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Oral history interview with Chuzo Tamotzu

Interviewee:
Tamotsu, Chūzō, 1888-1975  Search this
Interviewer:
Loomis, Sylvia Glidden  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
An American Group (Organization)  Search this
Artists Equity Association  Search this
Federal Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Eddy, Stuart  Search this
Force, Juliana, 1876-1948  Search this
Knight, Frederic C., 1898-1979  Search this
Mandelman, Beatrice  Search this
Philipp, Robert, 1895-1981  Search this
Ribak, Louis, 1902-1979  Search this
Rush, Olive, 1873-1966  Search this
Extent:
11 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 September 3
Scope and Contents:
An interview of Chuzo Tamotzu (Tamotsu) conducted 1964 September 3 by Sylvia Loomis for the Archives of American Art.
Tamotzu discusses studying Occidental, Oriental art in Japan; traveling to Korea, Manchuria and China, South Sea Islands, Singapore, then Europe for a year; coming to New York in 1920; his involvement with An American Group; Juliana Force recruiting him for the Federal Art Project; being on the Easel Project and also on the Graphic Art Project; the Works Projects Administration; given "pink-slip" on the Project since he was not a U.S. citizen; stint in the U.S. Army, Office of Strategic Service doing propaganda paintings for psychological war material for the Japanese Army and soldiers; settling in Santa Fe, N.M.; Oriental painting; and Artist Equity Association. Tamotzu mentions Beatrice Mandelman, Louis Ribak, Robert Philip, Stuart Eddy, Frederick Knight, and Olive Rush.
Biographical / Historical:
Chuzo Tamotzu (1888-1975) was born in Japan and was a painter in Santa Fe, N.M.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 40 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Topic:
Federal aid to the arts  Search this
Asian American artists -- Interviews  Search this
Painting, Japanese  Search this
Art, Oriental.  Search this
Arts, Japanese -- Western influences  Search this
Painting, Asian  Search this
Painters -- New Mexico -- Santa Fe -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.tamots64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tamots64

Oral history interview with Ted Egri

Interviewee:
Egri, Ted, 1913-  Search this
Interviewer:
Loomis, Sylvia Glidden  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Artists Equity Association  Search this
Federal Art Project (N.M.)  Search this
New Deal and the Arts Oral History Project  Search this
Extent:
30 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 March 22
Scope and Contents:
An interview of Ted Egri conducted 1965 March 22, by Sylvia Loomis, for the Archives of American Art. Egri speaks of his youth; his education at the Roerich Museum Art Institute; parental influence; teaching at the Art Institute in Kansas City; working for the Federal Art Project on a poster project in 1936; the easel painting project, and the mural project; his post-FAP career; joining the U.S. Navy and making maps during World War II; the effect of the WPA years on his career; developing his work as a sculptor; going back to teaching for a while; and joining the Artists Equity Association.
Biographical / Historical:
Ted Egri (1913- ) is a painter and sculptor in Taos, New Mexico.
General:
Originally recorded on 4 sound tape reels. Reformatted in 2010 as 1 digital wav files. Duration is 1 hr., 5 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript: Patrons must use microfilm copy.
Topic:
Federal aid to the arts  Search this
Painters -- New Mexico -- Taos -- Interviews  Search this
Sculptors -- New Mexico -- Taos -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.egri65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-egri65

Donald F. Witherstine papers

Creator:
Witherstine, Donald F. (Donald Frederick), 1896-1961  Search this
Names:
Gallery 200 (Provincetown, Mass.)  Search this
Shore Studios (Provincetown, Mass.)  Search this
Burlingame, Sheila Ellsworth, 1894-  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca. 1936-1953]
Scope and Contents:
A file on sculptor Sheila Burlingame containing 2 letters, a list of her sculpture, exhibition catalogs and announcements, newspaper and magazine clippings, 2 photographs of her sculpture MOUNTAIN GOAT and a photograph of a wood carving THE TRIUMPHANT CHRIST; a receipt from Gallery 200; newspaper clippings about Provincetown's Shore Studios, Gallery 200, and the Forum 49 lecture series held at Gallery 200; a schedule of Forum 49 events; a newsletter from the New England Chapter of Artists Equity Association, 1952; and a notice about Acorn Gallery's plans to exhibit contemporary art in the Philadelphia area.
Biographical / Historical:
Gallery director, etcher, blockprinter and painter; Provincetown, Mass. Directed Shore Studios and Gallery 200. Forum 49 was founded by Fritz Bultman, Cecil Hemley and Weldon Kees in 1949.
Provenance:
Donated 1984 by Kay Witherstine Gilman, Witherstine's daughter.
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:
Gallery directors -- Massachusetts -- Provincetown  Search this
Function:
Art galleries, Commercial -- Massachusetts -- Provincetown
Identifier:
AAA.withdona
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-withdona

Marcella Comès (Winslow) papers

Creator:
Winslow, Marcella Comès  Search this
Names:
Adams, Léonie, 1899-  Search this
Bishop, Elizabeth, 1911-1979  Search this
Chapin, Katherine Garrison, 1890-1977  Search this
D'Arcy, Martin Cyril, 1888-1976  Search this
De la Mare, Walter, 1873-1956  Search this
Devlin, Denis, 1908-1959  Search this
Eberhart, Richard, 1904-2005  Search this
Frost, Robert, 1874-1963  Search this
Gordon, Caroline, 1895-  Search this
Hodgson, Ralph, 1871-1962  Search this
Jiménez, Juan Ramón, 1881-1958  Search this
Lowell, Robert, 1917-1977  Search this
Masson, Leon, 1911-  Search this
Porter, Katherine Anne, 1890-1980  Search this
Pound, Ezra, 1885-1972  Search this
Rothenstein, John, Sir, 1901-  Search this
Rothenstein, William, Sir, 1872-1945  Search this
Saint-John Perse, 1887-1975  Search this
Shapiro, Karl Jay, 1913-  Search this
Tate, Allen, 1899-  Search this
Van Doren, Mark, 1894-1972  Search this
Warren, Robert Penn, 1905-  Search this
Welty, Eudora, 1909-2001  Search this
Weygandt, Cornelius, 1871-1957  Search this
Winslow, Anne Goodwin  Search this
Extent:
1,202 Items ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1915-1982 [and undated]
Scope and Contents:
Files related to Washington, D.C. art activities; photographs; scrapbook; and guestbook.
REELS 2424-2425: Scrapbook on Comès' sitters Leonie Adams, Elizabeth Bishop, Katherine Garrison Chapin, Martin D' Arcy, Walter de la Mare, Denis Devlin, Richard Eberhart, Robert Frost, Caroline Gordon, Ralph Hodgson, Juan Ramon Jimenez, Robert Lowell, Katherine Anne Porter, Ezra Pound, St. John Perse, Sir John Rothenstein, Karl Shapiro, Allen Tate, Mark Van Doren, Robert Penn Warren, Eudora Welty, Cornelius Weygandt and Anne Goodwin Winslow, containing letters, clippings, book reviews, photos of sitters and Comès' portraits. Also included are photos of Comès and printed material relating to her.
REEL 2424, frames 3-243: A guest book, containing signatures, comments, sketches, photographs, clippings, and letters from artists, poets, writers, and other guests of Comès, including Walter de la Mare, Robert Frost, Leon Masson, Katherine Anne Porter, Sir John Rothenstein and Sir William Rothenstein, Allen Tate, Robert Penn Warren, Eudora Welty, and others. Also included are photographs of Comès and her family.
UNMICROFILMED: Artist, dealer, institution, and subject files containing letters, exhibition catalogs and announcements, clippings, photographs, and other printed materials relating to Washington, D.C. art activities. Included are: files on artists Caroline Van Hook Bean, Ruby Grady, Jacob Kainen, Frank Wright, and others; files on the Corcoran Gallery of Art, the Foundry, the Studio Gallery, and other galleries; subject files on the Art Barn, the D.C. chapter of the Artists Equity Association including membership lists and address labels, 1970-1972, the Art in the Embassies Program, the Conference on Artists and Taxes, 1977, the National Endowment for the Arts, the National Society of Arts and Letters, the Federal Government and the art, including material on bills and hearings, 1973-1977, the Washington art community, women and the arts, art materials hazards, includes published works by Joy Luke Turner, and crafts.
Also included are a paper "Government Sponsorship of the Arts under the WPA and Ceta," by Martha Malles, 1978; clippings, with reviews by John Canady and others; photographs, undated and 1971-1973, of Marcella Comès, Art Barn happenings, including 45 slides, 1974, and Artists Equity Association, Washington chapter, exhibitions; a published reference directory of Washington art, WASHINGTON TODAY, 1967; and one 16mm amateur film circa 1974.
Biographical / Historical:
Portrait painter, photographer; Washington, D.C. b. 1905. d. July 6, 2000. Married name Mrs. Randolph Winslow. Trained at the Carnegie School of Fine Arts and privately in Europe. Comès played an active part in the local D.C. art community; as a member of the Women's Commission of the Corcoran Gallery of Art, president of the D.C. chapter of Artists Equity Association, 1969-1971, and as the national vice-president, 1971-1973. Comès was the ex-officio portraitist to the Poetry Chair at the Library of Congress.
Provenance:
Lent and donated 1982 by Marcella Comes.
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:
Painters -- Washington (D.C.)  Search this
Photographers -- Washington (D.C.)  Search this
Poets -- United States  Search this
Portrait painters -- Washington (D.C.)  Search this
Topic:
Art -- Washington (D.C.)  Search this
Women artists  Search this
Identifier:
AAA.winsmarc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-winsmarc

Regina Stewart papers

Creator:
Stewart, Regina Serniak, 1942-  Search this
Names:
New York Artists Equity Association  Search this
Blackburn, Robert Hamilton, 1920-  Search this
Candell, Victor, 1903-1977  Search this
Facci, Domenico, 1916-1994  Search this
Kennedy, Edward Moore, 1932-2009  Search this
Kuniyoshi, Sara Mazo  Search this
McMurtry, Larry  Search this
Stewart, Jack, 1926-2005  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Sketches
Date:
1959-2010
Summary:
Three scrapbooks, 1959-2010, assembled by Regina Serniak Stewart document her career as a costume designer, painter, board member and Executive Director of the New York Artists Equity Association.
Scope and Content Note:
Three scrapbooks, 1959-2010, assembled by Regina Serniak Stewart (b. 1942) document her career as a costume designer, painter, board member and Executive Director of the New York Artists Equity Association.

