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Charles Lang Freer Papers

Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
131 Linear feet (29 architectural drawings)
Type:
Collection descriptions
Archival materials
Diaries
Financial records
Correspondence
Photographs
Place:
China
Syria
Egypt
India
London (England)
Japan
Boston (Mass.)
Detroit (Mich.)
Washington (D.C.)
Kandy (Sri Lanka)
Sri Lanka
Anuradhapura (Sri Lanka)
Date:
1876-1931
Summary:
The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.
Scope Content:
The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.
Organization of the Papers:
This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs
Biographical Note:
1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Karin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.
Index:
Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert Chrétien Bosch See: Bosch-Reitz, Sigisbert Chrétien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company
Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts
Related Material:
The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.
Provenance:
Gift of the estate of Charles Lang Freer.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, American -- Collectors and collecting  Search this
Art, Asian -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Architecture -- Asia  Search this
Genre/Form:
Diaries
Financial records
Correspondence
Photographs
Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01
See more items in:
Charles Lang Freer Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a-01
Online Media:

Thomas Barrett and Leni Mancuso papers relating to William Kienbusch

Creator:
Barrett, Thomas R., 1927-  Search this
Names:
Kienbusch, William, 1914-1980  Search this
Mancuso, Leni  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Postcards
Photographs
Date:
1950-1979, 2002
Summary:
The Thomas Barrett and Leni Mancuso papers relating to William Kienbusch measure 0.2 linear feet and date from 1950 to 1979 and 2002. The 113 letters and postcards from William Kienbusch to Barrett and Mancuso document their long friendship and describe in great detail Kienbusch's life as an artist in New York and Maine. Also found are 15 snapshot photographs of Keinbusch, Barrett, and Mancuso outdoors.
Scope and Content Note:
The Thomas Barrett and Leni Mancuso papers relating to William Kienbusch measure 0.2 linear feet and date from 1950 to 1979 and 2002. The 113 letters and postcards from William Kienbusch to Barrett and Mancuso document their long friendship and describe in great detail Kienbusch's life as an artist in New York and Maine. Also found are 15 snapshot photographs of Keinbusch, Barrett, and Mancuso outdoors.
Arrangement:
The collection is arranged as 2 series:

Series 1: Letters from William Kienbusch, 1950-1979, 2002 (Box 1; 8 folders)

Series 2: Photographs, 1953-1958, 1966, 2002 (Box 1; 3 folders)
Biographical Note:
William Kienbusch (1914-1980) was a painter and art instructor in New York, NY, and Cranberry Island, Maine. Kienbusch enjoyed a long friendship with painters Thomas Barrett and Leni Mancuso. Mancuso studied painting with Kienbusch at the Brooklyn Museum Art School. Barrett and Mancuso spent most of the year in Maine and often went on summer painting trips to the coastal islands with Kienbusch.
Related Material:
Also found in the Archives of American Art are the William Kienbusch papers, 1915-2001; the Walter Maitland correspondence with and about William Kienbusch, 1969-1981; the William Kienbusch letters to Francis and Sydney Hamabe, 1958-1977; and an oral history interview with William Kienbusch conducted by Forrest Selvig, November 1-7, 1968.
Provenance:
The collection was donated in 2002 by Thomas R. Barrett and Leni Mancuso.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Thomas Barrett and Leni Mancuso papers relating to William Kienbusch are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New York (State) -- New York  Search this
Painters -- Maine  Search this
Genre/Form:
Postcards
Photographs
Citation:
Thomas Barrett and Leni Mancuso papers relating to William Kienbusch, 1950-1979, 2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.barrwill
See more items in:
Thomas Barrett and Leni Mancuso papers relating to William Kienbusch
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-barrwill

Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s

Creator:
Bard, Joellen  Search this
Names:
14 Sculptors Gallery  Search this
Amos Eno Gallery  Search this
Association of Artist-run Galleries  Search this
Brata Gallery  Search this
Camino Gallery  Search this
Hansa Gallery (New York, N.Y.)  Search this
James Gallery (New York, N.Y.)  Search this
Noho Gallery (New York, N.Y.)  Search this
Pleiades Gallery  Search this
Tanager Gallery (New York, N.Y.)  Search this
Ward-Nasse Gallery  Search this
Fortel, Ruth  Search this
Thomas, Helen  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Video recordings
Date:
1953-1977
Summary:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.7 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.
Scope and Content Note:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.7 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.

