Sketches and drawings by Spencer, and art work by others; printed material on Spencer; printed material and a few photographs used as source material for paintings; photographs of Spencer's work; personal photographs including one of Spencer; and a few letters.
REEL 3948: Fourteen drawings and preparatory sketches, undated; and a clipping, 1939.
REEL 4793: Art work by Spencer includes a poster design done while a student at the Rhode Island School of Design, 1912, a self-portrait in pencil and ink, a pen and ink drawing of Abraham Lincoln, and nine pencil and ink drawings after Cezanne, Daumier, Matisse and Picasso; art work by others includes a charcoal sketch of Spencer by H.I. Smith, 2 watercolors by Spencer's father, Henry, 1900, and an engraving by Henry Hoppner Meyer, 1826, of Mexican statesman Lucas Alaman, inscribed by Alaman to Charles Naylor, 1848.
Also included are letters and two vol. of printed material on Spencer, compiled by book designer G. Alan Chidsey and presented to the family upon Spencer's death in 1952. Other printed material includes clippings, 1939-1961; an interview of Spencer conducted by Ernest Watson in American Artists Magazine, 1944; a press release for Spencer's 1954 retrospective at the Museum of Modern Art; and four exhibition catalogs, including one for a Cezanne exhibition at Montross Gallery, 1916, containing a pencil sketch by Spencer on the back, and one for a Spencer exhibition at the Washburn Gallery, 1972.
Photographs are of industrial landscapes (4), probably used as source material for paintings, paintings by Spencer (16), and by others (4). A file on Slater Mill, owned by the Spencer family, containing an historical account and a photograph, 1972, is also included.
UNMICROFILMED: Clippings regarding art works by others, including two oversize reproductions of works by Cezanne, ca. 1930; and miscellaneous clippings featuring photographs of industrial sites and architecture, c.1920-1930.
Biographical / Historical:
Painter; New York, N.Y. Associated with the Precisionist school of painting.
Donated 1977 and 1989 by Brett Harrington, nephew of Niles Spencer's wife.
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.
Landscape painters -- New York (State) -- New York Search this
University of California, Davis. Art Dept. -- Faculty Search this
1 Linear foot
Cartoons (humorous images)
The papers of Sacramento painter, printmaker, and teacher Wayne Thiebaud date from 1944 through 2001 and measure 1.0 linear foot. Thiebaud's prolific painting career is documented in this collection mostly through exhibition catalogs, printed materials, original artwork, photographs, and ephemera. His career as an art professor at the University of California at Davis is documented to a lesser extent.
Scope and Content Note:
The papers of Sacramento painter, printmaker, and teacher Wayne Thiebaud date from 1944 through 2001 and measure one linear foot. Thiebaud's prolific painting career is documented in this collection mostly through exhibition catalogs, printed materials, original artwork, photographs, and ephemera. His career as an art professor at the University of California at Davis is documented to a lesser extent.
Of particular interest in the collection are ten large format sketchbook pages with numerous ink, graphite, and watercolor drawings of his typical imagery of pies, cakes, tie racks, San Francisco street scenes, Sacramento Delta landscapes, many figures, storefronts, counters, and personal notations regarding color, light, and ideas for the transformation of his imagery. There are also ten smaller cartoon drawings in ink on plain copy paper. In addition to several folders of exhibition catalogs, announcements, and other printed material, there is one folder of teaching notes and one folder of photographs, many of which include other artists, such as Chuck Close, Richard Diebenkorn, Richard Estes, Gregory Kondos, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Philip Pearlstein, Mel Ramos, Harold Rosenberg, and others. Also found are ephemera items, including a collectible watch with his imagery printed onto the face and band, a palette, brushes, and plastic lids from tennis ball containers used for mixing paints.
The Wayne Thiebaud papers are arranged as five series.
Series 1: Printed Material, 1965-2001, undated (Box 1-2; 12 folders)
Series 2: Writings, 1981, 2001, undated (Box 2; 1 folder)
Series 3: Photographs, 1944-1990, undated (Box 2; 1 folder)
Series 4: Original artwork, undated (Box 2, OV3; 1 folder, 1 oversize folder)
Series 5: Original artwork, undated (Box 2, OV3; 1 folder, 1 oversize folder)
Wayne Thiebaud was born in Mesa, Arizona in 1920 and raised in Long Beach, California. After graduating high school, he worked as a free-lance cartoonist, commercial artist, and stage technician. He later landed a job at the Walt Disney studios as an 'in-betweener' filling in individual film frames started by animators. Thiebaud joined the Air Force in 1942 where he painted murals and began to create cartoons and illustrations.