The scrapbooks contain: letters from Robert Blackburn, Victor Candell, Domenico Facci, Edward M. Kennedy, Sara M. Kuniyoshi, Larry McMurtry, Jack Stewart, and letters from various museums and galleries; costume sketches, 1963-1974, for the Paterson, New Jersey Lyric Opera Theatre; curriculum vitae, awards and profiles of the artist; photographs of Stewart, her work, and events; and printed material including clippings, articles, programs, brochures, flyers, and exhibition catalogs. The collection also includes some loose printed materials consisting of collectors' guides to kitchen utensils and stoneware co-written by Stewart and an article and exhibition catalog about her painting.
Arrangement:
The collection is arranged as 2 series:

Series 1: Scrapbooks, 1959-2010 (Boxes 1-2; 0.7 linear ft.)

Series 2: Printed Materials, circa 1977, 2003-2008 (Box 2; 0.1 linear ft.)
Biographical Note:
Regina Serniak Stewart (b. 1942), a painter, administrator, and writer in New York City is the Executive Director of the New York Artists Equity Association.

Stewart is a graduate of the Cooper Union School of Art and Achitecture whose paintings have been exhibited in New York and throughout the United States. In addition to painting, Ms. Stewart was a set and costume designer for the Paterson Lyric Opera Theatre, a jewelry designer, an art consultant, and an art instructor. She was elected to the board of the New York Artists Equity Association in 1989 and is now Executive Director.
Provenance:
Donated by Regina Stewart, July 27, 2010.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Regina Stewart 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:
Women artists -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Costume designers  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Sketches
Citation:
The Regina Stewart papers. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stewregi
See more items in:
Regina Stewart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stewregi

Jack Stewart papers

Creator:
Stewart, Jack, 1926-2005  Search this
Names:
New York City Transit Authority  Search this
World Trade Center (New York, N.Y.)  Search this
Yale University -- Students  Search this
Baxter, Violet  Search this
Egan, Charles, 1911-  Search this
Gold, Nancy  Search this
Goulet, Lorrie, 1925-  Search this
Kahn, Wolf, 1927-  Search this
Romano, Clare  Search this
Thomas, Steffen, 1906-  Search this
Toney, Anthony  Search this
Townsend, Rodman  Search this
Walker, Herbert Brooks, 1927-  Search this
Weiner, Sam  Search this
Extent:
9.9 Linear feet
7.31 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Date:
1926-2010
Summary:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.
Scope and Content Note:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.

Biographical materials include a "Video Archive" in digital format, consisting mainly of Jack Stewart being interviewed on several occasions by Nancy Gold for her television show, "What It Takes." In addition to discussions about Stewart's career, the shows include examples of his paintings and murals along with views of him at work.

Correspondence mostly documents Stewart's artistic career and work as an educator and administrator; there is some personal correspondence, as well. Of particular note are letters to Rodman Townsend who commissioned a mural about the human brain; they discuss the details of the project and its evolution, brain research, and subsequent exhibitions of related paintings. Illustrated letters and greeting cards with original artwork are from Violet Baxter, Lorrie Goulet, Wolf Kahn, Clare Romano, Anthony Toney, and Sam Weiner. Herbert Brooks Walker sent several pieces of mail art and, while in Italy, collected graffiti information for Stewart. Letters Stewart wrote to his mother span decades; the best represented periods are the years he served in the U.S. Army and studied at Yale University.

Writings and notes consist of Stewart's dissertation ("Subway Graffiti: An Aesthetic Study of Graffiti on the Subway"), miscellaneous writings and notes, and art and architecture notebooks. Dissertation documentation includes the manuscript, drafts, and related records. Among the miscellaneous writings and notes - published and unpublished - are shorter pieces, articles, student papers, and teaching notes. Of particular interest are notes/instructions for a performance piece titled "Endless Subway," "Memories of Steffan Thomas" and "My Recollection of Charles Egan." Also found are minutes of Cooper Union adjunct faculty meetings (1965-1966), and reports written when provost of the Rhode Island School of Design. Art and architecture notebooks (5 volumes) were compiled while at Yale University.

Research files on graffiti contain many sound recordings and some transcripts of interviews with graffiti writers, voluminous lists of graffiti writers' names/tags, correspondence, notes, photographs, and a wide variety of printed material. Some of the material is in digital format. Stewart began collecting these materials as his interest in graffiti developed. They were used for his dissertation and material continued to be added after the dissertation was completed.

Printed material mentioning Stewart or containing reproductions of his work includes exhibition catalogs, posters, and newsletters.

Artwork by Jack Stewart consists of drawings, paintings, and one etching; also found are designs and plans for tables, murals, and other projects. Drawings include figure studies, heads, and landscapes; most are in pencil and some in ink. The small number of paintings are oil on canvas (removed from stretchers), and gouache on paper and board. Sketchbooks (44 volumes) contain mostly pencil drawings and sketches, and a few studies for paintings and murals. Two volumes include writings about travels and events; of particular interest are "Notes on Kline's funeral May 1962," "Visit to Roman Bronze Art Foundry," and "Notes on My Development."

Photographic materials consist mainly photographs, but also include digital images and 35-mm color slides. Images of Stewart include views of him with paintings and working in his studio. Identified individuals with whom he appears are: Regina Stewart (wife), Brandon Stewart (son), Lil Stewart (mother), Ninalee Craig, Irving Sandler, and students in Urbino, Italy. Photographs of artwork document murals such as Raw Material (composed of shirt labels), and Versailles Hotel in Miami Beach; among the paintings documented are State of the Union, Icons of Western Art and Revelation XVI-16 (both with keys to individuals portrayed). Exhibition openings and installations are shown in photographs, color slides, and video recordings. Also found are photographs of the World Trade Center site taken by Stewart in December 2001.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Materials, 1926-circa 2009 (Boxes 1,11; 0.6 linear foot, ER01-ER02, 3.92 GB)

Series 2: Correspondence, 1944-2009 (Boxes 1-2; 0.7 linear foot)

Series 3: Writings and Notes, circa 1947-2003 (Boxes 2-5; 3.1 linear foot)

Series 4: Research Files on Graffiti, 1972-2010 (Boxes 5-7,11; 2.8 linear foot, ER03-ER05, 3.18 GB)

Series 5: Printed Material, circa 1945-2002 (Boxes 8, 11, OV 13; 0.7 linear foot)

Series 6: Scrapbooks, circa 1990-2003 (Box 8; 0.2 linear foot)

Series 7: Artwork, 1946-2000 (Boxes 8, 11, OV 12; 0.3 linear foot)

Series 8: Sketchbooks, 1951-2004 (Boxes 8-9; 1.3 linear foot)

Series 9: Photographic Materials, circa 1950s-2010 (Boxes 10-11; 0.4 linear foot, ER06-ER07, 0.208 GB)
Biographical Note:
Jack Stewart (1926-2005) was a painter, muralist, designer, educator and administrator in New York City. After developing an interest in graffiti in the 1970s, Stewart eventually wrote a dissertation on the subject, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989) and was recognized as an expert on mass transit art.

Jack Stewart began studying art at the High Museum School in his hometown of Atlanta when he was 10 years old. At age 14, he began a 4 year apprenticeship with painter and sculptor Steffen Thomas. After serving in World War II, he enrolled at Yale University (B.F.A. 1951) as a sculpture student, but soon switched to the painting department where he studied with Josef Albers and Willem de Kooning. After graduation, Stewart began receiving mural commissions and enrolled in classes at Columbia University School of Architecture (1951-1953). His interest in architecture was tied to understanding how to work effectively with architects on mural projects. Later, Stewart developed an interest in graffiti which he pursued through graduate study at New York University (M.A., 1975 and Ph.D., 1989).

Stewart created murals in ceramic tile, mixed media and stained glass. In addition to mosaic murals, he designed tables with mosaic tops. As an outgrowth of his mosaic work, Stewart developed a technique for laminating stained glass onto plate glass that, by eliminating the need for lead, opened new design possibilities. Mural commissions included work for Hamilton Hotel in Chicago, Versailles Hotel in Miami Beach, Public School 28 in New York City, and several ocean liners. The most unusual mural, Raw Material commissioned by Cluett Peabody and Company, was composed of shirt labels embedded in acrylic.