Series 1: Exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977 (0.4 linear ft.) documents the exhibition that was held December 20, 1977 through January 7, 1978 at Amos Eno Gallery, 14 Sculptors Gallery, Noho Gallery, Pleiades Gallery, and the Ward-Nasse Gallery. Included are the grant proposal, resumes, budget, and background information on the Association of Artist-Run Galleries, exhibition catalog and other printed matter, and congratulatory telegram from John Krushenick. Research files concerning Brata Gallery, Camino Gallery, Hansa Gallery, James Gallery, and Tanager Gallery contain a variety of printed items and historical notes. Of particular interest are administrative records of Camino Gallery that include its articles of agreement and minutes; and a reminiscence of Craig Hazlet who funded Tanager Gallery for 5 years, by daughter Sally Hazlet Drummond. Research files also include artist address lists, responses to a questionnaire about Tenth Street galleries circulated by Bard, and general printed matter about Tenth Street galleries and artists. Additional exhibition records consist of 35-mm color slides of works of art, and small number of black and white photographs of galleries and artists.

Series 2: Records of Tenth Street in 1977, December 20, 1977-January 8, 1978 (0.25 linear ft.) relates to the corollary exhibition shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. Records consist of 2 disbound scrapbooks, arranged alphabetically by artist, that contain biographical information, miscellaneous printed matter, and photographs of works of art.
Arrangement:
The collection is arranged into 2 series. Material in Series 1 is arranged chronologically within each folder. Series 2 is arranged alphabetically by artist.

Series 1: Records of -- Tenth Street Days: The Co-ops of the 50s -- , 1953-1977 (Box 1 and OV; 0.4 linear ft.)

Series 2: Records of -- Tenth Street in 1977 -- , 1977 (Box 2; 0.25 linear ft.)
Biographical Note:
Tenth Street between Third and Fourth Avenues, was an artist community that was home to many of the first generation Abstract Expressionists. The neighborhood was also home to The Club and the Cedar Tavern. After 1953, many of younger artists--the second and third generations of Abstract Expressionists--came to live and work near Tenth Street. They organized and ran a number of cooperative galleries that became an important focus and provided much needed exhibition opportunities for the large number of young artists lured to New York City in the late 1950s and early 1960s.

Researched and organized by painter and art instructor Joellen Bard, Ruth Fortel and Helen Thomas in co-operation with the Association of Artist-Run Galleries and Pleiades Gallery, Tenth Street Days: The Co-ops of the 50s, was held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. A corollary exhibition, Tenth Street in 1977, was shown at Landmark Gallery, Inc., December 20, 1977 through January 8, 1978. An expanded version of the exhibition was circulated by The Gallery Association of New York State.
Provenance:
Gift of Joellen Bard, coordinator of the Association of Artist-Run Galleries and curator of Tenth Street Days: The Co-ops of the 50s, 1977-1978.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated too public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Curators -- New York (State) -- New York  Search this
Art, American -- Exhibitions  Search this
Art, Modern -- 20th century -- United States -- Exhibitions  Search this
Group work in art -- United States -- Exhibitions  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Video recordings
Citation:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bardjoel
See more items in:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bardjoel
Online Media:

Research Files

Collection Creator:
Bard, Joellen  Search this
Type:
Archival materials
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated too public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s / Series 1: Tenth Street Days: The Co-ops of the 50s
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bardjoel-ref15

Photographs

Collection Creator:
Bard, Joellen  Search this
Type:
Archival materials
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated too public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s, 1953-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of Tenth Street Days: The Co-ops of the 50s / Series 1: Tenth Street Days: The Co-ops of the 50s
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bardjoel-ref26

Oral history interview with Robert Bechtle

Interviewee:
Bechtle, Robert, 1932-  Search this
Richards, Judith Olch  Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 February 8-9
Scope and Contents:
An interview of Robert Bechtle conducted 2010 February 8 and 9, by Judith Olch Richards, for the Archives of American Art, at Bechtle's home and studio, in San Francisco, California.

