Skip to main content Smithsonian Institution

Search Results

Collections Search Center
383299 documents - page 1 of 500Result pages are truncated to 500.

Albert Bierstadt letter collection

Creator:
Bierstadt, Albert, 1830-1902  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Yosemite National Park (Calif.)
Date:
1860-1900
Summary:
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life and discuss his painting, the inspiration he found in nature, his studio, and concerns relating to commissions and finances.
Scope and Content Note:
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life.

Bierstadt writes specifically of his work in several of the letters and refers to two paintings, Laramie Peak and The Jungfrau. In one letter he writes of the inspiration he finds in nature through his love of the mountains. Bierstadt invites friends to his studio in New York City, mentions a trip to Yosemite in the 1870s and writes letters of introduction on behalf of friends. Two of the letters concern commissions and discuss financial matters.
Arrangement:
Due to the small size of this collection, items are arranged as one chronological series.

Series 1: Albert Bierstadt Letters, 1860-1900 (Box 1; 13 items)
Biographical Note:
Albert Bierstadt was born in Solingen, Germany, in January 1830. His family emigrated to the United States when he was two years of age and settled in Bedford, Massachusetts.

In 1853 Bierstadt traveled to Germany to study painting at the Düsseldorf Art Academy. In 1858, following his return to the United States, he gained national attention for organizing a large exhibition of paintings including fifteen of his own works. Bierstadt drew inspiration from the painters of the Hudson River School, and regularly visited the White Mountains of New Hampshire to make sketches for his landscape paintings.

In 1859 Bierstadt traveled to the Colorado and Wyoming territories sketching landscapes in the company of a United States government survey expedition. On his return he took studio space at the new Tenth Street Studio Building in New York City and began a series of large-scale western landscape paintings, including Yosemite Valley and Thunderstorm in the Rocky Mountains. These paintings, known for their theatrical and romantic depiction of the grandeur and drama of the American West, brought Bierstadt great popularity during the 1860s.

Bierstadt's paintings were widely exhibited in the United States and abroad and commanded some of the highest prices in American art at the time, although his reputation began to decline somewhat in the 1880s in the face of changing public tastes.

Bierstadt was a member of the Century Association from 1862-1902 and a member of the National Academy of Design from 1860 until his death in 1902.
Related Material:
Also found at the Archives of American Art are the Robert Neuhaus papers concerning Clyfford Still and Albert Bierstadt, 1884-1984 (bulk 1941-1984). A circa 1875 photograph of Bierstadt by Bierstadt Brothers given to the Archives by an unknown donor is available in the Archives of American Art's Photographs of Artists Collection I and online.
Provenance:
The collection was acquired by the Archives of American Art in a series of accessions between 1955 and 2001. Six letters were donated by Charles Feinberg in 1955-1957; one letter was donated by Letitia Howe in 1976; one letter was donated by Mrs. Miles Reber, grandaughter-in-law of General Nelson in 1976; two letters were purchased from Charles Hamilton Autographs in 1956; one letter was purchased from Steele in 1956; and one letter was purchased from Scott J. Winslow Associates in 2001.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art website.
Rights:
The Albert Bierstadt letter collecton is 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:
Art -- Economic aspects  Search this
Hudson River school of landscape painting  Search this
Landscape painters -- New York (State) -- New York  Search this
Artists' studios -- New York (State) -- New York  Search this
Citation:
Albert Bierstadt letter collection, 1860-1900. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bieralbe
See more items in:
Albert Bierstadt letter collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bieralbe
Online Media:

Paul Bodin papers

Creator:
Bodin, Paul, 1910-1994  Search this
Names:
Gottlieb, Adolph, 1903-1974  Search this
Gottlieb, Esther Dick  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1932-1981
Summary:
The collection measures 0.2 linear feet, dates from 1932 to 1981 (bulk dates 1932-1963), and primarily documents the friendship of painter Paul Bodin with abstract expressionist painter Adolph Gottlieb. Found within the papers are letters from Gottlieb; printed material; and photographs of Bodin's art work.
Scope and Content Note:
The papers of painter Paul Bodin measure 0.2 linear feet and date from 1932-1981 (bulk dates 1932-1963). Found within the papers are letters from Bodin's mentor, abstract expressionist Adolph Gottlieb. These letters document Bodin's long friendship with Gottlieb and provide details about Gottlieb's activities and interests. There is one letter from Gottlieb's wife, Esther. Also found with the papers are a clipping, exhibition announcements for Bodin, and photographs of Bodin's art work.
Biographical Note:
Paul Bodin was born in New York City on October 30, 1910. He studied first at the National Academy of Design, but transferred to the Art Students League in 1928, briefly studying under Boardman Robinson.

During the 1930s and early 1940s, Bodin was part of a circle of artists that included Milton Avery, Mark Rothko, and Adolph Gottlieb, who worked in New York City, and Gloucester and Provincetown, Massachusetts. During the Depression, Bodin worked with the WPA Federal Arts Project, completing many paintings of tenement interiors, portraits of family members, and self-portraits. His first solo exhibition was in 1936.

He made his first abstract paintings in 1945 and exhibited regularly in Manhattan until the early 1960s.

Paul Bodin died on February 15, 1994.
Provenance:
The Paul Bodin papers were donated in 1993 by Paul Bodin and Aaron Bodin, the artist's son.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Paul Bodin 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:
Painters -- New York (State) -- New York  Search this
Abstract expressionism  Search this
Genre/Form:
Photographs
Citation:
Paul Bodin papers, 1932-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bodipaul
See more items in:
Paul Bodin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bodipaul

William Merritt Chase papers

Creator:
Chase, William Merritt, 1849-1916  Search this
Names:
Art Club of Philadelphia  Search this
Art Students League (New York, N.Y.) -- Faculty  Search this
Shinnecock Summer School of Art -- Faculty  Search this
De Voll, F. Usher, 1873-1941  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1890-1964
Summary:
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.
Scope and Contents:
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.

Letters include a photocopy of a 1901 letter signed by 28 students of the Shinnecock Summer School thanking Chase for a painting; a 1903 postcard to Mr. Harold R. Shiffer from his aunt; a 1912 letter to Chase signed by 32 pupils of the Art Students League thanking him for his efforts on their behalf and acknowledging his "qualities of sympathy, interest, and an understanding of our individual needs;" a 1915 note from an unidentified writer; a 1920 letter to Chase's wife Alice, from Gertrude Abbey, wife of Edwin Austin Abbey, referencing a tile possibly created by Edwin Abbey that Mrs. Chase owns; a 1935 postcard to Chase's daughter Helen from an unidentified writer; and a 1964 letter to Helen Storm from Ala Story in which Story describes a Chase exhibition that he is organizing and apologizes for having given a sketchbook of drawings owned by Helen to the Morgan Library.

Writings include 4 sets of lecture notes (one labeled as being notes for a lecture at Shinnecock), which are a combination of annotated typescripts and handwritten pages, and a typescript of a 1906 "Talk on the Old Masters by Mr. Chase" for the New York School of Art. Also found is a notebook with handwritten notes on a talk Chase gave to students in Philadelphia, presumably at the Pennsylvania Academy of Fine Arts.

Writings by others consist of a six-page typescript entitled "Reminiscences of a Student," by F. Usher De Voll, describing his experiences of Chase as a teacher.

Postcards (blank) include 3 reproductions of works of art by Chase, 8 reproductions of works of art by other artists, and 2 scenic views.

A Chase family scrapbook consists of mounted prints, primarily cyanotypes, that document Chase's travels to Rome, Milan, Gibraltar and the Loire Valley, and visits to major monuments, and also includes images of Chase and his family at leisure during their travels, as well as five family portraits.