Beginning in 1950 Stewart participated regularly in group shows and enjoyed solo exhibitions mainly in the New York City area. He also showed in Philadelphia, Georgia, Rhode Island, Mexico and Italy, and was included in exhibitions circulated by the American Federation of Arts.

Stewart taught at the college level for nearly thirty years, including: The New School (art and architecture, 1953-1958); Pratt Institute (interior architectural design, 1955-1960); The Cooper Union for the Advancement of Science and Art (painting, drawing, human anatomy, art history, 1960-1976; Art Department Chairman, 1971-1976); International Center of Mythymna, American Division, Lesbos, Greece (summer school, 1962-1965); Columbia University (M.F.A. program instructor, 1966-1976); and New York University (drawing, 1967-1975). In 1976 he was appointed Vice President and Provost of the Rhode Island School of Design.

Stewart was active in several professional organizations. He served as New York Artists Equity Association Secretary (1986-1987) and President (1987-1989); President of the National Society of Mural Painters (1996-2000); member of the advisory board of the Steffen Thomas Museum and Archives, Buckhead, GA (1997- 2000s); and President of the Fine Arts Federation of New York (2003-2004). The National Academy of Design elected Jack Stewart an Academician in 1995.

Jack Stewart and Margot Schwarzhaupt, an artist, were married in 1947; they had one son, Brandon. Painter and arts administrator, Regina Serniak, became Jack Stewart's wife in 1976.

Jack Stewart died in New York City in 2005.
Provenance:
Donated in 2010 by Regina Stewart, widow of Jack Stewart.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. This collection is copyright restricted.
Rights:
The Jack Stewart 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:
Street art  Search this
Muralists -- New York (State) -- New York  Search this
Mail art  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Graffiti  Search this
Graffiti artists  Search this
Arts administrators -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Citation:
Jack Stewart papers, 1926-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stewjack
See more items in:
Jack Stewart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stewjack

James W. Washington, Jr. papers

Creator:
Washington, James W., 1911-2000  Search this
Names:
Artists Equity Association  Search this
Mount Zion Baptist Church (Seattle, Wash.)  Search this
Scottish Rite (Masonic order)  Search this
Callahan, Kenneth, 1905-1986  Search this
Hauberg, Anne Gould  Search this
Huetter, Cindy  Search this
Laigo, Val M., 1930-1992  Search this
Tobey, Mark  Search this
Tsutakawa, George  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Transcripts
Date:
1938-1989
Summary:
The papers of artist James W. Washington, Jr. measure 2.3 linear feet and date from 1938 to 1989. The collection includes biographical material, correspondence, writings, professional records, material related to the Artists Equity Association, printed material, and photographic material.
Scope and Contents:
The papers of artist James W. Washington, Jr. measure 2.3 linear feet and date from 1938 to 1989. The collection includes biographical material, correspondence, writings, professional records, material related to the Artists Equity Association, printed material, and photographic material.

Biographical material includes resumes, a short biographical sketch, and the transcript of an interview conducted by Cindy Huetter.

Correspondence makes up the bulk of this collection and consists of letters to Washington from family and friends expressing admiration for his work, writings, and lectures. Also documented is his involvement in organizations including the Pacific Arts Center, Mt. Zion Baptist Church, and the Ancient and Accepted Scottish Rite of Freemasonry. Correspondents include Kenneth Callahan, Anne Gould Hauberg, Val M. Laigo, and George Tsutakawa. This series also includes a file of correspondence related to Washington's articles for the Seattle Post Intelligencer.

Writings include articles for Zionews, the Mt. Zion Baptist Church newsletter; the Seattle Post Intelligencer; and the Puget Sounding related to Washington's artwork; his thoughts on race; his teacher, Mark Tobey; and his strong religious beliefs. Also included are an unidentified editorial and assorted notes.

Professional records include material related to committees and professional groups, financial records, materials related to commissions and sculptures, materials related to Mark Tobey works loaned for exhibition, teaching files, and legal files.

Artists Equity Association files consist of correspondence, membership information, constitution and by-laws, reports and meeting minutes, proposals, newsletters, and clippings.

Printed material includes exhibition announcements, exhibition catalogs, newsletters and bulletins, magazine and newspaper clippings, programs, and religious material.

Photographic material consists of photographs of artwork, photographs of Washington with his work, and one oversized portrait of Washington.
Arrangement:
The collection is arranged in seven series.

Series 1: Biographical Material, circa 1970-1989 (Box 1; 2 folders)

Series 2: Correspondence, 1938-1988 (Boxes 1-2; 1.4 linear feet)

Series 3: Writings, 1958-circa 1986 (Box 2; 0.2 linear feet)

Series 4: Professional Records, 1950-1983 (Box 2; 7 folders)

Series 5: Artists Equity Association Files, 1948-1963 (Box 2; 0.3 linear feet)

Series 6: Printed Material, 1946-1989 (Boxes 2-3; 0.3 linear feet, OV 4)

Series 7: Photographic Material, 1951, 1964-1969, 1980s (Box 3; 2 folders, OV 4)
Biographical / Historical:
James W. Washington, Jr. (1909-2000) was an African American painter and sculptor prominent in the Seattle, Washington art community. Religion was an important part of his life and he considered his art to be a spiritual undertaking. In addition to being active in his church community, he was a member of the Artists Equity Association, serving as the Seattle Chapter secretary from 1950 to 1960, and then as the president from 1960 to 1962. In 1990 the City of Seattle's Historic Landmark and Preservation Board designated Washington's home and studio at 1816 26th Avenue a cultural landmark.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with James W. Washington, Jr., one conducted by Dorothy Bestor, October 13, 1965, the other by Paul Karlstrom, June 29, 1987.
Provenance:
The James W. Washington, Jr. papers were donated to the Archives of American Art by James. W. Washington, Jr. in two accessions in 1984 and 1989.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- Washington (State) -- Seattle  Search this
Sculptors -- Washington (State) -- Seattle  Search this
Topic:
African Americans -- Race identity  Search this
Race awareness  Search this
African American artists  Search this
Genre/Form:
Interviews
Photographs
Transcripts
Citation:
James W. Washington, Jr. papers, 1938-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.washjame
See more items in:
James W. Washington, Jr. papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-washjame

Hudson D. Walker papers

Creator:
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Names:
American Federation of Arts  Search this
Artists Equity Association  Search this
Parke-Bernet Galleries  Search this
Walker Art Center  Search this
Benn, Ben, 1884-  Search this
Biberman, Edward, 1904-1986  Search this
Blatas, Arbit  Search this
Booth, Cameron, 1892-1980  Search this
Botkin, Henry, 1896-1983  Search this
Brenson, Theodore, 1893-1959  Search this
Browne, Byron, 1907-1961  Search this
Cahn, Joshua Binion, 1915-  Search this
Charlton, Gene, 1909-  Search this
Cook, Howard Norton, 1901-1980  Search this
Davis, Gladys Rockmore, 1901-1967  Search this
Dodd, Lamar  Search this
Evergood, Philip, 1901-1973  Search this
Fuerstenburg, Eugenia M.  Search this
Fuller, Sue, 1914-  Search this
Gaertner, Carl F. (Carl Frederick), 1898-1952  Search this
Greenbaum, Dorothea S.  Search this
Hartley, Marsden, 1877-1943  Search this
Hirsch, Joseph, 1910-1981  Search this
Jules, Mervin, 1912-  Search this
Kemp, Harry, 1883-1960  Search this
Maril, Herman  Search this
Maurer, Alfred Henry, 1868-1932  Search this
McCausland, Elizabeth, 1899-1965  Search this
Moy, Seong  Search this
Reeder, Dickson, 1912-1970  Search this
Ribak, Louis, 1902-1979  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sepeshy, Zoltan, 1898-1974  Search this
Sokole, Miron, 1901-  Search this
Sprinchorn, Carl, 1887-1971  Search this
Sternberg, Harry, 1904-2001  Search this
Tinguely, Jean, 1925-  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Walker, Ione  Search this
Weeren-Griek, Hans van  Search this
West, Clifford B.  Search this
Extent:
20 Linear feet ((partially microfilmed on 10 reels))
Type:
Collection descriptions
Archival materials
Date:
1920-1982
Scope and Contents:
Correspondence; biographical material; artists files; files on organizations; business and financial records; photographs; writings and notes; diaries; scrapbooks; appointment calendars; exhibition catalogs and announcements; printed material; and miscellany.
REELS D351-D358: Biographical material; personal and business correspondence with family, artists, museums, and art organizations; 62 artists files containing photos of works of art, printed material, and correspondence; files on the American Federation of the Arts, Artists Equity Association, the Walker Foundation, and other organizations; business and financial records; material relating to Walker's work with Elizabeth McCausland in her studies of Marsden Hartley; printed material; and photos of Walker, his family, and miscellaneous works of art. Among the correspondents are: Berenice Abbott, Ben Benn, Theodore Brenson, Gene Charlton, Philip Evergood, Joseph Hirsch, Mervin Jules, Carl Sprinchorn, Harry Sternberg, and others.
REEL 130: Correspondence with Eugenia M. Fuerstenberg, Oct. 8, 1940-Sept. 25, 1941, concerning the consignment and sale of ca. 400 Alfred Maurer paintings owned by Mrs. Fuerstenberg. One letter is from Parke-Bernet Galleries, declining to handle the paintings.
REEL 1535: 4 volumes of a diary, 1929, 1930, 1942, and 1945. The first two volumes were kept while Walker was a graduate student at Harvard, the 1942 volume covers exhibitions and artists, including Marsden Hartley, and the 1945 volume details Walker's travels in Europe after World War II. Also included are 7 letters, a valentine, and two post cards from his wife, Ione G. Walker, and a 1967 letter from Hans van Weeren-Griek.
UNMICROFILMED: Correspondence with Henry Botkin, Philip Evergood, Susan Fuller, Marsden Hartley, Harry Sternberg and other artists and gallery directors; letters and poems by Harry Kemp, 1948-1955; essays by Walker on Joshua B. Cahn and Marsden Hartley; a report on the Walker Art Center by William Valentiner, 1930; notes from meetings, galleries and art associations; a silk screen by Seong Moy; financial records; 2 diaries, 1938-1939; 2 appointment calendars, 1950-1951; 8 school notebooks; 3 scrapbooks; exhibition catalogs; clippings; and photos of Walker and artists Cameron Booth, Byron Browne, Gladys Rockmore Davis, Carl Gaertner, Dorothea Greenbaum, Mervin Jules, Herman Maril, Dickson Reeder, Henry Schnakenberg, Miron Sokole, Harry Sternberg, Jean Tingley and Clifford West.
Biographical / Historical:
Collector and administrator; New York, N.Y.; d. 1976.
Provenance:
Material on reels D351-D358 & unmicrofilmed donated 1966-1982 by Hudson D. and Ione G. Walker; material on reel 1535 lent for microfilming 1979 by Ione G. Walker, widow of Walker; material on reel 130 donor unspecified.
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.
Occupation:
Administrators -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Identifier:
AAA.walkhuds
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-walkhuds