Interview of Robert Bechtle, conducted by Judith Richards for the Archives of American Art, in Bechtle's home in San Francisco, California on February 8 and 9, 2010. This is a second interview conducted for the archives, continuing from an interview with Bechtle in 1980. The interview mainly focuses on how is work has changed or remained the same since 1980; in particular his lighting study from midday to morning and evening; the grouping of photos to create a painting; new technology; the continuing challenges of his work; dispelling popular notions about his work such as the idea of neutral light and the Americana symbolism of his cars; his teaching endeavors at San Francisco State University and California College of Arts and Crafts; and the transition from his gallery residency at OK Harris to Barbara Gladstone; Bechtle also recalls Ivan Karp, Chuck Close, Ralph Goings, Edward Hopper, Jerome Witkin, Rackstraw Jones, Kathan Brown, Wayne Theibaud, Mitzi Pederson, and others.
Biographical / Historical:
Interviewee Robert Bechtle (1932- ) is a Photorealist painter in San Francisco, California. Interviewer Judith Olch Richards (1947- ) is former Executive director of iCI in New York, New York.
General:
Originally recorded on 6 memory cards. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 56 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Painters -- California -- San Francisco -- Interviews  Search this
Photo-realism  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bechtl10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bechtl10

Fred Uhl Ball papers

Creator:
Ball, Fred Uhl, 1945-1985  Search this
Names:
Ball, F. Carlton, 1911-1992  Search this
Ball, Kathryn Uhl, 1910-2000  Search this
Uhl, George A.  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Photographs
Slides (photographs)
Visitors' books
Date:
1936-2002
Summary:
The papers of enamelist and sculptor, Fred Uhl Ball, measure 1.0 linear feet and date from 1936 to 2002. The collection provides scattered documentation of Ball's career through biographical material, family photographs, photographs of artwork, and printed material. The collection also includes a small group of papers concerning Ball's father, ceramicist F. Carlton Ball, his mother, illustrator and enamelist Kathryn Uhl Ball, and his grandfather, silversmith George Uhl.
Scope and Content Note:
The papers of enamelist and sculptor, Fred Uhl Ball, measure 1.0 linear feet and date from 1936 to 2002. The collection provides scattered documentation of Ball's career through biographical material, family photographs, photographs of artwork, and printed material. The collection also includes a small group of papers concerning Ball's father, ceramicist F. Carlton Ball, his mother, illustrator and enamelist Kathryn Uhl Ball, and his grandfather, silversmith George Uhl.The collection consists primarily of photographs and slide transparencies of Ball's artwork, but also includes photographs of Ball, his studio and some of his exhibitions. Papers and printed material include a vita compiled after Ball's death, news clippings providing an overview of his career, a folder of writings, and several items commemorating him.
Arrangement:
The collection was assembled by Lois and David Warren after Ball's death and their original arrangement has been retained.

The papers are arranged into two series:

Series 1: Papers and Printed Material, 1936-2002, undated (box 1; 0.3 linear ft.)

Series 2: Photographs, 1945-1987, undated (box 1; 0.7 linear ft.)
Biographical Note:
Fred Uhl Ball was born in Oakland, California, in 1945. Ball's interest in enameling began in childhood, and was fostered by his mother, Kathryn Uhl, an illustrator and enamelist who taught life drawing at Mills College, and his father, a ceramicist, who was head of the art department at Mills.

Ball received his bachelor's and master's degrees in art from Sacramento State University. His first exhibition was a two-man show with Gerald Silva at the Barrios Gallery. His first national exhibition was held the same year, and his work was shown in Stuttgart, Germany, two years later. In the early 1970s Ball began experimenting with test tiles and assembling torch-fired enamels on thin copper foil into collage-like panels. He also experimented with using brass as a surface and with exposing white enamel to varying degrees of heat to produce a range of hues. In 1972, he published Experimental Techniques in Enameling (New York: Van Nostrand Reinhold), which has since been considered the definitive text on enameling.

Ball was best known in Sacramento, where he lived and had his studio, for his large-scale public murals. In 1976 he joined the city's federally funded Comprehensive Employment and Training program (CETA) and created his first truly large-scale mural for the Sacramento Community Center. The mural won him critical acclaim and for the remainder of his career Ball would combine his personal work with additional commissions, and would continue to experiment with innovative enameling techniques and material in his sculptural collages. His Sacramento parking garage mural is one of the largest enameled murals ever attempted.