Photographs of the Chase family include one of Chase with his son, Dana, and one of Chase with his wife, Alice, both undated. Other family members and friends are generally unidentified but do include Virginia Gerson and possibly Alice Gerson. Also found are four portraits of Chase, four photographs of Chase in his studio, a copy print of students at the Shinnecock Art School in circa 1895, and a copy print of an 1880 Tile Club trip up the Hudson River. In addition to circa 1960 copy prints, photographs include a variety of vintage prints such as albumen cabinet cards, silver gelatin prints, and a tintype.
Arrangement:
Due to the small size of the collection, the papers are arranged as 1 series.

Series 1: William Merritt Chase Papers, circa 1890-1964 (0.3 linear feet.; Box 1, OV 2)
Biographical / Historical:
William Merritt Chase (1849-1916) was one of America's most prominent painters and art instructors in New York, New York and Shinnecock, Long Island, during the late 19th century. One of the first Impressionist landscape painters in the U. S, Chase was also a highly accomplished portrait and still life painter.

Born in Indiana, Chase lived in New York and St. Louis, Missouri, before traveling to Europe and studying at the Royal Academy in Munich. After returning to New York in 1878, he taught at the Art Students League until 1896. His studio in the Tenth Street Studio building became an important gathering place for artists, students and patrons. Chase was also a member of the Tile Club whose members shared an interest in the decorative arts and sought to have their designs translated into ceramic tiles, from 1877-1887.

Chase became one of the most important teachers of American artists around the turn of the century. He opened the Shinnecock Hills Summer Art School in 1891 and taught there until 1902, living in a house at Shinnecock designed by Stanford White. In 1896 he opened the Chase School of Art and also taught at the Brooklyn Art Association in 1887, and 1891-1896, and the Pennsylvania Academy of Fine Arts from 1896-1909.

Chase was a member of the National Academy of Design, and was president of the Society of American Artists from 1885 to 1895.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel N69-115 includes an additional family scrapbook, undated, containing photographs of Chase, his wife and children, a notice of sale of the Chase house in Shinnecock Hills, N.Y. designed by Stanford White, and photographs of the house. Found on reel N69-119 are circa two hundred photographs of Chase at work, his wife, his studios in Philadelphia and on 5th Avenue and 10th Street New York City, and numerous snapshots of characters in a tableau vivant that include his family, friends, Mary S. Moore Cross, and others. Reel N69-137 contains letters from Chase to his wife during his travels abroad, one note from John Singer Sargent requesting the use of Chase's studio for the famous party Sargent gave for Isabella Stewart Gardner in 1890, and a six-page typescript, "Reminiscences of a Student," by F. Usher De Voll, and photographs of Chase's studio. Loaned materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
The papers were received in a series of accessions between 1969 and 2010. A portion was loaned for microfilming by Robert S. Chase and Chapellier Galleries in 1969. Roger Storm, the widower of Chase's daughter Helen, donated lectures and speeches, a 1912 letter, and photocopies of a dinner menu and photos of artwork in 1969. Art collector Fred D. Bentley gave photographic copy prints of Chase's summer home, studio and art school. D. Frederick Baker, the author of the Chase catalogue raisonné, gave two letters, two postcards, the Chase family scrapbook, vintage photographs, and blank postcards in 2010. Baker received the material from Chase's estate via Chase's grandson, Jackson Case Storm.
Restrictions:
Use of original papers requires an appointment.
Rights:
The William Merritt Chase 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:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Art, American  Search this
Art teachers -- New York (State) -- New York  Search this
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
William Merritt Chase papers, circa 1890-1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chaswill
See more items in:
William Merritt Chase papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-chaswill
Online Media:

William Burroughs and Brion Gysin writings

Creator:
Gysin, Brion, 1916-1986  Search this
Burroughs, William S., 1914-1997  Search this
Names:
Hotel Les Goelands (Saint-Jean-de-Luz, France)  Search this
Bradshaw, David  Search this
Brady, John  Search this
Grinstein, Elyse, 1929-2016  Search this
Grinstein, Stanley, 1927-2014  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Date:
1997
1963-1973
Summary:
The writings of American writer William S. Burroughs and British writer Brion Gysin measure 0.4 linear feet and date from 1963 to 1973, and 1997. This collection includes three books of writings by Burroughs and Gysin and one folder of letters from artist David Bradshaw to art collectors Stanley and Elyse Grinstein about William Burroughs.
Scope and Contents:
The writings of American writer William S. Burroughs and British writer Brion Gysin measure 0.4 linear feet and date from 1963 to 1973, and 1997. This collection includes three books of writings by Burroughs and Gysin and one folder of letters from artist David Bradshaw to art collectors Stanley and Elyse Grinstein about William Burroughs.

The three books of writings by William Burroughs and Brion Gysin use a "cut-up technique" of diaristic writings. Drawings, clippings, photos, and other items are pasted onto the pages throughout the books. Two of the books were created in agenda books and the third was created in a Les Goelands notebook. The third book has been identified as "John Brady's book," after a friend of Burroughs. There are a few loose pages from the Les Goelands notebook in a corresponding folder and one folder of letters about Burroughs written by the artist David Bradshaw.
Arrangement:
The collection is arranged as 1 series.

Series 1: Writings, 1963-1973, 1997 (0.4 linear feet; Box 1)
Biographical / Historical:
William S. Burroughs (1914-1997) was a writer in New York, Mexico, Morocco, and Kansas. Burroughs's friend, painter and poet Brion Gysin, developed the "cut-up technique" of writing, a form of collage using blocks of randomly arranged text, which was popularized by Burroughs. Gysin taught the cut-up technique to Burroughs at the Beat Hotel in Paris, France around 1959, and Burroughs implemented the technique to create his third novel, Naked Lunch. The two continued to collaborate on projects and remained close friends.
Related Materials:
Also found at the Archives of American Art are the papers of Stanley and Elyse Grinstein, who were prominent art collectors and patrons.

The New York Public Library archive also possesses a substantial collection of William S. Burroughs papers.
Provenance:
The William Burroughs and Brion Gysin writings were donated in 2017 by the Grinstein family, via Ayn Grinstein, Ellen Grinstein Perliter, and Nancy Grinstein, executors.
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.
Rights:
The copyright for the material by William Burroughs and Brion Gysin is controlled by the William S. Burroughs Trust (which includes the Gysin Estate). The Wylie Agency LLC, 250 West 57th Street, Suite 2114, New York, N. Y. 10107, are literary agents representing the Estates of William S. Burroughs and Brion Gysin.
Topic:
Authors  Search this
Collagists  Search this
Experimental fiction  Search this
Genre/Form:
Drawings
Photographs
Citation:
William Burroughs and Brion Gysin writings, 1963-1973, 1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.burrwill
See more items in:
William Burroughs and Brion Gysin writings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-burrwill
Online Media:

Lillian and Frederick Kiesler papers

Creator:
Kiesler, Lillian, 1910?-2001  Search this
Names:
Anthology Film Archives  Search this
Hans Hofmann School of Fine Arts  Search this
John Simon Guggenheim Memorial Foundation  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
University of Iowa, Museum of Art  Search this
Whitney Museum of American Art  Search this
Adnan, Etel  Search this
Andres, Jo  Search this
Arnaud, Leopold, 1895-  Search this
Bartos, Armand P., 1910-  Search this
Bultman, Fritz, 1919-1985  Search this
Buscemi, Steve, 1958-  Search this
Castelli, Leo  Search this
Copley, Alfred L.  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Hawkins, Erick  Search this
Hodges, Alice  Search this
Hofmann, Hans, 1880-1966  Search this
Holtzman, Harry  Search this
Howe, George, 1886-1955  Search this
Kamler, Richard  Search this
Kiesler, Frederick  Search this
MacIver, Loren, 1909-  Search this
Meredith, Burgess, 1907-1997  Search this
Milius, Tom  Search this
Miller, Henry, 1891-  Search this
Mondrian, Piet, 1872-1944  Search this
Montgomery, Chandler  Search this
Owen, Jane Blaffer, 1915-2010  Search this
Purdy, James  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
49.1 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Date:
circa 1910s-2003
bulk 1958-2000
Summary:
The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
Scope and Content Note:
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.
Arrangement:
The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-55; 41.1 linear feet, ER01; 0.001 GB)

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)
Biographical Note:
Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.
Related Material:
The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Separated Material:
Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.
Provenance:
The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Lillian and Frederick Kiesler 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:
Sculptors -- New York (State) -- New York  Search this
Set Designers -- New York (State) -- New York  Search this
Women artists  Search this
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Exhibition designers  Search this
Art schools -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art schools -- Massachusetts -- Provincetown  Search this
Art patrons -- New York (State) -- New York  Search this
Architects -- New York (State) -- New York  Search this
Actors -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Citation:
Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kieslill
See more items in:
Lillian and Frederick Kiesler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kieslill
Online Media:

Adelyne Dohme Breeskin papers

Creator:
Breeskin, Adelyn Dohme, 1896-1986  Search this
Names:
National Collection of Fine Arts (U.S.)  Search this
National Museum of American Art (U.S.)  Search this
Avery, Milton, 1885-1965  Search this
Cassatt, Mary, 1844-1926  Search this
MacIver, Loren, 1909-  Search this
Extent:
2.5 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
circa 1934-1986
Summary:
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Scope and Contents:
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Arrangement:
The collection is arranged as four series:

Series 1: Biographical Material, 1938-1986 (0.6 linear feet; Box 1, OVs 4-6)

Series 2: Correspondence, 1940-1970 (0.5 linear feet; Box 1)

Series 3: Writings and Lectures, circa 1934-1981 (1 linear foot; Boxes 1-2)

Series 4: Professional Files, 1945-1984 (0.4 linear feet; Boxes 2-3)
Biographical / Historical:
Adelyn Dohme Breeskin (1896-1986) was an art historian and museum curator in Baltimore, Maryland, and Washington, D.C. She was the first woman to be named director of a major American museum, the Baltimore Museum of Art.

Adelyn Dohme took her first museum job in the print department of the Metropolitan Museum of Art, where she worked with Kathryn B. Child under the supervision of William Mills Ivins. She left the museum in 1920 to marry violinist Elias Breeskin, and the couple had three children before divorcing in 1930.

Following her divorce, Breeskin returned to her native Baltimore and took a position as a curator with the Baltimore Museum of Art. In 1942 she was appointed director of the museum and remained in that position until 1962. As director she gave Milton Avery and Mary Cassatt's graphics their first museum shows.

Breeskin served as commissioner for the American contingent of the Venice Biennale in 1960 and was director of the Washington Gallery of Modern Art from 1962-1964. She then became a special consultant in twentieth-century art for the Smithsonian's National Collection of Fine Art and served as the museum's curator of contemporary painting and sculpture from 1968 to 1974.

Breeskin authored two catalogue raisonnés of Mary Cassatt's work, and conducted extensive research for a monograph on Loren MacIver, although the monograph was ultimately not published. In 1985 Breeskin received the Smithsonian Institutions highest award, the Gold Medal for Exceptional Service, and at the time of her death in 1986, was senior curatorial adviser.
Related Materials:
The Archives of American Art also holds oral history interviews with Adelyn Breeskin conducted by Paul Cummings in 1974, and Julie Haifley in 1979.
Provenance:
Portions of the collection were donated to the Archives of American Art in a series of gifts from Adelyn Breeskin, 1979-1985. Material relating to Loren MacIver was donated 1979-1987 by Breeskin and Robert Frash, who had possession of Breeskin's research materials on MacIver for an exhibition on MacIver he curated in California. Letters from Georgia O'Keeffe, Stanton Macdonald-Wright, and Lawrence Calcagno, an exhibition catalog for Calcagno, and the file on Milton Avery, were donated by the National Museum of American Art on January 28, 1981. The birthday book was a gift from Breeskin's daughter, Gloria Breeskin Peck, in 2015. The sound recordings were transferred from the National Museum of American Art, circa 1984.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Maryland -- Baltimore  Search this
Art museum curators -- Washington (D.C.)  Search this
Art historians -- Maryland -- Baltimore  Search this
Art historians -- Washington (D.C.)  Search this
Topic:
Women art historians  Search this
Women museum curators  Search this
Genre/Form:
Sound recordings
Citation:
Adelyn Dohme Breeskin papers, circa 1934-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.breeadel
See more items in:
Adelyne Dohme Breeskin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-breeadel

Michael Brenner papers

Creator:
Brenner, Michael, 1885-1969  Search this
Names:
Washington Square Gallery  Search this
Coady, Robert J., 1881-1921  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1888-1976
Summary:
The papers of the sculptor Michael Brenner measure 0.4 linear feet and date from 1888 to 1976. The collection includes letters, scrapbooks, drawings, photographs and other materials documenting Michael Brenner's career, the activities of members of the Brenner family, and the colony of expatriate American artists flourishing in Paris in the early twentieth century.
Scope and Contents:
The papers of the sculptor Michael Brenner measure 0.4 linear feet and date from 1888 to 1976. The collection includes letters, scrapbooks, drawings, photographs and other materials documenting Michael Brenner's career, the activities of members of the Brenner family and the colony of expatriate American artists flourishing in Paris in the early twentieth century.

Letters are written to family members and associates and include exchanges between Brenner's sister Miriam (Fanny) and her brothers Michael, Morris, Samuel, and Victor (Dave) Brenner concerning their health, family business, work, and other art-related activities. Several of Michael Brenner's letters mention his dissatisfaction with Robert Coady's handling of consignments, dealings with Mr. Kahnweiler, and exhibitions of colleagues Michel Kikoine and Pinchus Kremegne. Other correspondents include Alexandre Charpentier and (Louis) Oscar Roty.

Scrapbooks are comprised of material related to the life and career of Michael Brenner. The first scrapbook contains a photocopy of a letter written to Michael Brenner from Gertrude Stein where she describes her travels with Alice B. Toklas and mentions the bust Brenner made of her likeness. Other materials include a 1953 exhibition catalog for Chaim Soutine at Perls Galleries, letters written to Mrs. Michael Brenner concerning the sale of her husband's artwork, and photographs of Michael Brenner, Miriam Brenner, other family members, and works of art.

Photographs are of artwork and show Brenner family members, Victor Brenner and his studio, Michael Brenner with Chaim Soutine and pictures of Brenner's close friend, I. C. Rubin and Albert Einstein.

Art work is comprised of twenty-seven figure drawings.

Printed materials consists of clippings about Abraham Lincoln, reproductions of works of art, a bookplate for Marion Kean Lopez, and an essay entitled "Instead of an Introduction" by Sadakichi Hartmann praising the American landscape artist, Leon Dabo. Also found is an 1899 announcement for a "Seance Publique Annuelle," a photocopy of an article about Brenner by Cathy Turrill, a list of objects borrowed and photographed by Turrill in 1974, a photocopy of a photograph of Robert Coady, and the cover of an Avant-Garde catalog.