Stuyvesant Van Veen papers

Creator:
Van Veen, Stuyvesant  Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
United States Information Agency  Search this
Avery, Frances  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Date:
circa 1926-1988
Scope and Contents:
Biographical material, correspondence, photographs, works of art, writings, project files, a scrapbook, and printed material relating to painter, illustrator, and cartoonist, Stuyvesant Van Veen.
Biographical information includes resumes, curriculum vitae, artist statements and profiles, membership cards, certificates, and awards. Correspondence is both professional and personal, and is with art galleries, artists and the U.S. Information Agency about exhibition exchanges with the U.S.S.R. Photographs are of Van Veen, his works of art, and works of art by Frances Avery. Artwork (portions filmed on microfilm reel 2026) includes numerous sketchbooks and sketches of artists, writers, musicians, scientists, and celebrities, caricatures and finished works by Van Veen, cartoons, illustrations, posters, Christmas cards, and book jackets. Writings include diaries,1928-1955, recording Van Veen's daily activities and notes and fragments of writings by Van Veen, including "My diary in sketches for 1942" with seven entries for January 1942.
Project files include the 1939 New York World's Fair mural for Hall of Pharmacy, the mural series Memorial to Brooklyn Dodgers at Ebbets Field Apartment Houses, New York, 1963, and the New York City public school murals at PS 8, The Bronx, New York. A scrapbook contains letters, photographs, and clippings. Printed material includes 72 photographic postcards featuring murals and sculptures of the 1939 World's Fair, catalogs, exhibition announcements, clippings, and off-prints. Also included are four comic books which contain illustrations by Van Veen under the pseudonymns Joe Lozen, Jack Camden, and Lester Raye.
Biographical / Historical:
Stuyvesant Van Veen (1910-1988) was a painter, illustrator, cartoonist, and printmaker in New York, New York. Van Veen was the illustrator for "The Fairy Fleet"; literary satires, Nation and New Masses magazine, and a WPA muralist.
Related Materials:
Also in the Archives are papers that were lent for microfilming on reels 621, 922-924 that include biographical information, correspondence, sketchbooks, photographs, a scrapbook, 1927-1941, designs for book jacket, exhibition catalogs and announcements, magazine articles and comic strips, press clippings, 1926-1966, miscellaneous, and sketches (some may be completed works).
Provenance:
Donated 1964 through 1986 by Van Veen and in 2010 by the New York Artists Equity Association via Regina Stewart, who found the material in Van Veen's apartment after his death. Among the donation are papers Van Veen lent for microfilming in 1969 and 1973. "My diary in sketches for 1942" donated 2016 by art historian Christine I. Oaklander who purchased the material at auction.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Cartoonists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Caricatures and cartoons -- New York (State) -- New York  Search this
Graphic arts -- New York (State) -- New York  Search this
Mural painting and decoration -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Identifier:
AAA.vanveen
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vanveen

Abraham Joel Tobias papers

Creator:
Tobias, Abraham Joel, 1913-1996  Search this
Names:
Congress of Industrial Organizations (U.S.)  Search this
Fine Arts Federation of New York  Search this
United States. Work Projects Administration  Search this
Block, Irving  Search this
Brooks, James, 1906-1992  Search this
Caswell, Edward C.  Search this
Evergood, Philip, 1901-1973  Search this
Gaber, George  Search this
Gill, Brendan, 1914-1997  Search this
La Gambina, Vincent, 1909-1994  Search this
Lishinsky, Abraham  Search this
Orozco, José Clemente, 1883-1949  Search this
Spivak, Max, 1906-1981  Search this
Tobey, Alton S. (Alton Stanley), 1914-2005  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Photographs
Date:
1913-2000
Summary:
The Abraham Joel Tobias papers date from 1913 to 2000 and measure 2.8 linear feet. Through project and exhibition files, printed material, correspondence, and photographs, the collection provides an overview of Tobias's career as a painter and muralist in New York City.
Scope and Content Note:
The Abraham Joel Tobias papers date from 1913 to 2000 and measure 2.8 linear feet. Through project and exhibition files, printed material, correspondence, and photographs, the collection provides an overview of Tobias's career as a painter and muralist in New York City.

General correspondence regards mural proposals, exhibitions, professional activities, and museums' acquisitions of artwork by Tobias. A file of correspondence with the Fine Arts Federation of New York concerns efforts to recognize murals by Irving Block, James Brooks, Philip Evergood, Abraham Lishinsky, José Clemente Orozco, and Max Spivak as landmarks; it also includes minutes of meetings, 1988-1995, that reflect Tobias's service as a board member. Other correspondence is with friends and artists including Edward Caswell, George Gaber, Filia Holtzman, Vincent La Gambina, and Alton S. Tobey.

Project files document murals such as: The Four Freedoms, Midwood High School, Brooklyn, New York, honoring students and teachers who died in World War II (circa 1946); Birth for the maternity ward at Mount Sinai Hospital, New York City (1951-1953); and Medical Science and Medical Research, Long Island Jewish Hospital (1954). The Science and Engineering project file (1958) contains a patent certificate for striated plastic, a material Tobias used in two murals. Also of interest is correspondence with the Harman Foundation regarding a documentary film about Tobias's use of ethyl silicate for outdoor murals. Among the exhibitions documented are: "Plastics U.S.A.," "New York WPA Artists Then and Now," and "Abraham Joel Tobias: Sculptural Paintings of the 1930s."

Printed material consists of announcements, invitations, solo and group exhibition catalogs, and clippings relating to Tobias's artistic career. Also found are pamphlets he designed for the Congress of Industrial Organizations. Photographs are of Tobias's artwork and the artist with friends and family. There is a video recording of an interview with Tobias conducted by Brendan Gill in 1995.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Materials, 1913-1996 (Boxes 1, 4; 0.3 linear feet)

Series 2: Correspondence, 1933-1997 (Box 1; 0.4 linear feet)

Series 3: Project and Exhibition Files, 1938-2000 (Boxes 1, 2, 4, OV 5; 1.6 linear feet)

Series 4: Writings, circa 1928-1992 (Box 2; 0.1 linear feet)

Series 5: Printed Material, 1913-1999 (Boxes 3, 4; 0.3 linear feet)

Series 6: Artwork, circa 1990s (Box 3; 1 folder)

Series 7: Photographs, 1929-1970 (Box 3; 0.1 linear feet)

Series 8: Video Recording, 1995 (Box 3, 1 folder)
Biographical Note:
Abraham Joel Tobias (1913-1996) was a painter, muralist, and educator in New York City. He was a pioneer in the use of shaped canvases.

A native of Rochester, New York, Tobias came to New York City to study at the Cooper Union School of Art, 1930-1931, and at the Art Students League, 1930-1933. He worked for the Federal Arts Project,1938-1940, where he continued his training as a muralist, working with artist and technicians.

During World War II, Tobias served in the armed forces. He was an art director with the Intelligence Division, Army Air Force, and in 1945 was employed as a graphic designer for the Office of Strategic Services (OSS). Tobias was artist-in-residence and served as instructor in painting and drawing at Adelphia College, Garden City, Long Island, 1947-1957. He also was was a visiting lecturer at various schools including Howard University, Brooklyn Museum Art School, Pratt Institute Art School, as well as at colleges in Illinois and Kansas.

Tobias completed over ten mural commissions for governmental agencies and educational institutions, including: United States Post Office, Clarendon, Arkansas; Howard University, Washington, D.C.; James Madison High School, Brooklyn, New York; Beth Israel Hospital, New York City; Domestic Relations Court Building, Brooklyn, New York; and Adelphi College, Garden City, New York. In 1962, Tobias began The History of Science mural for the lobby of the Polytechnic Institute of Brooklyn; it was never completed.

Tobias experimented with diverse materials such as terrazzo and mosaic for mural application. He also broke new ground with the use of ethyl silicate paint as a permanent medium for outdoor murals. In 1958, he patented striated plastic, a pliable material used to achieve an effect similar to stained glass.