During the last decade of his life Ball was commissioned to create a number of large, site-specific works for corporate clients in the Sacramento area. In September of 1985 he was working on a fifty-foot copper mural, The Great Sacramento Valley, when he was assaulted at his studio. Ball died three months later at the age of forty from injuries sustained during the attack. The mural was completed by his mother and his associate, Bruce Beck, and was unveiled at Sacramento's Sutter General Hospital in December, 1986. A memorial retrospective of Ball's work, organized by the Creative Arts League, was held at the Crocker Art Museum from March to April of 1987.
Provenance:
At his death, Fred Uhl Ball's art passed to his mother, Kathryn, who died in 2000 without any heirs. Susan J. Willoughby, a close family friend, served as Trustee of the Kathryn Uhl Ball Trust. Unfortunately, most of Ball's papers were discarded after his death. The remainder of the collection was assembled by Lois and David Warren, and given to the Archives of American Art by Susan J. Willoughby in 2001. Several 2002 news clippings were added to the collection in 2002.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Fred Uhl Ball papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Enamelers -- California -- Sacramento  Search this
Enamel and enameling  Search this
Silverwork  Search this
Genre/Form:
Photographs
Slides (photographs)
Visitors' books
Citation:
Fred Uhl Ball papers, 1936-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ballfred
See more items in:
Fred Uhl Ball papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ballfred

Kenworth Moffett papers

Creator:
Moffett, Kenworth  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1970-1991
Scope and Contents:
Correspondence, ca. 1980-1991; Slides and photographs of works of art; notes; and unpublished papers written by colleagues and students, 1970-1991.
Biographical / Historical:
Critic; Curator, Museum of Fine Arts, Boston, Mass. Born 1943.
Provenance:
Donated by Lucy Baker, former wife of Kenworth Moffett, 1993.
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.
Occupation:
Art critics  Search this
Museum curators  Search this
Identifier:
AAA.moffkenw
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moffkenw

Gustavo Acosta papers

Creator:
Acosta, Gustavo, 1958-  Search this
Extent:
1 Linear foot
0.057 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Date:
circa 1958-2017
Summary:
The papers of painter Gustavo Acosta measure 1.0 linear feet and date from 1958 to 2017. Biographical material including artist statements and interviews are included, as well as documentation from Acosta's education and art production in Cuba. Correspondence is mostly professional in nature and spans from 1987 to 2012, in both Spanish and English. The professional files series includes exhibition documentation and proposals, as well as artwork inventories and a lecture including a digital slide presentation. Printed material includes exhibition announcements and catalogs as well as press clippings. Photographs include images of the artist and artwork among other subjects. The artwork series includes various drawings and sketchbooks, in addition to art source materials including numerous photographs, many with notation and traces of drawing or paint.
Scope and Contents:
The papers of painter Gustavo Acosta measure 1.0 linear feet and date from 1958 to 2017. Biographical material including artist statements and interviews are included, as well as documentation from Acosta's education and art production in Cuba. Correspondence is mostly professional in nature and spans from 1987 to 2012, in both Spanish and English. The professional files series includes exhibition documentation and proposals, as well as artwork inventories and a lecture including a digital slide presentation. Printed material includes exhibition announcements and catalogs as well as press clippings. Photographs include images of the artist and artwork among other subjects. The artwork series includes various drawings and sketchbooks, in addition to art source materials including numerous photographs, many with notation and traces of drawing or paint.
Arrangement:
The collection is arranged in 6 series:

Series 1: Biographical Material, circa 1958-2012 (0.2 Linear Feet; Box 1)

Series 2: Correspondence, circa 1987-2012 (0.1 Linear Feet; Box 1)

Series 3: Professional Files, circa 1993-2017 (0.2 Linear Feet; Box 1, 0.0567 GB; ER01)

Series 4: Printed Material, circa 1980-2017 (0.2 Linear Feet; Box 1)

Series 5: Photographic Material, circa 1960-2010 (0.1 Linear Feet; Box 1)