After his service in the war, Thiebaud went to California State College in Sacramento to study art and art history. His work remained figurative but gained a conceptual dimension as he read, studied, taught, and exhibited a great deal in Northern California. During the late 1950s, Thiebaud spent time in New York City with artists such as Willem and Elaine de Kooning, Barnett Newman and other painters of their generation.
Thiebaud's work found its national audience in 1962 with his first exhibition, Wayne Thiebaud: Recent Paintings, at the Allan Stone Gallery in New York and his participation in the "New Realists" exhibition at the Sidney Janis Gallery during the same New York season. In that memorable year, when Pop Art burst upon the American cultural scene, Thiebaud's more painterly images of food and other familiar objects found an audience that has grown with each passing decade. Thiebaud's exhibition of store counters, suburban consumers, tie racks, cakes and pies seemed to comment upon American consumer culture as did his New York contemporaries. However, his thickly painted strangely illuminated forms had a pathos and a humor that was seldom found in Pop Art. Thiebaud's roots were more likely in the urban melancholy of Edward Hopper and the robust painterly style of Willem de Kooning.
Wayne Thiebaud has served as faculty member of the art department at the University of California at Davis for more than thirty years. At this writing, he lives and works in Sacramento, California while also maintaining a studio in San Francisco. He is still affiliated with the Allan Stone Gallery. Thiebaud's work is currently found in the permanent collections of the San Francisco Museum of Modern Art, the Smithsonian's Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Whitney Museum of American Art and the Museum of Modern Art in New York City. His recent 2000-2001 retrospective exhibition organized by the Fine Arts Museums of San Francisco, California Palace of the Legion of Honor, traveled the nation to critical acclaim and great interest from the general public.
Wayne Thiebaud donated his papers in 2001 to the Archives of American Art, Smithsonian Institution.
The collection is open for research. Use requires an appointment.
The majority of the collection consists of project files, ca. 1932-1981, containing correspondence, sketches and printed material from Cascieri's many commissions of church sculptures. Also found are Cascieri's pencil studies as a student, ca. 1930's, sketches from his projects, and miscellaneous drawings.
The remainder consists of a resume, ca. 1970, general correspondence, ca. 1935-1982, legal papers, 1977, clippings, ca. 1930's-1980's,and printed material, ca. 1952-1967 and undated. Several association files containing annual reports, minutes of meetings, scattered correspondence, printed material and miscellany are found for Boston Architectural Center, 1935-1969, American Institute of Architects, ca. 1962-1969, Research and Design Institute, ca. 1966-1967, and Architectural League of New York, ca. 1966-1967. Also found are files on Cascieri's talks and lectures, ca. 1961-1981; a file on architect John F. Alter, 1955-1973; writings about Cascieri; and photographs of works of art and architecture, ca. 1920's, 1942 and undated.
Project Files: arranged alphabetically by location by state, there under by city.
Biographical / Historical:
Sculptor, educator and administrator at the Boston Architectural Center (BAC); Boston, Mass. Cascieri died Jan. 14, 1997.
Donated 1980-1982 by Arcangelo Cascieri.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Biographical data, letters, notes and writings, numerous sketches, sketchbooks, photographs, and printed material.
Included are: letters from galleries, purchasers of work, museums, friends and colleagues, among them Arthur Wesley Dow and Charles Selden; posthumous correspondence from Mrs. Kenyon and her executrix; miscellaneous notes; bills; a poem, "Scituate Wharves"; an American Federation of Arts exhibition list; a quote about Dow, 1923; and handwritten information about Kenyon's funeral. Also numerous sketches, some annotated, received in random order. Some are dated; others, drawn on envelopes or scraps of paper, were given dates based on postmarks or dated printed material. Undated sketches have been organized into the following categories: animals, boats, houses, nudes and faces, outdoor scenes, and miscellaneous subjects.
Also included are 18 sketchbooks containing sketches of Etaples and Concarneau (France), Holland, Venice, Pont Aven (Brittany), Ipswich, Mass., and unidentified locations; photographs of Kenyon, his wife and others, his Paris studio, a 1926 exhibition of his work, his Ipswich house, and a painting, inscribed by Robert W. Wickenden; exhibition catalogs, 1913-1926; a menu; a picture postcard of Kenyon's summer house in Wilton, N.H.; an admission card for varnishing day at the National Academy of Design; and clippings about an exhibition and Kenyon's burial.
Biographical / Historical:
Painter; Ipswich, Mass. Studied painting in Paris throughout the 1880s where he met teacher and painter Arthur Wesley Dow. Settled in Ipswich, Mass. where Dow lived and ran a summer art school.
Lent for microfilming 1992 by Childs Gallery. The gallery owns paintings by Kenyon and received the papers from his heirs.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.