He participated in many solo and group exhibitions. In 1935, Tobias presented his shaped canvas painting in the "Sculptural Painting" exhibition at Delphic Studios in New York City. In 1987, Tobias was recognized for his earlier pioneering work with a retrospective exhibition, "Abraham Joel Tobias: Sculptural Paintings" at The Jane Voorhees Zimmerli Art Museum of Rutgers University. Other exhibitions included: "Plastics U.S.A.," the United States Information Service's exhibition in Moscow (1961); "New York City WPA Art," Parsons School of Design, New York City (1977); "For a Permanent Public Art," Tweed Gallery, New York City (1989); and "The Technological Muse," Katonah Museum of Art, New York (1991).

Tobias's professional memberships included the Architectural League of New York, National Society of Mural Painters, and New York Artists Equity Association. He served on the Board of Directors for the Fine Arts Federation of New York from 1988-1996. He won the Architectural League Award in 1952. The Art Commission of the City of New York recognized Tobias, posthumously, for distinguished service to public art.

Abraham Joel Tobias married Carolyn Pratt in 1949; the couple had one daughter. Abraham Joel Tobias died in Rego Park, New York, in 1996 at the age of 82.
Provenance:
The papers were donated in 2001 by Carolyn Tobias, the widow of Abraham Joel Tobias.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Andrew Joel Tobias 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:
Mural painting and decoration  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Video recordings
Photographs
Citation:
Abraham Joel Tobias papers, 1913-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tobijoel
See more items in:
Abraham Joel Tobias papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tobijoel

Harry Sternberg papers

Creator:
Sternberg, Harry, 1904-2001  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Idyllwild School and Museum for the Arts -- Faculty  Search this
Blume, Peter, 1906-1992  Search this
Evergood, Philip, 1901-1973  Search this
Kent, Rockwell, 1882-1971  Search this
Secunda, Arthur  Search this
Siqueiros, David Alfaro  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Warner, Malcolm, 1953-  Search this
Wickey, Harry  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
3.4 Linear feet
0.553 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Date:
1927-2000
Summary:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.
Scope and Content Note:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.

Biographical material includes an interview of Sternberg conducted by art curator Malcolm Warner, two ledgers documenting business activities, scattered financial and legal documents, and files regarding a few of his projects, including the film "Many Worlds of Art". Sternberg's personal and professional correspondence is with friends, artists, including Harry Wickey, Rockwell Kent, Philip Evergood, and Peter Blume, collectors and curators such as Hudson Walker and Carl Zigrosser, and art organizations, universities, and galleries.

The small number of writings by Sternberg in this collection includes drafts of articles and lectures, a manuscript for a book on etching, and notes. Writings by others consists of draft writings about Sternberg, draft exhibition catalogs, and writings by the artists Arthur Secunda and David Alfaro Siqueiros. Over one-third of this collection is printed material, including exhibition catalogs and announcements, news clippings, books written by Sternberg, school publications, and material regarding art events.

Also found are photographs of Sternberg in his studio, with students, with his wife Mary, and at the Idyllwild School. Other photographs include group photographs of Art Students League faculty as well as photographs of exhibitions, murals, and artwork. The collection also contains original artwork including two sketchbooks and three loose drawings by Sternberg and one scrapbook of news clippings and exhibition materials. Audio and video materials include several interviews of Sternberg and a video copy of his film "Many Worlds of Art".
Arrangement:
The collection is arranged into 8 series:

Series 1: Biographical Material, 1927-2000 (Box 1, OV 5; 0.3 linear feet)

Series 2: Correspondence, 1928-2000 (Box 1; 0.3 linear feet)

Series 3: Writings, circa 1940s-2000 (Box 1, 4; 0.2 linear feet)

Series 4: Printed Material, 1933-2000 (Box 1-3; 1.2 linear feet)

Series 5: Photographs, circa 1930s-1998 (Box 3, 4; 0.3 linear feet)

Series 6: Artwork, circa 1928-1980s (Box 3, OV 5; 0.2 linear feet)

Series 7: Audio Visual Material, circa 1980s-2000 (Box 3; 0.5 linear feet, ER01; 0.553 GB)

Series 8: Scrapbook, 1929-1958 (Box 4; 0.2 linear feet)
Biographical Note:
Harry Sternberg (1904-2001) was a New York painter, muralist, printmaker, etcher, teacher, and political activist who relocated to California in 1957.

Harry Sternberg was born in 1904 in the Lower East Side of New York City and grew up in Brooklyn. As a child he attended his school art club where he met and became lifelong friends with artists Peter Blume and Philip Reisman. He took free Saturday art classes at the Brooklyn Museum of Art for two years and attended the Art Students League part time from 1922 to 1927 where he studied with George Bridgman. In 1926 he shared a studio with Philip Reisman where they received private instruction in etching from Harry Wickey. Sternberg began exhibiting his etchings and intermittently had drawings published in New Masses, a prominent American Marxist publication. In the late 1920s he became friends with Hudson Walker who also became a major collector of his work. In 1933 Sternberg was hired as instructor of etching, lithography, and composition at the Art Students League and continued teaching there for the next 33 years. Also around this time he became politically active in artist rights organizations, serving on the planning committee to create the American Artists' Congress and later serving as an active member of the Artists Equity Association. In 1935 he became the technical advisor of the Graphic Art Division of the Federal Art Project. From 1937 to 1939 he completed three federal mural commissions. His first mural Carrying the Mail was created for the Sellersville, Pennsylvania post office in 1937. His most famous mural Chicago: Epoch of a Great City was painted for the Lakeview post office in Chicago. It depicts the history of the city and its workers, particularly life for the workers in Chicago's stockyards and steel mills.

During the 1940s Sternberg remained very active in arts organizations, as one of the founders of the National Serigraph Society and a member of the Committee on Art and Education in Society. In 1942 he published the first of five books on printing. Sternberg had his first retrospective in 1953 at ACA Galleries, and in 1957 he taught summer painting courses at the Idyllwild School of Music and the Arts in California. He continued teaching in the summers there from 1960 to 1967 and 1981 to 1989. Suffering from lung disease, Sternberg moved with his wife, Mary, to Escondido, California in 1966 in hopes that the climate would improve his health. In 1972 he was elected to the American Academy and Institute of Arts and Letters. During the 1970s and 1980s Sternberg traveled extensively throughout the US and Mexico where he found new inspiration for his artwork. He continued teaching, exhibiting, and creating new work until his death in 2001.
Related Material:
Also found in the Archives of American Art are the May Konheim papers concerning Harry Sternberg, 1934-1981, and an oral history interview of Harry Sternberg, conducted March 19, 1999, October 8, 1999, and January 7, 2000, by Sally Yard for the Archives of American Art
Provenance:
The Harry Sternberg papers were donated by Sternberg in several installments from 1967 to 2001.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Harry Sternberg 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:
Printmakers -- California  Search this
Printmakers -- New York (State) -- New York  Search this
Educators -- California  Search this
Painting, American  Search this
Painters -- California  Search this
Educators -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Citation:
Harry Sternberg papers, 1927-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterharr
See more items in:
Harry Sternberg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sterharr

Moses Soyer papers

Creator:
Soyer, Moses, 1899-1974  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Bishop, Isabel, 1902-1988  Search this
Burliuk, David, 1882-1967  Search this
Cikovsky, Nicolai, 1894-  Search this
Dobkin, Alexander, 1908-  Search this
Evergood, Philip, 1901-1973  Search this
Gross, Chaim, 1904-1991  Search this
Soyer, David, 1928-  Search this
Soyer, Ida  Search this
Soyer, Raphael, 1899-1987  Search this
Photographer:
Newman, Arnold, 1918-2006  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
circa 1905-1974
Summary:
The papers of realist painter Moses Soyer date from circa 1905 to 1974 and measure 3.8 linear feet. Within the papers are scattered biographical materials, general correspondence with friends, artists, galleries, art organizations, and others, as well as correspondence with his family, including his son David, writings and notes by Soyer and others, exhibition materials, news clippings, and other printed material, numerous photographs of Soyer, his family, fellow artists, friends and his artwork. Also found are book illustrations and loose sketches by Soyer.
Scope and Content Note:
The papers of realist painter Moses Soyer date from circa 1905 to 1974 and measure 3.8 linear feet. Within the papers are scattered biographical materials, general correspondence with friends, artists, galleries, art organizations, and others, as well as correspondence with his family, including his son David, writings and notes by Soyer and others, exhibition materials, news clippings, and other printed material, numerous photographs of Soyer, his family, fellow artists, friends and his artwork. Also found are book illustrations and loose sketches by Soyer.

Biographical materials include awards, business documents such as records for the loan of his artwork, passports, his marriage certificate, and other official documents. Soyer's 1966 membership to the National Institute of Arts and Letters and several awards from the National Academy of Design are found here as well. Correspondence is with friends and artists such as Leonard Baskin, Isabel Bishop, Alex Dobkin, Philip Evergood, Chaim Gross, and his brother Raphael Soyer, as well as with students, galleries, art organizations, museums, universities, and others. Also found is correspondence with his son David and his grandchildren that include many letters illustrated by Soyer.

Writings and notes include Soyer's draft writings for his book Painting the Human Figure, autobiographical essays, desk diaries, and miscellaneous writings and notes. There are also writings by Ida and David Soyer, artist Philip Evergood, and others. Printed material consists of exhibition catalogs and announcements, news clippings about Soyer's career and realist painting, and scattered material such as newsletters, programs, and magazines.