Series 6: Artwork, circa 1982-2017 (0.2 Linear Feet; Box 1)
Biographical / Historical:
Gustavo Acosta (1958- ) is a Cuban American painter in Miami, Florida. Acosta was born in Havana, Cuba in 1958. He relocated to the United States in 1993, and settled in Miami in 1994. Acosta attended art school at both the Escuela Nacional de Bellas Artes "San Alejandro" and the Instituto Superior de Arte (ISA), both in Havana. A predominant feature of Acosta's paintings is the presence of the urban architectural landscape. He has had numerous exhibtiions including a touring retrospective which began at the Caixa Cultural de Rio de Janeiro and ended at the Caixa Cultural in Sao Paulo. His artwork is featured in museums and private collections including the National Museum of Fine Arts, Havana, Cuba; Wifredo Lam Center, Havana, Cuba; Museum of Contemporary Art, MOCA. Miami, Florida; Lowe Art Museum, Miami, Florida; Fort Lauderdale Art Museum, Fort Lauderdale, Florida; Nassau County Museum of Art, New York; and the Museum of Contemporary Art, Panama.
Provenance:
The papers were donated by Gustavo Acosta to the Archives of American Art in 2018.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
Rights:
The Gustavo Acosta papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- Florida -- Miami  Search this
Topic:
Cuban American artists  Search this
Interviews  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Gustavo Acosta Papers, circa 1958-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.acosgust
See more items in:
Gustavo Acosta papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-acosgust

Nancy Kaufman letters from artists

Creator:
Kaufman, Nancy  Search this
Names:
Anthony, William, 1934-  Search this
Appel, Eric  Search this
Brodsy, Eugene  Search this
Castoro, Rosemarie  Search this
Kolin, Sacha, 1911-1981  Search this
McCready, Karen  Search this
Meizner, Paula  Search this
Nussbaum, Tom  Search this
Reiland, Lowell, 1948-  Search this
Schwaztz, Gladys  Search this
Von Dalen, Anton  Search this
Zwadlo, James  Search this
Extent:
13 Items
Type:
Collection descriptions
Archival materials
Date:
1975-1996
Scope and Contents:
Eleven greeting, Christmas, and New Years letters and cards, many illustrated or enclosed with works of art, to Nancy Kaufman from artists William Anthony, Eric Appel, Eugene Brodsy, Rosemarie Castoro, Sasha Kolin, Karen McCready (art dealer), Paula Meizner, Tom Nussbaum, Lowell Reiland, Gladys Schwartz, Anton van Dalen, and James Zwadlo.
Biographical / Historical:
Nancy Kaufman, a specialist in modern and contemporary art, is an arts administrator and art consultant in New York, N.Y.
Provenance:
Donated 2013 by Nancy Kaufman.
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.
Occupation:
Arts administrators -- New York (State) -- New York  Search this
Identifier:
AAA.kaufnanc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kaufnanc

Romare Bearden papers

Creator:
Bearden, Romare, 1911-1988  Search this
Names:
Alston, Charles Henry, 1907-1977  Search this
Holty, Carl, 1900-1973  Search this
Lawrence, Jacob, 1917-2000  Search this
Middleton, Samuel M., 1927-  Search this
Reinhardt, Ad, 1913-1967  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketches
Exhibition catalogs
Maps
Photographs
Date:
1937-1982
Summary:
The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material. Found are numerous letters referring to African-American arts movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature.
Scope and Contents:
The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material.

Correspondence is with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues, primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Jacob Lawrence, Ad Reinhardt, Carl Holty, and Sam Middleton are found. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding.

Writings by Bearden include lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. There are also writings by others and one folder of fragments and notes assumed to be by Bearden.

The collection houses two folders of photographs and snapshots of Bearden, family members, other unidentified artists or friends, classes and/or lectures, and works of art. Also found are several undated ink drawings, sketches in pencil and ink, and a hand-drawn and colored map with overlay of Paris. Printed material includes examples of Bearden's commissioned artwork for publications, press releases, exhibition catalogs and announcements, invitations, newspaper and magazine clippings, and miscellaneous printed materials. Although much of the printed material concerns Bearden's work, a fair portion concerns African-American art, artists, and cultural movements.
Arrangement:
The collection is arranged into seven series based on type of materials. Documents within each of the seven series have been arranged in chronological order, except for the writings which have been further subdivided by creator and are undated. Printed materials have been arranged primarily according to form of material and are in rough chronological order.