Other materials includes notes and a subject file on a life-long friend and physician, I. C. Rubin (1922-1975). There are letters from Rubin about his travels and photographs of Brenner and Rubin as young men, Brenner with his son, and Brenner with painter Isaac Pailes.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Michael Brenner (1885-1969) was a sculptor who emigrated from Lithuania to New York with his family in 1890. In 1900, Brenner moved to Paris, France, entering the Ecole des Beaux-Arts and the Academie Julian. He studied under his brother, Victor Brenner, and Augustus Saint-Gaudens. Brenner established a studio in Paris and was included in Gertrude Stein's circle of friends. He was associated with a small artist colony of Russian Jews which included Chaim Soutine, Michel Kikoine, Pinchus Kremegne, and Isaac Pailes. In 1914, with his American friend, Robert Coady, Brenner established the Washington Square Gallery in New York for which he acted as European agent.
Provenance:
The papers of Michael Brenner were donated by his widow in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Topic:
Expatriate painters -- France -- Paris  Search this
Citation:
Michael Brenner papers, 1888-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brenmich
See more items in:
Michael Brenner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brenmich

Anna Richards Brewster papers

Creator:
Brewster, Anna Richards, 1870-1952  Search this
Names:
Brewster, W. T. (William Tenney), 1869-1961  Search this
Richards, Anna M. (Anna Matlock)  Search this
Richards, William Trost, 1833-1905  Search this
Extent:
0.8 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Date:
1887-1964
Scope and Contents:
Certificates, letters, legal material, writings, sketchbooks, art works, photographs, printed material, and a scrapbook.
REEL 3796: A scholarship certificate for Cowles Arts School, 1888; a certificate for the National Academy of Design's Dodge Prize, 1890; 7 letters from Brewster's father William Trost Richards, in which he discusses his lodgings in Germany, Anna's paintings, the publication of A NEW ALICE IN WONDERLAND, illustrated by Brewster and written by her mother Anna Matlock Richards, and other matters; letters from Brewster's brothers and husband William; writings by Brewster; a book of poems by Anna Matlock Richards[?], and a book of poetry, LETTER AND SPIRIT: DRAMATIC SONNETS OF INWARD LIFE by Richards, illustrated by Brewster, published by George Allen, 1898 (57 p.); 3 poems by William Brewster;
sketchbooks, undated, one of which contains a photograph of a young woman; 19 pencil and ink illustration sketches; an etching of a stone gate; reproductions of Brewster's art work for A NEW ALICE IN THE OLD WONDERLAND and for miscellaneous greeting cards; clippings; THE HILLS OF MATUNUCK AND THE OLD POST ROAD by Carder H. Whaley, 1964; a photograph of Brewster; and 2 photographs of William T. Brewster.
Also included is a 7-page book LETTER AND SPIRIT: DRAMATIC SONNETS OF INWARD LIFE by Anna Matlock Richards, illustrated by Anna Richards Brewster (1898).
UNMICROFILMED: Marriage certificate, 1905; a passport affidavit, 1918; and a certificate of commendation from the French government, 1920; legal material concerning William Tenney Brewster, including a will, cremation certificate, estate papers, and copyright certificates, 1954-1961; correspondence with Brewster's father William Trost Richards, her husband William, William's brother Edwin, and other family members, 1887-1919; and fourteen letters concerning art related matters, including 3 thank you notes from Dwight Eisenhower (1919-1959); lists of recipients of Brewster's books; reviews of the William Trost Richards memorial exhibition;
8 clippings, 1955-1961; a scrapbook LIBER POKERI created for Brewster by her brother Herbert and her husband containing a drawing and clippings about poker; and a photograph album of Herbert Richards Brewster, 1906-1910.
Biographical / Historical:
Illustrator, painter, writer; New York and Pennsylvania. Collaborated as an illustrator with her mother, poet and author Anna Matlock Richards. Brewster's father, William Trost Richards, was a well-known marine painter. Her brother Theodore William Richards was a professor of chemistry at Harvard and a Nobel Prize winner, and another brother, Herbert Maule Richards, was a professor of botany at Barnard College, Columbia University. Brewster lived nine years in London.
Provenance:
Material on reel 3796 donated 1985 by Susan Brewster McClatchy, Brewster's grandniece except for fr. 5-75, which were returned to McClatchy. Donor of the 1986 gift, Martha Santiago, is the aunt of Susan Brewster McClatchy.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Marine painters  Search this
Illustrators  Search this
Painters  Search this
Topic:
Marine painting, American  Search this
Illustration -- United States  Search this
Women artists  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Identifier:
AAA.brewanna
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brewanna

Dorothy Bridaham scrapbooks

Creator:
Bridaham, Dorothy, 1915-1987  Search this
Extent:
0.7 Linear feet ((on two microfilm reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1938-1964
Scope and Contents:
Two scrapbooks (1938-1942, 1946-1964) containing clippings of art reviews written by Bridaham for the CHICAGO SUN and the DENVER POST. The first scrapbook also contains 35 letters (1942-1943) responding to Bridaham's reviews and a 1949 note outlining amended bibliographic information.
Biographical / Historical:
Bridaham wrote fine arts columns under her maiden name, Dorothy Odenheimer, for the CHICAGO SUN from 1942 to 1947 and for the DENVER POST from 1959 to 1963. She was married to the art historian Lester Burbank Bridaham.
Provenance:
Donated 1987 by Lester B. and Dorothy O. Bridaham.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art critics  Search this
Topic:
Women art critics  Search this
Art criticism -- Colorado -- Denver  Search this
Art criticism -- Illinois -- Chicago  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.briddoro
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-briddoro

Boston University Program in Artisanry records

Creator:
Boston University. Program in Artisanry  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1974-1985
Scope and Contents:
Files contain inter-University correspondence concerning fundraising and the merger of the Franklin School and Boston University (1974-1977), 3 statements of goals and a development plan (1974-1977), budget projections (1975-1977) and fundraising memos (1974-1978), and printed material regarding the cessation of support and affiliation with Boston University (1984-1985).
Biographical / Historical:
The Program was established in 1975 as an outgrowth of Boston University's affiliation with the Franklin Institute of Boston. In 1985, Boston University discontinued support of and affiliation with the Program. In September 1985, the Program was acquired by the Swain School of Design in New Bedford, Massachusetts.
Related Materials:
Program in Artisanry records also located at Swain School of Design, New Bedford, Massachusetts.
Provenance:
The donor, Robert L. Cardinale, directed the Program in Artisanry at Boston University until 1985.
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.
Topic:
Art in universities and colleges  Search this
Decorative arts -- Study and teaching -- Massachusetts -- Boston  Search this
Handicraft -- Study and teaching -- Massachusetts -- Boston  Search this
Identifier:
AAA.bostuniv
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bostuniv

[Photographs of Willem de Kooning]

Creator:
Bourgeois, Louise, 1911-2010  Search this
Names:
De Kooning, Willem, 1904-1997  Search this
Extent:
2 Items (photographic prints, b&w, 7 x 5 in.)
Type:
Collection descriptions
Archival materials
Date:
[ca. 1955]
Scope and Contents:
Two photographs of painter Willem De Kooning taken by sculptor Louise Bourgeois, ca. 1950s. One shows de Kooning in his studio and the other is of de Kooning and his mother.
Provenance:
Donated by Robert Miller Gallery as an agent for Bourgeois.
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.
Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
Permission to quote, publish or reproduce must be obtained from Kirsten Peterson c/o Robert Miller Gallery.
Topic:
Artists' studios -- Photographs  Search this
Identifier:
AAA.bourlouk
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bourlouk