The papers contain numerous photographs of Soyer, including photographs of him working in his studio, with models, with family, and with fellow artists such as David Burliuk, Nicolai Cikovsky, Chaim Gross, Raphael Soyer, and many others. Additional photographs are of Soyer's family, fellow artists, friends, events, and his artwork. Among the photographers is Arnold Newman. Original artwork includes book illustrations for First Book of Ballet and loose sketches by Soyer.
Arrangement:
The collection is arranged into 6 series:

Series 1: Biographical Material, 1925-1974 (Box 1, 5, OV 6; 12 folders)

Series 2: Correspondence, 1928-1974 (Box 1-2, 5; 1.0 linear foot)

Series 3: Writings & Notes, circa 1930s-1968, undated (Box 2; 0.6 linear feet)

Series 4: Printed Material, 1926-1974 (Box 2-3, 5, OV 6; 0.8 linear feet)

Series 5: Photographs, circa 1905-1974 (Box 3-5, OV 6; 1.1 linear foot)

Series 6: Artwork, circa 1940s-1960s (Box 4-5; 0.2 linear feet)
Biographical Note:
Moses Soyer (1899-1974) and his twin brother Raphael (1899-1987) were born on December 25, 1899, in the Russian town Borisoglebsk. Their father Abraham was a scholar and Hebrew teacher who encouraged all of his children to sketch and paint. After the family was deported from Russia, they settled in the Bronx, New York, in 1912. Moses and Raphael briefly attended school, but at 16 they began working various jobs to help support their family. They also began taking free art classes at Cooper Union and for a brief time at the National Academy of Design. Moses then enrolled at the Educational Alliance Art School where he met close friend Chaim Gross. He participated in his first exhibition in 1923 and also taught classes at the Education Alliance Art School until 1926 when he received a traveling scholarship to Europe.

Before leaving for Europe, Soyer married Ida, a former student and dancer. They spent most of their time during the next two years in France. Their son David was born in 1928. Shortly after his birth they returned to the New York City where Moses found greater inspiration for his social-realist paintings. During the Depression, he was commissioned to do artwork for the WPA and for the Federal Arts Project, depicting people doing everyday tasks. During this time Soyer also taught classes at the Contemporary Art School and the New School for Social Research.

Throughout the 1940s and 1950s Soyer continued with this subject matter, even as the abstract art movement became more prominent. Speaking out against abstract art as well as regionalism, he exhibited his work constantly, becoming a significant figure in the social realist movement. His work was represented by the American Contemporary Art (ACA) Gallery beginning in 1944, and he was also a member of several art organizations, including the Artists Equity Association. He was elected to the National Academy of Design in 1963 and to the National Institute of Arts and Letters in 1966. Soyer's later work focused on more sensitive portrayals of the female figure, especially dancers. He also painted portraits, including many of his artist friends such as Chaim Gross, Joseph Stella, and David Burliuk. He illustrated several books, including the First Book of Ballet and wrote Painting the Human Figure, which was published in 1964. Soyer continued to paint until his death in 1974.
Related Material:
Also found at the Archives of American Art are the Abe Lerner papers concerning the book Moses Soyer, 1961-1970, a Moses Soyer letter to Herbert S. Schimmel, and a Moses Soyer letter and two photographs, donated by Marilyn Mark. Also available at the Archives are the papers of Raphael Soyer, Moses Soyer's twin brother.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D176), the majority of which was later donated. Loaned materials not donated at a later date are not described in the container listing of this finding aid.
Provenance:
Moses Soyer first lent the Archives of American Art material for microfilming in 1965. Some of these papers, along with additional material, were donated by Soyer between 1966 and 1969. His son, David Soyer, gave more material in 1974 and 1975.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Moses Soyer 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:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Social realism -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Citation:
Moses Soyer papers, circa 1905-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soyemose
See more items in:
Moses Soyer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soyemose
Online Media:

Society of Washington Artists records

Creator:
Society of Washington Artists (Washington, D.C.)  Search this
Artists Equity Association  Search this
Washington Arts Club  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1897-1967
Scope and Contents:
Administrative files, correspondence, exhibition files, and financial records documenting the activities of the Society of Washington Artists. A small portion of the collection also contains files on the Washington Arts Club and printed material regarding the Artists Equity Association.
Biographical / Historical:
The Society of Washington Artists (established 1890) was organized in Washington, D.C. at a meeting of the Art Students League of Washington. The Society was officially established in order to promote the exhibition of its members' art work. By 1898 the Society had its own gallery space at 1020 Connecticut Avenue, N.W., but its annual exhibitions were primarily held in the Corcoran Gallery at 17th Street and New York Avenue, Washington, D.C.
Provenance:
A small portion of the collection was donated by Joyce Field, the publicity director (1951-1954) and president (1954-1955) of the Society of Washington Artists. A majority of the collection was donated 2015 by the Corcoran Gallery of Art via David Julyan, representative for the trustees of the Corocoran Gallery of Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art, American -- Washington (D.C.)  Search this
Art -- Societies, etc. -- Washington (D.C.)  Search this
Identifier:
AAA.sociofwa
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sociofwa

Sidney Simon papers

Creator:
Simon, Sidney, 1917-1997  Search this
Names:
Budd (Firm : New York, N.Y.)  Search this
Century Association (New York, N.Y.)  Search this
Colby College  Search this
Graham Gallery  Search this
Pennsylvania Academy of the Fine Arts  Search this
Skowhegan School of Painting and Sculpture. School -- Faculty  Search this
United States. Army. Corps of Engineers  Search this
Emmerich, André  Search this
Gonzalez, Xavier, 1898-1993  Search this
Gotfryd, Bernard  Search this
Hélion, Jacqueline  Search this
Jencks, Penelope  Search this
Kelly, Ellsworth, 1923- -- Photographs  Search this
King, William, 1925-2015  Search this
Meredith, Burgess, 1907-1997  Search this
Motherwell, Robert -- Photographs  Search this
Nevelson, Louise, 1899-1988 -- Photographs  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
8 Linear feet
2.21 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Date:
circa 1917-2002
bulk 1940-1997
Summary:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.
Scope and Contents:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

Biographical material chronicles Simon's academic training and professional activities through curriculum vitae, biographical accounts, and awards. Included are letters and memoranda, many from Forbes Watson pertaining to Simon's service as a combat artist in World War II. Also found is a transcript of an interview with Simon recounting his experiences in the Southwest Pacific. Simon's personal correspondence with colleagues, friends, and family includes scattered letters from Jacqueline Helion, Penelope Jencks, William King, Burgess Meredith, among others. Many letters are illustrated by Sidney Simon and others. General correspondence includes letters from artists, galleries, museums, public and religious institutions primarily relating to Simon's exhibitions and commissioned projects. Among the correspondents are Castle Hill, Truro Center for the Arts, Colby College, André Emmerich, Eric Makler Gallery, Xavier Gonzalez, Graham Gallery, and the Pennsylvania Academy of the Fine Arts. Interspersed among the files are letters of a personal nature. Other correspondence relates to Simon's faculty positions and his activities in professional organizations, e.g., Century Association, National Academy of the Fine Arts, and the Skowhegan School of Painting and Sculpture.

Writings and notes include Simon's 1943 diary entries recording his activities in the Army Corps of Engineers, draft versions of writings and lectures, and notes. Included are digital audio recordings of Simon's lectures at the Skowhegan School of Painting and Sculpture. Subject files provide documentation on Simon's commissioned projects, select exhibitions and competitions, as well as his faculty positions and memberships in several arts organizations. Printed material consists of clippings, invitations, announcements, newsletters, and programs. Exhibition catalogs are of Simon's solo and group shows at galleries, museums, and art organizations from 1959-1966. Photographs are of Simon by Budd Brothers, Richard Pousette-Dart, and Bernard Gotfryd. There are a number of photographs of the artist in his studio and outdoors as well as of Simon's family and friends, including group photographs with Ellsworth Kelly, André Emmerich, Robert Motherwell, and Louise Nevelson. Also found are three personal and family albums and twenty-one photograph albums of Simon's paintings and sculptures.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1940-1998 (Boxes 1, 9; 0.7 linear feet)

Series 2: Correspondence, 1936-2002 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Notes, 1943, circa 1960-1997 (Box 2; 0.4 linear feet, ER01-ER03; 2.21 GB)

Series 4: Subject Files, 1940-1941, 1951-1997 (Boxes 2-4, 9; 1.8 linear feet)

Series 5: Sketches, 1937-1942 (Box 4; 1 folder)

Series 6: Sketchbooks, 1939-1995 (Boxes 4-5, 9; 0.5 linear feet)

Series 7: Printed Material, circa 1933, 1942-1998 (Box 5; 0.3 linear feet)

Series 8: Scrapbooks, 1978-1995 (Box 5; 0.1 linear feet)

Series 9: Photographs, circa 1917-1997 (Boxes 5-11; 3.0 linear feet)
Biographical / Historical:
Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

In 1941, Simon enlisted in the U.S. Army and served in the Army Corps of Engineers. Assigned to MacArthur's headquarters as an official war artist for the Southwest Pacific Theater, Simon was chosen to paint the signing of the peace treaty between the U.S. and Japan aboard the U.S.S. Missouri. He was discharged from the army with a Bronze Star and five presidential citations. In 1945, along with Bill Cummings and Henry Varnum Poor, Simon co-founded the Skowhegan School of Painting and Sculpture, where he later served as a director and a member of the Board of Governors. By the mid-1950s, Simon's interest shifted from painting to sculpture, creating works in wood, clay, and other media. Over the years, Simon collaborated with architects on a number of public and private commissions, including the doorway for the Downstate Medical Center, the Jewish Chapel at West Point, a playground sculpture for Prospect Park, and the totemic column for the Temple Beth Abraham. In addition to serving on the faculty at Skowhegan School of Painting and Sculpture, Simon also taught at the Art Students League, Brooklyn Museum, and Parsons School of Design. An active champion of artists' rights, Simon established the New York Artists Equity Association. He participated in solo and group shows at the Graham Gallery, Provincetown Art Association and Museum, and the Sculptors Guild, among other venues.

