspondence, clippings, receipts, contracts, sketches and descriptions related to mural
commissions. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Papers were lent for microfilming in 1963 and 1978 by Rosalind Bengelsdorf Browne.
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:
Sculptors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Byron Browne papers, circa 1920-1979. 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.
Biographical materials, correspondence, business records, writings, art works, photographs, and printed material.
Biographical material includes ID cards and an autobiographical statement. Correspondence, 1935-1964, includes letters sent to Nickelsen as Supervisor for the WPA Massachusetts Federal Art Project; correspondents include Beaumont Newhall and muralist Elizabeth Tracy. Project files regard mural and stained glass commissions, among them the East Boston murals; Nebraska capitol murals; Springfield, Mass. Museum of Fine Arts library murals; Worcester, Mass. Parcel Post Building murals; and stained glass commissions, ca.1938-1942. Files contain correspondence, art work, including large mural cartoons, reference photographs, photographs of works of art, and printed material. Also included are a list of mural ingredients and notes; business records, 1927-1937; photocopies of articles and writings, 1930-1967; art work by Nickelsen including stained glass rendering and mural drawings by Elizabeth Tracy Montminy; exhibition catalogs, clippings, photographs of Nickelsen and his art work, including one of him painting a window for St. Patricks Church, N.Y. in the Charles Connick Studio, Boston, 1950; and of Montminy and her murals.
Biographical / Historical:
Stained glass artist; mural painter; Boston, Mass. Born in Hamburg, Germany. Initially studied at the stained-glass studio of his father, John R. Nickelsen, and later went to the State Art School, Hamburg. He came to the United States in 1922 and attended the Art Students' League, N.Y. and the School of the Museum of Fine Arts, Boston. Participated as an artist and as a supervisor on the WPA Art Project in Boston, and was associated with the stained-glass design firm of Charles J. Connick Associates for many years.
Provenance:
Donated 1991-1999 by Nickelsen's widow, Ingeborg R. Nickelsen.
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. Works Progress Administration Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1900-1970
Summary:
The papers of artist Joseph Stella measure 2.8 linear feet and date from circa 1900 to 1970. The papers shed light on his life and career through biographical materials, mixed personal and professional corresponence, writings by Stella and others, printed materials, and photographic materials.
Scope and Contents:
The papers of artist Joseph Stella measure 2.8 linear feet and date from circa 1900 to 1970. The papers shed light on his life and career through biographical materials, personal and professional corresponence, writings by Stella and others, printed materials, and photographic materials.
Biographical materials include address books and loose addresses for contacts in the U.S. and abroad, calling cards, business cards, inventories of Stella's artwork, financial papers, drawings and artwork by children and others, several oversized sketches by Stella, papers from the Federation of Modern Painters and Sculptors Inc., a ration book from World War II, one contract from the Cooperative Gallery, and other miscellaneous personal papers. Correspondence includes mostly letters received by Stella from art organizations, museums, dealers, family members, and colleagues including the Museum of Modern Art, Artists for Victory, ACA Gallery, M. Knoedler & Co., the Whitney Museum, Andrew Bondi, Marie Dumoulard, Katherine Dreier, August Mosca, and Charmion von Wiegand. An invitation to a lecture on Joseph Stella by Phyllis Ackerman is also present. Writings in Italian and English include an autobiography by Stella, essays about his life and work, poems, loose notes about his paintings and materials, and three notebooks. Writings about Stella by others, drafts of letters (especially in Italian), and some sketches are also present. Printed materials consist of newspaper clippings mostly concerning Stella's career, exhibition invitations and catalogs, printed reproductions of Stella's artwork, reference material, and more. Photographic materials include portraits of Stella, photos from his studio and travels, and the artist with friends and family; images of his artwork; and several photos from exhibitions.
Arrangement:
The collection is arranged as five series.
Series 1: Biographical Materials, circa 1915-1970 (Boxes 1, 4, OV 5; .3 linear feet)
Series 2: Correspondence, circa 1921-1960 (Box 1; .8 linear feet)
Series 3: Writings, circa 1920s-1940s (Box 2; .5 linear feet)
Series 4: Printed Materials, 1896, 1912-1963 (Boxes 2-4, OV 5)
Series 5: Photographic Materials, circa 1900-1960 (Boxes 3-4, OV 5; .5 linear feet)
Biographical / Historical:
Joseph Stella (1877-1946) was a New York City Painter and draughtsman who immigrated from Muro Lucano Italy in 1896. He received a traditional education while in Italy. At the suggestion of his brother, a medical doctor, Stella studied medicine for two years before leaving that path for his art. His primary subjects to draw and paint during this time were immigrants, laborers, and others he saw in the streets of New York City. Giotto, Masaccio, and Andrea Mantegna were his primary influences at the time. In circa 1899, Stella began taking classes at the Art Students League of New York, studying under William Merritt Chase. He received a scholarship for a year's tuition and began exhibiting his artwork shortly after. In 1902, Stella was sent to Pittsburgh by the periodical The Survey to paint scenes of that city. Illustrating for periodicals became his primary source of income during this period. In 1909, Stella moved to Italy to study glazing, and in 1911, he moved to Paris, where he encountered Fauvism, Cubism, and Futurism for the first time. During these few years in Europe, he befriended Marcel Gromaire, Jules Pascin, Umberto Boccioni, Gino Severini, and Amedeo Modigliani. Stella returned from Europe in 1912 and had three paintings exhibited in the 1913 Armory Show. Several years later, his subject matter shifted towards New York architecture, and he created some of his most well-known works including Brooklyn Bridge (1919-20) and New York Interpreted (1922). Bourgeois Gallery exhibited Stella's work from the late teens until the artist went to Dudensing Galleries in 1925. The following year, he moved to Naples and returned to the U.S. in 1934. In 1936, Stella had a solo exhibition at Cooperative Gallery in Newark, New Jersey; and the gallery exhibited his work for the rest of his life. There was a retrospective of Stella's work at The Newark Museum in 1936 and solo shows at Associated American Artists (1941) and Knoedler Galleries (1942). Other galleries who exhibited Stella's work include Valentine Gallery, New York, Galerie Sloden, Paris, Galerie Jeune Peinture, Paris, and Zabriskie Gallery, New York. From 1935 to 1937, he worked for the Works Progress Administration in the easel division. Stella served on the exhibition committee of Societe Anonyme, was a director of the Salons of America, and a member of the Federation of Painters and Sculptors Inc. He died of heart failure in 1946.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 5137 (frames 1-63) including 29 loose sketches and a 16-page sketchbook by Joseph Stella. The materials were returned to Alan Pensler after microfilming, and are not described in the collection container inventory.