Woodward S. Bousquet research material relating to Marshall B. Fleming

Creator:
Bousquet, Woodward S.  Search this
Names:
Fleming, Marshall B., 1916-  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1989-1992
Scope and Contents:
An indexed transcript of an interview of Fleming conducted by Bousquet at Fleming's home in New Creek, W.Va., Apr. 18 and July 17-18, 1990 (144 p.); Bousquet's notes from a telephone conversation with Fleming, Sept. 24, 1990; 18 photographs, 1989-1992, of Fleming and his works of art; a copy of an "environment field survey form" on Fleming's folk art environment prepared by Bousquet for SPACES (Saving and Preserving Arts and Cultural Environments) in Los Angeles, California; and copies of articles written by Bousquet on Fleming for the Goldenseal, and for the Appalachian Journal, 1992.
In his interview, Fleming describes his wood carvings and constructions, his techniques, materials and sources of information, and his encounters with folk art collectors and curators.
Biographical / Historical:
Bousquet is chair, Environmental Studies Program at Warren Wilson College, N.C. whose teaching included Appalachian region issues. Fleming is a woodcarver, New Creek, W. Va.
Provenance:
Donated 1990 by Woodward S. Bousquet.
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:
Folk artists -- Virginia -- New Creek  Search this
Wood-carvers -- Virginia -- New Creek  Search this
Topic:
Wood-carving -- United States  Search this
Folk art -- United States  Search this
Genre/Form:
Interviews
Identifier:
AAA.bouswood
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bouswood

Porter Blanchard papers

Creator:
Blanchard, Porter, 1886-1973  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1914-1983
Scope and Contents:
Biographical material, correspondence (1942-1973), notes, drawings, a subject file on writing, short story manuscripts, clippings, brochures, an exhibition catalog, and photographs and albums document the career of silversmith Porter Blanchard.
Among the biographical materials are an 8-page autobiography and a notebook, "The Story of Porter Blanchard: Hand Wrought Silver and Pewter," with a brochure about Blanchard and copy photographs of his work. Correspondence includes two business letters (1942, 1949) concerning the price of silver, five letters (1964) from Blanchard, traveling in Hawaii and Tahiti, to his family, 30 sympathy letters to Blanchard's family after his death in 1973; and letters concerning Blanchard's family tree. There are a 1966 application to the Treasury Department for a gold license, notes concerning projects and clients, accompanied by two small templates and 42 drawings of jewelry designs. A subject file (1966-1967) contains letters and manuscripts for short stories submitted by Blanchard to a writer's training course. Among the printed materials are clippings (1932-1979), brochures (1929-1969) about Blanchard and his studio, THE RENAISSANCE OF AN ANCIENT ART by L. Stanley Grohs (1930), THE STORY OF STERLING by the Sterling Silversmith Guild of America (1937), and a 1960 exhibition catalog, "Design for Silver". Photographs (1914-1972) show Blanchard, his granddaughter, friends, the exterior of his studio (1930) and his work. Two photograph albums (ca. 1957) focus on Blanchard and workers in his studio.
Biographical / Historical:
Blanchard learned the trade of the silversmith from his father, George Porter Blanchard in Gardner, Massachusetts. In 1923, Porter Blanchard moved to Burbank, California, where he established a studio for silversmithing. Between the 1930s and 1950, he operated a shop in Hollywood, then worked from his home in Pacoima from the 1940s until his death in 1973. Blanchard was a member of the Boston Society of Arts and Crafts and was awarded their title of medalist in 1944.
Provenance:
The donors, Rebecca Adler and Alice E. Wise, are the daughters of Porter Blanchard.
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:
Silversmiths  Search this
Jewelers  Search this
Genre/Form:
Drawings
Identifier:
AAA.blanport
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blanport

Irving Block papers

Creator:
Block, Irving  Search this
Names:
Ankrum Gallery  Search this
California State University, Northridge -- Faculty  Search this
Hirshhorn Museum and Sculpture Garden  Search this
United States. Works Progress Administration  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Faiss, Fritz  Search this
Whitman, Walt, 1819-1892  Search this
Extent:
1.62 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sound recordings
Date:
1938-1986
Scope and Contents:
Biographical material, professional and personal correspondence, subject files, financial records, artwork, printed material and an audio cassette.
Biographical information includes a résumé and award. Business correspondence, 1964-1984, regards the opening of The Hirshhorn Museum and Sculpture Garden and Block's teaching position at California State University, Northridge, and personal correspondence includes 5 illustrated letters by Block to his wife and two printed cards from Fritz Faiss. Subject files regard the WPA, 1938-1983, film animation, 1957-1976, and book illustration, 1978-1984. Financial records relate to Block's association with the Ankrum Gallery, 1936-1981. Photographs are of Block, his friends, family and works of art.
Artwork includes 2 sketches, 1962, and approximately 60 pencil figurative drawings and studies done during weekly life drawing sessions established by Block and Hans Burkhardt at the Studio Club on the MGM lot from the 1950s to mid-1970s (among them is a pastel by Burkhardt of Block drawing the nude model); and 16 drawings and one print and one poster, most of which were executed by Irving Block for Santa Susana Press, California State University, Northridge's 1986 broadside of John Updike's poem, A Pear Like a Potato. Printed material, 1941-1982, includes exhibition catalogs and clippings. An audio cassette contains Block's reminiscences of his friendship with Burkhardt and a recording of Block delivering a lecture to a senior seminar class on Walt Whitman.
Biographical / Historical:
Irving Block (1910-1986) was a painter and educator in Los Angeles, California. Block was born in New York City. He was involved in the Works Projects Administration's Federal Art Project in the 1930s, and worked as a matte shot artist at 20th Century Fox during the 1940s and 50s. He taught for many years at California State University, Northridge (1963-1980). Block co-authored with Alan Adler the original story for the science fiction film Forbidden Planet, for which he designed Robbie the Robot.
Provenance:
Donated 1984 by Block and in 1996 by Jill Block, the widow of Irving Block. Additional drawings, print and poster donated 2015 by Virginia Elwood-Akers, a former librarian at California State University, Northbridge who received the drawings from colleague Dean Norman Tanis, head of the Santa Susana Press.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Topic:
Animation (Cinematography) -- California -- Los Angeles  Search this
Art and motion pictures  Search this
Federal aid to the arts  Search this
Illustration of books  Search this
Motion picture industry  Search this
Painting, Modern -- 20th century -- California -- Los Angeles  Search this
Function:
Motion picture studios -- California -- Hollywood
Genre/Form:
Drawings
Sound recordings
Identifier:
AAA.blocirvi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blocirvi