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.
Related Materials:
The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Sidney Simon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
War artists  Search this
Topic:
Art -- Study and teaching  Search this
Sculptors -- New York (State) -- New York  Search this
World War, 1939-1945 -- Personal narratives  Search this
World War, 1939-1945 -- Campaigns -- Pacific Area  Search this
World War, 1939-1945 -- Art and the war  Search this
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.simosidn
See more items in:
Sidney Simon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-simosidn

Katherine Schmidt papers

Creator:
Schmidt, Katherine, 1898-1978  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1921-1971
Summary:
The papers of painter and arts advocate Katherine Schmidt measure 0.2 linear feet and date from circa 1921 to 1971. Scattered correspondence, speeches, proposals, meeting minutes, and notes focus primarily on Schmidt's advocacy for federal and state government support of the arts. Printed materials includes exhibition catalogs, clippings, press releases documenting Schmidt's painting career and arts advocacy work. Photographs include portrait photos of Schmidt and photographs of Schmidt's drawings. There are two photographs taken by her first husband Yasuo Kuniyoshi of Schmidt with friends at a party.
Scope and Content Note:
The papers of painter and arts advocate Katherine Schmidt measure 0.2 linear feet and date from circa 1921 to 1971. Scattered correspondence, speeches, proposals, meeting minutes, and notes focus primarily on Schmidt's advocacy for federal and state government support of the arts. Printed materials includes exhibition catalogs, clippings, press releases documenting Schmidt's painting career and arts advocacy work. Photographs include portrait photos of Schmidt and photographs of Schmidt's drawings. There are two photographs taken by her first husband Yasuo Kuniyoshi of Schmidt with friends at a party. The papers contain little documentation of Kuniyoshi or their marriage.
Arrangement:
The collection is arranged into 4 series:

Series 1: Correspondence, 1939-1951, 1961 (Box 1; 3 folders)

Series 2: Business Records and Writings, 1940-1950 (Box 1; 7 folders)

Series 3: Printed Material, 1925-1971 (Box 1; 4 folders)

Series 4: Photographs, circa 1921-1930 (Box 1; 3 folders)
Biographical Note:
Katherine Schmidt (1898-1978) was born in Xenia, Ohio. She moved with her family to New York City, and around the age of 13 began attending Saturday classes at the Art Students League. She continued her art classes after high school and was taught by F. Luis Mora, Kenneth Miller, and John Sloan. While attending the Art Students League, Schmidt made many friends who would later become prominent members of the New York art community, including Peggy Bacon, Alexander Brook, Reginald Marsh, and Lloyd Goodrich. In 1919 she married fellow art student, Yasuo Kuniyoshi, in Ogunquit, Maine. They lived in Maine during the summers, but settled in Brooklyn, New York. Schmidt began working for Juliana Force at the Whitney Studio Club in 1923, where she also periodically exhibited her artwork. She taught sketching classes for the club and also did various other jobs for Force and Gertrude Vanderbilt Whitney until around 1930. Her work during this period consisted of drawings and paintings of landscapes, still lifes, and the homeless and unemployed.

In 1925 Schmidt and Kuniyoshi took their first trip to Europe, spending a year in Paris and Italy and visiting the studios of their American expatriate friends. After another brief trip to Europe in 1928, she and Kuniyoshi bought a house in Woodstock, New York, where they would spend several summers as part of a very active artists' community. In the late 1920s she exhibited and was represented by the Daniel Gallery in New York. In the early 1930s, she became affliated with Downtown Gallery where she became good friends with owner Edith Halpert. She and Kuniyoshi divorced in 1932 and a year later she married lawyer Irvine Shubert. In the 1930s Schmidt became dissatisfied with her artwork and had her last show at the Downtown Gallery in 1939, taking a hiatus from exhibiting for over twenty years.

During the 1930s and 1940s Schmidt became very active in promoting federal and state government support of the arts. She worked with Juliana Force and others on a New York State art bill in the early 1930s, and in 1941 testified for federal appropriations for the arts in Washington D. C. as part of the Citizens Committee for Government Arts Projects. She was also active in the Artists Equity Association.

Schmidt spent many years experimenting with different painting techniques and subjects, and in the late 1950s found a new motif that she pursued for the rest of her life: still lifes of discarded paper and dead leaves. Schmidt died in Sarasota, Florida in 1978 at the age of 79.
Related Material:
Also found at the Archives of American Art is an Oral History Interview with Katherine Schmidt, December 8-15, 1969, by Paul Karlstrom which includes a transcript available via the Archives of American Art's website.
Separated Material:
Also found at the Archives of American Art are materials lent for microfilming (reel 89) including correspondence concerning exhibitions, a scrapbook containing clippings, exhibition catalogs and announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Katherine Schmidt lent material to the Archives of American Art for microfilming in 1971. The papers were donated in 1982 by Irvine J. Shubert, Schmidt's widower.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Katherine Schmidt 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:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Art and state  Search this
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Katherine Schmidt papers, circa 1922-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schmkath
See more items in:
Katherine Schmidt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schmkath
Online Media:

Henry Ernest Schnakenberg papers

Creator:
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Names:
American Academy of Arts and Letters  Search this
Artists Equity Association  Search this
Angel, John, 1881-1960  Search this
Bacon, Peggy, 1895-1987  Search this
Barye, Antoine-Louis, 1796-1875  Search this
Beal, Gifford, 1879-1956  Search this
Bierstadt, Albert, 1830-1902  Search this
Billings, Henry, 1901-  Search this
Bishop, Isabel, 1902-1988  Search this
Blume, Peter, 1906-1992  Search this
Bouché, Louis, 1896-1969  Search this
Brooks, Van Wyck, 1886-1963  Search this
Buller, Audrey, 1902-  Search this
Cadmus, Paul, 1904-1999  Search this
Calder, Alexander, 1898-1976  Search this
Catherwood, Frederick  Search this
Congdon, William, 1912-  Search this
Day, Horace Talmage, 1909-1984  Search this
Dows, Olin, 1904-1981  Search this
Duchamp, Marcel, 1887-1968  Search this
Etting, Emlen, 1905-1993  Search this
Evergood, Philip, 1901-1973  Search this
Faulkner, Barry, 1881-1966  Search this
Fiene, Ernest, 1894-  Search this
Goff, Lloyd Lozés, 1919-  Search this
Guys, Constantin, 1805-1892  Search this
Hardy, Thomas, 1921-  Search this
Harnett, William Michael, 1848-1892  Search this
Hartl, Léon, 1889-  Search this
Homer, Winslow, 1836-1910  Search this
Hoyt, Whitney Ford, 1910-1980  Search this
Inness, George, 1825-1894  Search this
Ivins, William Mills, 1881-1961  Search this
Johnson, Eastman, 1824-1906  Search this
Kirstein, Lincoln, 1907-  Search this
Kroll, Leon, 1884-1974  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laning, Edward, 1906-  Search this
Lasker, Joe  Search this
Leighton, Clare, 1899-  Search this
Locke, Charles, 1899-  Search this
Low, Sanford B. D. (Sanford Ballard Dole), 1905-1964  Search this
Lucioni, Luigi, 1900-1988  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Parsons, Betty  Search this
Robus, Hugo, 1885-1964  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Savery, Rockland  Search this
Schmidt, Katherine, 1898-1978  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Stamos, Theodoros, 1922-1997  Search this
Tait, Arthur Fitzwilliam, 1819-1905  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Watson, Forbes, 1880-1960  Search this
Watson, Nan, 1876-1966  Search this
Weisgard, Leonard, 1916-  Search this
Extent:
5.1 Linear feet ((partially microfilmed on 6 reels))
Type:
Collection descriptions
Archival materials
Date:
1905-1969
Scope and Contents:
Photographs, correspondence, appointment books, etchings, a scrapbook, printed materials, writings, and posters.
REEL D113: Primarily letters received from artists, 1940s-50s; background material for Ft.Lee and Amsterdam (N.Y.) murals; and miscellaneous printed material and photographs.
Correspondents include John Angel, Artists Equity, Peggy Bacon, Gifford Beal, Henry Billings, Isabel Bishop, Peter Blume, Louis Bouche, Van Wyck Brooks, Audrey Buller, Paul Cadmus, Alexander Calder, William Congdon, Horace T. Day, Olin Dows, Marcel Duchamp, Emlen P. Etting, Philip Evergood, Barry Faulkner, Ernest Fiene, Leon Hartl, Whitney F. Hoyt, William M. Ivins, Jr., Lincoln E. Kirstein, Leon Kroll, Yasuo Kuniyoshi, Edward Laning, Joseph L. Lasker, Clare Leighton, Charles W. Locke, Sanford B.D. Low, Luigi Lucioni, Reginald Marsh, Kenneth H. Miller, Nat'l Institute of Arts and Letters, Betty Parsons, Hugo Robus, Homer Saint-Gaudens, Katherine Schmidt, Ben Shahn, Charles Sheeler, Eugene Speicher, Theodoros Stamos, Franklin C. Watkins, Forbes and Nan Watson, and Leonard Weisgard.
REEL 847: Photographs, including 67 of Schnakenberg and friends, 1 of a portrait of him by Lloyd Goff, 95 of his oil paintings, 33 of his watercolors, 25 of his works in unidentified media, 29 of works by other artists, and 46 of pre-Columbian art from Central and South America. Among artists whose works are included are Antoine Louis Barye, Albert Bierstadt, Frederick Catherwood, Constantin Guys, Thomas Hardy, William Harnett, Winslow Homer, George Inness, Eastman Johnson, Yasuo Kuniyoshi, Reginald Marsh, Rockland Savery, Theodoros Stamos, and Arthur Fitzwilliam Tait.
REELS 850-853: Biographical information; personal and business correspondence; 17 diaries, mainly about Schnakenberg's travels, 1905-1960; appointment calendars, 1963-1969; 70 etchings by Schnakenberg; a scrapbook containing clippings, catalogs, and other printed material; a book published by G. Alan Chidsey on Schnakenberg; clippings, catalogs, and announcements; papers relating to gifts and acquisitions of works of art; receipts for Schnakenberg paintings from C.W. Kraushaar Galleries; a 650-page typescript for a book "The Background of Painting" by Schnakenberg; and drafts of speeches.
UNMICROFILMED: Six World War I posters designed by Schnakenberg; Christmas cards from artists and other friends; printed material; and a photograph of Lloyd Goff, inscribed to Schnakenberg, in front of one of his paintings, 1939.
Biographical / Historical:
Painter, etcher; Newton, Conn.
Provenance:
Material donated 1963-1971 by Schnakenberg and, after his death, by his estate.
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:
Etchers -- Connecticut -- Newton  Search this
Painters -- Connecticut -- Newton  Search this
Topic:
Art, Prehistoric  Search this
Painting, Modern -- 20th century  Search this
Etching  Search this
Identifier:
AAA.schnh
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schnh