Series 1: Biographical, 1977, undated (Box 1; 1 folder)

Series 2: Correspondence, 1944-1981, undated (Box 1-2; 0.8 linear feet)

Series 3: Writings By and About Bearden, circa 1950s-1980s (Box 3; 6 folders)

Series 4: Legal and Financial Material, 1970-1977 (Box 3; 3 folders)

Series 5: Photographs, undated (Box 3; 2 folders)

Series 6: Drawings, undated (Box 3, OV 6; 4 folders)

Series 7: Printed Material, 1937-1982 (Box 3-5; 1 linear foot)
Biographical / Historical:
Born in Mecklenburg County, North Carolina, in 1914, Bearden's family relocated to New York City when Bearden was a toddler. Living in Harlem during the Harlem Renaissance of the 1920s, Bearden was exposed to such luminaries as writer Langston Hughes, painter Aaron Douglas, and musician Duke Ellington. While attending New York University, Bearden became interested in cartooning and became the art editor of the NYU Medley in his senior year. He received his B.S. in mathematics in 1935, initially planning to pursue medical school. Realizing that he had little interest in the other sciences however, Bearden began attending classes at the Art Students League in the evenings, studying under George Grosz.

In the mid-1930s Bearden published numerous political cartoons in journals and newspapers, including the Afro-American, but by the end of the decade, he shifted his emphasis to painting. Bearden's first paintings, on large sheets of brown paper, recalled his early memories of the South. After serving in the Army, Bearden began exhibiting more frequently, particularly in Washington, D.C. at the G Street Gallery and in New York with Samuel Kootz.

During a career lasting almost half a century, Bearden produced approximately two thousand works. Although best known for the collages of urban and southern scenes that he first experimented with in the mid-1960s, Bearden also completed paintings, drawings, monotypes, edition prints, public murals, record album jackets, magazine and book illustrations, and costume and set designs for theater and ballet. His work focused on religious subjects, African-American culture, jazz clubs and brothels, and history and literature. Not confining his abilities to the visual arts, Bearden also devoted attention to writing and song writing. Several of his collaborations were published as sheet music, among the most famous of which is "Seabreeze," recorded by Billy Eckstine. In addition, Bearden coauthored three full-length books: The Painter's Mind: A Study of the Relations of Structure and Space in Painting (1969) with painter Carl Holty; Six Black Masters of American Art (1972); and A History of African-American Artists: From 1792 to the Present (posthumously, 1993), the latter two with journalist Harry Henderson.

Bearden was also active in the African-American arts movement of the period, serving as art director of the Harlem Cultural Council, a founding member of the Black Academy of Arts and Letters, and organizer of exhibitions, such as the Metropolitan Museum's "Harlem on My Mind" (1968). Romare Bearden died in 1988.
Related Materials:
Within the Archives holdings are two oral history interviews with Romare Bearden. One was conducted in 1968 by Henri Ghent and another in 1980 by Avis Berman.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N68-87) including correspondence, a scrapbook, photographs, catalogs, clippings, and writings. Except for the correspondence, loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Romare Bearden lent material for microfilming to the Archives of American Art in 1968, donating the correspondence. Bearden also gave additional papers between 1977 and 1983.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Works of art  Search this
Painting  Search this
Genre/Form:
Drawings
Sketches
Exhibition catalogs
Maps -- Paris (France)
Photographs
Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bearroma
See more items in:
Romare Bearden papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bearroma
Online Media:

Oversized Sketch

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box OV 6
Type:
Archival materials
Date:
undated
Scope and Contents note:
Oversized material digitized with Box 3, Folder 13
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 6: Drawings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref44

Newspaper Clippings

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 5, Folder 5
Type:
Archival materials
Date:
undated
1970-1982
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 7: Printed Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref568

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 4
Type:
Archival materials
Date:
1957-1960
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref573

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 5
Type:
Archival materials
Date:
1961-1966
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref574

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1968 January-May
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref577

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 9
Type:
Archival materials
Date:
1968 June-July
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref578

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 10
Type:
Archival materials
Date:
1968 August
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref579

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 11
Type:
Archival materials
Date:
1968 September
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref580

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
1968 October-December
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Romare Bearden papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bearroma-ref581

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