Carl Oscar Borg scrapbooks

Creator:
Borg, Carl Oscar, 1879-1947  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1903-1955
Summary:
This collection consists of three scrapbooks dating from 1903 to 1955 containing mostly newspaper clippings which document the career of California artist Carl Oscar Borg, particularly his work as art director for Hollywood films.
Scope and Content Note:
The collection consists of three scrapbooks compiled by Borg, and after his death by his widow, Lily Borg Elmberg. These contain newspaper clippings from the U.S. and Sweden, documenting Borg's lifelong career as a painter and printmaker since his arrival in Los Angeles in 1903. One scrapbook, 1925-1938, highlights his role as supervising art director for the1926 silent film, The Black Pirate starring actor Douglas Fairbanks. Also included are articles about his years working in the silent movie industry (1925-1928) as the art director of films, Black Pirate, The Gaucho, The Night of Love, The Magic Flame, Two Lovers, and The Iron Mask.
Arrangement:
Volumes are divided into three main categories: I. Los Angeles Years (1903-1935), II. Silent movies and trip to Sweden (1925-1938), and III. Sweden and Santa Barbara years (1935-1955). The dates of a number of the newspaper clippings and exhibition catalogs found in the scrapbooks overlap. In addition, Scrapbook I, 1903-1935, is in fragile condition and should be handled with care.
Biographical Note:
Self taught Swedish-American artist Carl Oscar Borg (1879-1947) began his career as a sign painter in New York. He emigrated to the United States from Stockholm, Sweden in 1901, settling in Los Angeles in 1903 where he became active in the emerging Los Angeles art community. He became the protogé of Phoebe Apperson Hearst (mother of William Randolph Hearst) whose support and endorsement enabled him to study in Europe. He established himself as a serious artist after World War II working in the fields of print, film and painting, enabling him to secure a place among the Los Angeles artistic elite. Borg specialized in painting the Southwestern Hopi and Navajo Indians. He also painted mariners and the seal hunting scenes which took place in Channel Island near Santa Barbara. He was a member of the National Academy of Design, the National Academy of Arts, the Sociéte Internationale des Beaux Arts (Paris) and the prestigious Salmagundi Club. He traveled to Sweden in 1939, remaining there until the end of World War II. Upon his return to California, he settled in Santa Barbara where he remained until his death in 1947.
Provenance:
The collection was donated in 1998 by Helen Laird, who received the papers from Borg's widow, Lily Borg Elmberg in preparation for a biography on Carl Oscar Borg.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Carl Oscar Borg scrapbooks 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 -- California -- Los Angeles  Search this
Motion picture industry  Search this
Silent films  Search this
Artists -- Sweden  Search this
Painters -- California -- Santa Barbara  Search this
Motion picture art directors -- California  Search this
Citation:
Carl Oscar Borg scrapbooks, 1903-1955. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.borgcarl
See more items in:
Carl Oscar Borg scrapbooks
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-borgcarl

Rudi Blesh papers

Creator:
Blesh, Rudi, 1899-1985  Search this
Names:
Davis, Stuart, 1892-1964  Search this
Duchamp, Marcel, 1887-1968  Search this
Janis, Harriet Grossman  Search this
Motherwell, Robert  Search this
Schwitters, Kurt, 1887-1948  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1900-1983
Summary:
The papers of writer, critic, and architectural designer Rudi Blesh measure 2.1 linear feet and date from circa 1900 to 1983. The collection includes correspondence, documentation on writing projects and notes, printed materials, and photograpic materials. Much of the material concerns his collaboration with Harriet Janis on the book Collage: Personalities, Concepts, Techniques.
Scope and Contents:
The papers of writer, critic, and architectural designer Rudi Blesh measure 2.1 linear feet and date from circa 1900 to 1983. The collection includes correspondence, documentation on writing projects and notes, printed materials, and photograpic materials. Much of the material concerns his collaboration with Harriet Janis on the book Collage: Personalities, Concepts, Techniques. Of note is correspondence with Jean Dubuffet, Marcel Duchamp, Sonia Delaunay, and Aaron Siskind; notes on Robert Motherwell, Stuart Davis, Man Ray, Hans Richter, and others; and photographs of Willem de Kooning, Mark Rothko, Jasper Johns, Robert Rauschenberg, and Jackson Pollock.
Arrangement:
The collection is arranged as four series.

Series 1: Correspondence, 1909-1979 (0.2 linear feet; Box 1)

Series 2: Writing Projects and Notes, circa 1945-1967 (0.8 linear feet; Box 1)

Series 3: Printed Materials, 1939-1983 (0.3 linear feet; Box 2)

Series 4: Photographic Materials, circa 1900-circa 1969 (0.8 linear feet; Box 2, OV 3)
Biographical / Historical:
Rudi Blesh (1899-1985) was a writer, critic, and architectural designer in New York, N.Y.

Blesh was born in Guthrie, Oklahoma. He was known as a jazz critic but had a career as an interior designer before he began writing about jazz and art. Blesh attended Dartmouth College where he first encountered jazz music. He became a jazz critic for The San Francisco Chronicle and The New York Herald Tribune after relocating to New York in 1944.

Blesh partnered with Harriet "Hansi" Janis to co-author They All Played Ragtime and Collage: Personalities, Concepts, Techniques, a book about the development of collage and its use by artists such as Kurt Schwitters, Marcel Duchamp, Alberto Burri, Willem de Kooning, Robert Rauschenberg, and other notable artists.

Later in life, Blesh taught at New York University and Queens College while continuing to write about jazz. He died in 1985 in New Hampshire.
Provenance:
The papers were donated by Rudi Blesh in 1981 and in 1993 by longtime friend Ethel Baziotes, who received the papers from Blesh before his death.
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:
Art critics -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Collage  Search this
Abstract expressionism  Search this
Citation:
Rudi Blesh papers, circa 1900-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blesrudi
See more items in:
Rudi Blesh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blesrudi

Henry Botkin papers

Creator:
Botkin, Henry, 1896-1983  Search this
Names:
American Abstract Artists  Search this
Artists Equity Association  Search this
Federation of Modern Painters and Sculptors  Search this
Gallery 256 (Provincetown, Mass.)  Search this
Arlen, Harold, 1905-1986  Search this
Botkin, Benjamin Albert, 1901-1975  Search this
Brice, Fanny  Search this
Brice, William, 1921-2008  Search this
Gershwin, George, 1898-1937  Search this
Gershwin, Ira, 1896-  Search this
Godowsky, Frances  Search this
Gross, Chaim, 1904-1991  Search this
Hasegawa, Saburō, 1906-1957  Search this
Hofmann, Hans, 1880-1966  Search this
Knaths, Karl, 1891-1971  Search this
Laurent, Toinette Botkin  Search this
Mocsanyi, Paul  Search this
Motherwell, Robert  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Barnett, 1905-1970  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Rattner, Abraham  Search this
Robus, Hugo, 1885-1964  Search this
Schoenberg, Arnold, 1874-1951  Search this
Shadbolt, Jack, 1909-  Search this
Siqueiros, David Alfaro  Search this
Von Wicht, John, 1888-1970  Search this
Extent:
3.5 Linear feet ((on 10 microfilm reels))
4 sound tapes (7 & 5 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Drawings
Scrapbooks
Date:
1917-1979
Scope and Contents:
Biographical material (1945-1965), letters (1917-1979), notes (1950-1970), writings (1944-1970), business records (1927-1977), art works (1932-1964), subject files (1952-1955), scrapbook (1927-1939), printed material (1923-1977), and photographs (1922-1968) documenting Botkin's career and his friendship with George and Ira Gershwin and other entertainment and artistic figures.
Among the correspondents and subjects of photographs or letters are: George and Ira Gershwin, their sister Frances Godowsky, Botkin's brother Benjamin, Botkin's daughter Toinette Botkin Laurent, and grandson Alexander Laurent, composer Harold Arlen, Fanny Brice and her son William Brice, artists Chaim Gross, Saburo Hasegawa, Hans Hofmann, Karl Knaths, Paul Manship, Paul Mocsanyi, Robert Motherwell, Louise Nevelson, Barnett Newman, Pablo Picasso, Wallace Putnam, Abrahmam Rattner, Hugo Robus, Arnold Schoenberg, Jack Shadbolt, John Von Wicht, and Abraham Walkowitz. Also included are photographs of Botkin's studio, night picnic in Provincetown attended by many artists; and material relating to American Abstract Artists, New School Art Center, Provincetown Art Association, and the Federation of Modern Painters and Sculptors. [See Finding Aid for information on location of items on the microfilm].
UNMICROFILMED: 3 untranscribed interviews of Botkin, 1 done for the "Today" show, NBC, June 4, 1965; 1 for Colette Roberts "Meet the Artist" Program, undated, and 1 by an unidentified interviewer. Also included is an untranscribed monologue, Oct. 11, 1970.
Biographical / Historical:
Painter; New York, N.Y. and Provincetown, Mass. Born in Boston and attended art schools there from 1913-1917. From 1917-1920, he attended the Art Students League and was employed as an illustrator for prominent magazines until 1929. Traveling abroad between 1926 and 1933, he attained his first one-man show in 1927 at the Billiet Galleries in Paris. Through his cousin, composer George Gershwin, Botkin became acquainted with people active in the performing arts, such as Harold Arlen, Fanny Brice, Harry Kurnitz, and Bert Lahr. Botkin was also involved in the American Abstract Artists, Artists Equity Association, Federation of Modern Painters and Sculptors, and Gallery 256 in Provincetown, Massachusetts.
Related Materials:
Henry Botkin papers also at Syracuse University.
Provenance:
Donated 1969-1982 by Henry Botkin and by his son Glenn and his assistant Rene Barilleaux. Many items were returned to Botkin after microfilming.
Restrictions:
Patrons must use microfilm copy. Use of untranscribed tapes requires an appointment at the Washington, D.C. office.
Occupation:
Composers  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Massachusetts -- Provincetown  Search this
Topic:
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Art, Abstract  Search this
Genre/Form:
Drawings
Scrapbooks
Identifier:
AAA.botkhenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-botkhenr