Provenance:
The Joseph Stella papers were donated in three installments. Stella's nephew, Sergio Stella, donated records in 1971 and 1986. Alan Pensler, a Washington, D.C. art dealer who acquired the papers from a woman who purchased the home and its contents of Dr. Giovanni Stella, Stella's brother, donated records in 1996.
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:
Draftsmen (artists) -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Joseph Stella papers, circa 1900-1970. 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 collection consists of posters created for the Indian Court exhibit at the Golden Gate International Exposition. The posters were created as part of the Federal Art Project (FAP) of the Works Progress Administration (WPA). The designs were adapted by Louis Siegriest from work produced by indigenous artists. The artists who contributed resource material received limited recognition for their work; some remain unknown.
Siegriest created eight (8) posters for the Indian Court exhibit. This collection includes one complete set of all eight (8) posters and one (1) explanatory label, and one incomplete set of seven (7) posters.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Biographical Note:
Louis Bassi Siegriest (1899-1989) was an American painter and commerical artist based in California.
Historical Note:
The Golden Gate International Exposition (1939=1940) was a World's Fair celebrating "Pacific Unity" and the opening of the San Francisco–Oakland Bay Bridge and the Golden Gate Bridge.
Local Numbers:
NAA MS 4883
Related Materials:
The Archives of American Art holds the Louis Siegriest papers and an Oral history interview with Louis Siegriest.
Provenance:
The provenance of the collection is unknown. It is possible that the two sets of posters were received from different sources.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Works of art
Posters
Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
2 Posters
Container:
Folder 1
Folder 2
Type:
Archival materials
Graphic Materials
Posters
Local Numbers:
NAA INV 08818200
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
2 Posters
Container:
Folder 1
Folder 2
Type:
Archival materials
Graphic Materials
Posters
Local Numbers:
NAA INV 08818300
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
2 Posters
Container:
Folder 1
Folder 2
Type:
Archival materials
Graphic Materials
Posters
Local Numbers:
NAA INV 08818400
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
2 Drawings (visual works)
Container:
Folder 1
Folder 2
Type:
Archival materials
Graphic Materials
Drawings (visual works)
Local Numbers:
NAA INV 08818500
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
2 Posters
Container:
Folder 1
Folder 2
Type:
Archival materials
Graphic Materials
Posters
Local Numbers:
NAA INV 08818600
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
2 Posters
Container:
Folder 1
Folder 2
Type:
Archival materials
Graphic Materials
Posters
Local Numbers:
NAA INV 08818700
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
2 Posters
Container:
Folder 1
Folder 2
Type:
Archival materials
Graphic Materials
Posters
Local Numbers:
NAA INV 08818800
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
1 Poster
Container:
Folder 2
Type:
Archival materials
Graphic Materials
Posters
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
Extent:
1 Poster
Container:
Folder 1
Type:
Archival materials
Graphic Materials
Posters
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution
United States. Works Progress Administration Search this
New Deal and the Arts Oral History Project Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Helen Bess Clarke and James Mitchell Clarke, 1964 June 24. Archives of American Art, Smithsonian Institution.
United States. Works Progress Administration Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1936-1989
Summary:
The scattered papers of painter and muralist Tracy Montminy measure 1.2 linear feet and date from 1936 to 1989. Found are biographical materials, photocopies of letters received, photographs of murals, and printed material. Also found are four study drawings for a mural in City Hall, Medford, Massachusetts.
Scope and Contents:
The scattered papers of painter and muralist Tracy Montminy measure 1.2 linear feet and date from 1936 to 1989. Found are biographical materials, photocopies of letters received, photographs of murals, and printed material. Also found are four study drawings for a mural in City Hall, Medford, Massachusetts.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Tracy Montminy (1911-1992) was a muralist and painter in Columbia, Missouri. Also known as Elizabeth Tracy, Montminy produced multiple murals for the Works Progress Administration.
Provenance:
The collection was donated in 1989 and 1992 by Tracy Montminy.
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.