H. Bella Schaeffer papers

Creator:
Schaeffer, H. Bella (Henri Bella)  Search this
Names:
Artists Equity Association  Search this
De Vitis, Themis, 1905-1973  Search this
Heller, Helen West, d. 1955  Search this
Sprinchorn, Carl, 1887-1971  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1941-1974
Scope and Contents:
Correspondence, business records, catalogs, clippings, and other material relating to Artists Equity Association, Inc. Also included is correspondence and printed material concerning Helen West Heller; color pencil drawings by Carl Sprinchorn; and papers of Schaeffer's husband, Themis De Vitis.
Biographical / Historical:
Painter; New York, N.Y. Was an officer in the Artists Equity Association.
Provenance:
Donated 1966-1974 by Henri Bella Schaeffer.
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:
Painting, Modern -- New York (State) -- New York  Search this
Identifier:
AAA.schahenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schahenr

Lincoln Rothschild papers

Creator:
Rothschild, Lincoln, 1902-  Search this
Names:
Federal Art Project (New York, N.Y.)  Search this
Index of American Design  Search this
Archer, Edmund, 1904-  Search this
Cahill, Holger, 1887-1960  Search this
Coffey, Katherine, d. 1972  Search this
Davis, Charles H. (Charles Harold), 1856-1933  Search this
Greenbaum, Dorothea S.  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Mangravite, Peppino, 1896-  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Piccoli, Girolamo, 1900-1970  Search this
Schmidt, Katherine, 1898-1978  Search this
Starr, Theodore  Search this
Von Groschwitz, Gustave, 1906-1991  Search this
Winchester, Alice  Search this
Woodhouse, Betty Burroughs, 1899-1988  Search this
Extent:
1.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Interviews
Sketchbooks
Date:
1920-1982
Scope and Contents:
Biographical material, interviews, printed materials, writings, correspondence, art work, and photographs.
REEL 290: Eleven scripts for radio programs on the Index of American Design, broadcast in New York throughout 1940. Interviewees include: Rothschild, Holger Cahill, director of the WPA-FAP; Edith Halpert, director of American Folk Art Gallery; Katherine Coffey, curator of Newark Museum; Alice Winchester, editor of "Antiques"; and Theodore Starr.
REEL NDA 15: Press releases; pamphlet on permanent art programs; Index of American Design papers; a report concerning government art programs; memorandum to Gustave Von Groschwitz outlining a plan for new subject matter for FAP artists; and "Report to the Sculptors of the Federal Art Project" by Girolamo Piccoli.[Report to the sculptors...under microfilm title Girolamo Piccoli]
UNMICROFILMED: Writings on art and on the Index of American Design; radio scripts for the series "The American Artists" sponsored by Artists Equity, 1953; clippings, 1936-1982; a nearly complete set of his newsletter, THE PRAGMATIST IN ART, 1964-1978; material on Kenneth Hayes Miller; resumes, school transcripts and memorabilia; photographs of Rothschild and of his sculpture; correspondence concerning THE PRAGMATIST IN ART (1964-1978), The Index of American Design (1968-1973), his research on Miller (1964-1977) and other publications, his work for Artists Equity, and other matters; a sketchbook; and a drawing. Among the correspondents are Samuel Kramer, editor of "The Shipyard Worker," Peppino Mangravite, Katherine Schmidt Shubert, Betty Burroughs Woodhouse, and critics Rudolf Arnheim, John Canaday and Donald Kuspit.
Biographical / Historical:
Lincoln Rothschild (1902-1983) was a cculptor and writer in New York, N.Y. Rothschild was the director of the New York Unit of the Index of American Design, 1937-1940. He taught at Columbia University and Adelphi College, 1946-1950 and was the National Executive Director for Artists' Equity Association, 1951-57. He was the author of SCULPTURE THROUGH THE AGES (1942) TO KEEP ART ALIVE-KENNETH HAYES MILLER, AMERICAN PAINTER 1876-1956 (1974), FORMS AND THEIR MEANINGS IN WESTERN ART (1976) and numerous articles.
Other Title:
Girolamo Piccoli [microfilm title]
Provenance:
Material on reel NDA15 donated by Rothschild, 1964; remainder donated 1987 by his widow, Elisabeth Rothschild.
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:
Sculptors  Search this
Topic:
New Deal, 1933-1939 -- New York (State) -- New York  Search this
United States -- Economic conditions -- 1918-1945 -- New York (State) -- New York  Search this
Art and state -- New York (State) -- New York  Search this
Federal aid to the arts -- New York (State) -- New York  Search this
Federal aid to public welfare -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Sketchbooks
Identifier:
AAA.rothlinc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rothlinc

Helen J. Rennie papers

Creator:
Rennie, Helen J., 1906-1989  Search this
Names:
Artists Equity Association  Search this
Franz Bader Gallery  Search this
Extent:
4.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Scrapbooks
Date:
1920-1979
Scope and Contents:
Correspondence, photographs, writings, artwork, financial material, printed material relating to graphic designer Helen Rennie.
Personal correspondence is with Rennie's friends and professional correspondence is with the Franz Bader Gallery and Artists Equity Association. Photographs and slides are of Rennie's artwork, as well exhibition installations at the Capricorn Gallery and the Franz Bader Gallery. Writings include notebooks, notes and journals by Rennie. Artwork includes sketches and sketchookbs.
Financial material includes supply bills and checks. Printed material consists of a scrpabook, reproductions of posters promoting government programs, pamphlets and booklets featuring Rennie's designs (many are for government programs), exhibition announcements, art journals, and newspaper clippings. Miscellany includes an address list and travel documents.
Biographical / Historical:
Helen Rennie (1906-1989) was a graphic designer in Washington, D.C. Rennie also created design work for the Federal government.
Provenance:
Donated 1978 by Helen J. Rennie and in 2009 by Kathleen Baker Moorefield, Rennie's niece.
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:
Designers -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Topic:
Women artists -- Washington (D.C.)  Search this
Genre/Form:
Sketchbooks
Scrapbooks
Identifier:
AAA.rennhele
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rennhele

Nancy Sussman Ranson papers

Creator:
Ranson, Nancy Sussman, 1905-1993  Search this
Names:
American Society of Contemporary Artists (New York, N.Y.)  Search this
Artists Equity Association  Search this
Brooklyn Society of Artists (New York, N.Y.)  Search this
George Binet Gallery (New York, N.Y.)  Search this
MacDowell Colony  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1925-1971
Scope and Contents:
Correspondence; biographical data; 2 sketchbooks; catalogs and exhibit announcements; photographs of Nancy Ranson; photographs and slides of Ranson's work; clippings and other printed material, including a volume of 54 original lithographic advertisements by members of the Artists Equity Association, IMPROVISATIONS, Vol. IV published by Artists Equity Fund, Inc., 1953; papers relating to the George Binet Gallery, the MacDowell Colony and the Brooklyn Society of Artists, later known as the American Society of Contemporary Artists.
Biographical / Historical:
Painter, serigrapher; New York City.
Provenance:
Donated 1976 by Nancy Ranson.
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:
Serigraphers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.ransnanc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ransnanc

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