Peter Blume papers

Creator:
Blume, Peter, 1906-1992  Search this
Names:
American Academy of Arts and Letters  Search this
American Artists' Congress  Search this
Boston College  Search this
Connecticut Council of the Arts  Search this
Askew, R. Kirk (Ralph Kirk), 1903-1974  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Blankenhorn, Heber, 1884-1956  Search this
Blume, Grace  Search this
Boursa, Harry  Search this
Burke, Kenneth, 1897-  Search this
Cowley, Malcolm, 1898-  Search this
De Vries, Peter, 1910-1993  Search this
Eisenstaedt, Alfred  Search this
Getlein, Frank  Search this
Godsoe, Robert  Search this
Hirsch, Joseph, 1910-1981  Search this
Kelly, Michael A.  Search this
Miller, Arthur, 1915-2005  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Soyer, Raphael, 1899-1987  Search this
Trapp, Frank  Search this
Extent:
7.6 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Sound recordings
Interviews
Drawings
Photographs
Prints
Transcriptions
Lectures
Scrapbooks
Sketches
Date:
1870-2001
Summary:
The papers of New York and Connecticut painter Peter Blume date from 1870 to 2001 and measure 7.6 linear feet. Found are biographical materials; correspondence with family, friends, colleagues, galleries and institutions, and writers; writings on art by Blume and others; subject files regarding organizations, works of art, exhibitions, and reference files; personal business records; printed material; two scrapbooks; photographs of Blume, family, friends, and works of art; extensive artwork; and material relating to Blume's wife's family, the Cratons.
Scope and Contents:
The papers of New York and Connecticut painter Peter Blume date from 1870 to 2001 and measure 7.6 linear feet. Found are biographical materials; correspondence with family, friends, colleagues, galleries and institutions, and writers; writings on art by Blume and others; subject files regarding organizations, works of art, exhibitions, and reference files; personal business records; printed material; two scrapbooks; photographs of Blume, family, friends, and works of art; extensive artwork; and material relating to Blume's wife's family, the Cratons.

Biographical materials include an award, obituaries, a travel itinerary, and sound recordings and transcripts of interviews of Peter Blume by Alfred H. Barr, Boston College, Harry Boursa, and Visionary Company Magazine.

Correspondence is professional and personal. Letters are from friends, family, artists, writers, galleries, and institutions. Notable correspondents include Kirk Askew, Malcolm Cowley, Peter DeVries, Joseph Hirsch, and Frank A. Trapp, among others. Also found is Grace Blume's correspondence which includes letters to and from Peter Blume and letters from Grace to her family members and friends. The bulk of Grace Blume's correspondence concerns her travels with Blume.

Writings and notes by Blume include a travel journal, lists of works of art, lectures, talks and other writings on art, artists, and friends. Writings by others include theses and scholarly papers about Blume, and include writings by Heber Blankenhorn, Kenneth Burke, Malcolm Cowley, Robert Ulrich Godsoe, Frank Getlein, Michael A. Kelly, and Frank A. Trapp. Also found is criticism on The Rock by school children.

Blume's subject files cover the American Academy of Arts and Letters, American Artists Congress, Heber Blankenhorn, works of art by Blume, exhibitions, and the Connecticut Council on the Arts. Also found are reference files consisting of photographs of artwork by others and clippings.

Personal business and financial records consist of business correspondence with galleries and museums; sales and consignment records; scattered price lists; and receipts and invoices relating to the building and running of Blume's house in Connecticut.

Printed materials include clippings, exhibition announcements and catalogs for solo and group shows, magazines featuring articles about Blume, posters, and reproductions of works of art.

Scrapbooks include a fragment of a scrapbook from 1942-1944 and a clippings scrapbook from 1934-1939.

Photographs include portraits and snapshots of Peter Blume, Grace Blume, family, friends, travel, parties, pets, homes, landscapes, exhibitions, and works of art. There are also photos of the Askews, the Blankenhorns, the Cowleys, Alfred Eisenstaedt, the Holstens, the Josephsons, Arthur Miller, Georgia O'Keeffe, the Sobys, and Raphael Soyer.

Artwork by Peter Blume includes completed drawings, sketches, doodles, prints, and preliminary drawings for many of his works. Of note are extensive sketches of heads, and preliminary drawings for Recollection of the Flood.

Craton family papers consist of geneological material relating to Grace Blume's brother, James Craton and his wife Catherine Sears Craton. Found are vital records; military records for James and Marshall Craton; correspondence; scattered financial records; clippings; and family photographs.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Material, circa 1950-1992 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1926-1992 (1.8 linear feet; Box 1-3)

Series 3: Writings and Notes, 1929-1986 (0.5 linear feet; Box 3, 9)

Series 4: Subject Files, circa 1930-1988 (0.5 linear feet; Box 3-4)

Series 5: Personal Business and Financial Records, 1934-1983 (0.6 linear feet; Box 4, 9)

Series 6: Printed Material, 1930-1990 (0.7 linear feet; Box 4-5, 9, OV 15-16)

Series 7: Scrapbooks, 1934-1944 (3 folders; Box 5)

Series 8: Photographs, 1917-circa 1980 (1.1 linear feet; Box 5-6, 9)

Series 9: Artwork, 1932-1984 (2.0 linear feet; Box 6-9, OV 10-14)

Series 10: Craton Family Papers, 1870-2001 (0.2 linear feet; Box 6)
Biographical / Historical:
Russian-born painter and sculptor Peter Blume (1906-1992) was active in New York and Connecticut. His style combined American and European traditions with folk art and surrealism.

Peter Blume was born Piotr Sorek-Sabel in 1906 in Smorgon, Russia. With his family, he emigrated to the United States in 1911 and settled in New York City. Blume studied at the Educational Alliance and the Art Students League in New York. Influenced by folk art, Precisionism, Cubism, and Surrealism, Blume combined European and American painting tradition to create his own style. He was awarded a Guggenheim Fellowship in 1932 and travelled to Italy.

In 1934, Blume's South of Scranton (1931) won the first prize at the Carnegie International Exhibition. Later, he exhibited The Eternal City (1937) at the Julian Levy Galleries in Manhattan. With the Section of Painting and Sculpture of the Treasury Department, Blume completed two post office murals in New York and Pennsylvania. Blume was a member of the National Academy of Design and was active with the American Academy in Rome.

Peter Blume married Grace "Ebie" Douglas Craton in 1931. The couple built their home in Sherman, Connecticut. The Blumes travelled the world and kept close relationships with family and friends, such as Ann and Heber Blankenhorn, Malcolm Cowley, and Ned and Nancy Holsten.

Peter Blume died in Connecticut in 1992.
Related Materials:
Also in the Archives of American Art is an oral history interview with Peter Blume conducted on August 16th, 1983 to May 23rd, 1984 by Robert F. Brown.
Provenance:
The Peter Blume papers were donated by in 1993 by Grace Blume, Peter Blume's widow. Additional papers were donated by Catherine Weiss, Jamie Vance, and Leigh Butler in 2010.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Peter Blume 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:
Painters -- New York (State) -- New York  Search this
Genre/Form:
Travel diaries
Sound recordings
Interviews
Drawings
Photographs
Prints
Transcriptions
Lectures
Scrapbooks
Sketches
Citation:
Peter Blume papers, 1870-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blumpete
See more items in:
Peter Blume papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blumpete
Online Media:

Hyman Robert Bizinsky papers

Creator:
Bizinsky, Hyman Robert, 1915-1982  Search this
Names:
McGill, Ralph, 1898-1969  Search this
Morgan, Edward P., 1910-1993  Search this
Soupault, Philippe, 1897-  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1946-1990
Scope and Contents:
Correspondence, sketches, sketchbooks, clippings, and exhibition announcements. Papers record the career of Bizinsky from his 1946-1951 years in Paris and his lifelong friendship with crusading Atlanta Constitution editor Ralph McGill. Also included are 2 pages (4 sides) of Bizinsky's ink sketches of horses, a 1967 sketchbook, a sketch diary and loose sketches. Among the correspondents are Edward P. Morgan, the noted journalist and newsman, and Philipe Soupault, French poet and art critic (one letter, in French).
Biographical / Historical:
Painter, teacher; Los Angeles, Calif. Bizinsky was a post-impressionist painter of city and landscapes. He attended classes at Atlanta's High Museum of Art, and worked as a cartoonist for the Atlanta Constitution under editor Ralph McGill, who became his mentor, a lifelong friend, and collector of Bizinsky's work. He later attended the Art Students' League in N.Y. and the École Nationale Supérieure des Beauz-Arts in Paris. From 1946-1951 he worked in Paris with fauvist Emile-Othon Friesz and exppressionist Yves Brayer. He returned to the U.S. in 1951 under a scholarship from the Huntington Hartford Foundation in Southern California, and settled in Los Angeles where he became active in the Westwood Art Association.
Provenance:
Donated by Mrs. H. Robert Bizinsky, widow, 1994.
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 students -- France -- Paris  Search this
Artists -- California -- Los Angeles  Search this
Caricaturists -- Georgia -- Atlanta  Search this
Topic:
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.bizihyma
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bizihyma

Biesel family papers

Creator:
Biesel family  Search this
Names:
Artists Equity Association  Search this
Chicago No-Jury Society of Artists  Search this
Federal Art Project (Ill.)  Search this
Index of American Design  Search this
United States. Works Progress Administration  Search this
University of Chicago. Renaissance Society  Search this
Armin, Emil, 1883-  Search this
Biesel, Charles, 1865-1945  Search this
Biesel, Frances Strain, 1898-1962  Search this
Biesel, Fred, 1893-1954  Search this
Bohrod, Aaron  Search this
Foy, Frances M., 1890-1963  Search this
Richards, William Trost, 1833-1905  Search this
Extent:
3.1 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1859-1983
bulk 1915-1983
Scope and Contents:
Correspondence, essays, subject files, art work, clippings and other materials documenting the activities of a Chicago family of artists, the 57th Street Art Colony and the Chicago art world in the early twentieth century.
REELS 4207-4209: Biographical materials, including seven biographical accounts, a 1960 program and a 1961 certificate of honor for Frances Strain Biesel and four biographical accounts of Fred Biesel; correspondence, 1927-1963, primarily concerning activities of Fred and Frances; price lists for works of art; a 1955 estate list of the works of Charles Biesel; mailing lists; miscellaneous receipts, 1928-1961; a notebook, 1931-1934, containing addresses and financial notations concerning the sale of works of art.
writings, including two essays, "Is It Futuristic or Cubistic?" and "The 57th Street Colony," 2 untitled essays concerning the perception of modern art, a short story about an appointment with Charles Biesel, lecture notes by Fred Biesel, "War and Arts Exhibition" (Renaissance Society), an untitled lecture at the University of Chicago Art Gallery, "The Story of Modern Art" (Beverly Hills, 1957), lecture notes concerning printmaking, and a 1945 typescript annotated as the "Bohrod talk." Also included are
subject files, 1939-1962, containing correspondence and printed material on the Federal Art Project (Index of American Design), Renaissance Society, Artists Equity Association, Artists Union of Chicago, Hyde Park Art Center, Chicago Society of Artists, and the 1020 Club; art works, including six sketchbooks and miscellaneous drawings, 1907-1919, by the Biesels, a sketchbook, 1859-1878, by William T. Richards, 3 prints, 1928-1932, by Emil Armin, and a 1930 print by Frances Foy;
photographs, 1919-1960, of Biesel family members, friends, a costume party with John Sloan (2), art classes,1920 and 1950, at the Art Institute of Chicago and the Layton School of Milwaukee, "The Ten" opening reception at the Marshall Field Galleries, 1929 (2), Artists Equity members and activities, 1947-1948 (3), and of works of art;
and printed materials, including a scrapbook of clippings, 1915-1916, compiled by Charles Biesel, a scrapbook, 1926-1931, concerning "Ten Artists", clippings, 1897-1962, exhibition announcements and catalogs, 1921-1983, for Biesel and others, including 11 catalogs from the Chicago No-Jury Society of Artists, a 1923 souvenir program for the No-Jury Artists "Cubist Ball", and miscellany.
UNMICROFILMED: Papers, 1934-1944, relating to Fred Biesel's work for the Works Progress Administration Federal Art Project in Illinois, including correspondence with John Walley, Increase Robinson, George Thorp, Franklin D. Roosevelt and others; printed material, 1934-1941, including the newsletter "Chicago Artist," 1937, published by the Artists Union of Chicago, and several exhibition catalogs of the National Exhibition of the Index of American Design; a 25 p. typescript of a speech by Holger Cahill; a teachers handbook with silk-screen illustrations of "Let the Artist Speak"; business records including project proposals for the W.P.A.; and Biesel's letter of resignation, 1943.
Biographical / Historical:
Family of artists. Charles Biesel: marine painter, student of William Trost Richards; his son, Fred Biesel, a painter and art administrator; and Fred's wife, Frances Strain Biesel, a painter and director of the Renaissance Society at the University of Chicago for many years.
Provenance:
Microfilmed material donated 1985 by Garnett Biesel, son of Fred Biesel; he donated unmicrofilmed material in 1990, after it had been used in preparation for the book The Federal Art Project in Illinois, 1935-1943 (1990), by George Mavigliano and Richard Lawson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Marine painters -- Illinos -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Topic:
Modernism (Art) -- Illinois -- Chicago  Search this
Women painters -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Genre/Form:
Drawings
Sketchbooks
Identifier:
AAA.biesfami
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-biesfami

Modify Your Search







or


Narrow By