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Claudia Schwalb papers

Creator:
Schwalb, Claudia  Search this
Names:
Saret, Alan, 1944-  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1984-1996
Summary:
The scattered papers of New York painter and author Claudia Schwalb date from 1984-1996 and measure 0.2 linear feet. Papers include letters, artwork by Scwalb, a typescript of a writing including an interview with Alan Saret, photographs of individuals and works of art, negatives, and slides of artwork.
Scope and Contents:
The scattered papers of New York painter and author Claudia Schwalb date from 1984-1996 and measure 0.2 linear feet. Papers include letters, artwork by Scwalb, a typescript of a writing including an interview with Alan Saret, photographs of individuals and works of art, negatives, and slides of artwork.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
New York City, New York painter and author Claudia Schwalb has exhibited at Clocktower Gallery and the New Museum, and is currently a writer for whitehotmagazine.com.

After graduating from Pratt Institute, Schwalb apprenticed with painter Ron Gorchov and began writing for Cover Magazine and other art journals.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women authors  Search this
Genre/Form:
Interviews
Citation:
Claudia Schwalb papers, 1984-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schwclau
See more items in:
Claudia Schwalb papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw987418634-5d5b-46eb-b9c2-202652390bcc
EDAN-URL:
ead_collection:sova-aaa-schwclau

Oral history interview with Sylvan Cole

Interviewee:
Cole, Sylvan  Search this
Interviewer:
Berman, Avis  Search this
Names:
Associated American Artists  Search this
Barnet, Will, 1911-2012  Search this
Drewes, Werner, 1899-1985  Search this
Florsheim, Richard A., 1916-1979  Search this
Frankenthaler, Helen, 1928-2011  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Hopper, Edward, 1882-1967  Search this
Johnson, Una E.  Search this
Kainen, Jacob  Search this
Levine, Jack, 1915-2010  Search this
Lewenthal, Reeves, 1909-1987  Search this
Lieberman, William Slattery, 1924-  Search this
Motherwell, Robert  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
83 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2000 June-October
Scope and Contents:
An interview of Sylvan Cole conducted 2000 June-October, by Avis Berman, for the Archives of American Art.
The interviews took place over five sessions in New York, New York. Cole discusses the history of Associated American Artists, the gallery for whom he began working in 1946, and its marketing techniques, customer base, and personalities, such as its founder, Reeves Lewenthal. He also traces his own development as a dealer in prints after he left AAA and recalls many artists and other figures in the art world, including Will Barnet, Werner Drewes, Richard Florsheim, Helen Frankenthaler, David Hockney, Hans Hofmann, Edward Hopper, Una Johnson, Jacob Kainen, Jack Levine, William S. Lieberman, Robert Motherwell, and Raphael Soyer.
Biographical / Historical:
Sylvan Cole (1918-2005) was an art dealer and writer of New York, New York.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 7 hr., 6 min.
Sound quality is fair; beginning and endings of tapes tend to be garbled and low.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Prints -- Marketing  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.cole00
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw926720f24-6e33-49a1-843c-f73c0aeeaec8
EDAN-URL:
ead_collection:sova-aaa-cole00
Online Media:

Lillian and Frederick Kiesler papers

Creator:
Kiesler, Lillian, 1910?-2001  Search this
Names:
Anthology Film Archives  Search this
Hans Hofmann School of Fine Arts  Search this
John Simon Guggenheim Memorial Foundation  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
University of Iowa, Museum of Art  Search this
Whitney Museum of American Art  Search this
Adnan, Etel  Search this
Andres, Jo  Search this
Arnaud, Leopold, 1895-1984  Search this
Bartos, Armand P., 1910-  Search this
Bultman, Fritz, 1919-1985  Search this
Buscemi, Steve, 1958-  Search this
Castelli, Leo  Search this
Copley, Alfred L.  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Hawkins, Erick  Search this
Hodges, Alice  Search this
Hofmann, Hans, 1880-1966  Search this
Holtzman, Harry  Search this
Howe, George, 1886-1955  Search this
Kamler, Richard  Search this
Kiesler, Frederick  Search this
MacIver, Loren, 1909-  Search this
Meredith, Burgess, 1907-1997  Search this
Milius, Tom  Search this
Miller, Henry, 1891-  Search this
Mondrian, Piet, 1872-1944  Search this
Montgomery, Chandler  Search this
Owen, Jane Blaffer, 1915-2010  Search this
Purdy, James  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
49.1 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Date:
circa 1910s-2003
bulk 1958-2000
Summary:
The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
Scope and Content Note:
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

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

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

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

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

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

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

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

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

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

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

Missing Title

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-57; 41.1 linear feet, ER01; 0.001 GB)

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

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

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

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

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

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.
Related Material:
The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Separated Material:
Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.
Provenance:
The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Set designers -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Performance artists -- New York (State) -- New York  Search this
Art patrons -- New York (State) -- New York  Search this
Topic:
Architects -- New York (State) -- New York  Search this
Exhibition designers  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Women performance artists  Search this
Function:
Art schools -- Massachusetts
Art Schools -- New York (State)
Genre/Form:
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Citation:
Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kieslill
See more items in:
Lillian and Frederick Kiesler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915
EDAN-URL:
ead_collection:sova-aaa-kieslill
Online Media:

Avis Berman research material on Elie Nadelman

Creator:
Berman, Avis  Search this
Names:
Nadelman, Elie, 1882-1946  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
circa 1998-2002
Summary:
Avis Berman research material on Elie Nadelman measures one linear feet and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Scope and Contents:
Avis Berman research material on Elie Nadelman measures one linear foot and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Arrangement:
Due to its small size the collection is arranged in a single series.
Biographical / Historical:
Avis Berman (1949- ) is a writer, curator, and historian of American art, architecture and culture based in New York, N.Y.. She holds a bachelor's degree from Bucknell University and an master's degree from Rutgers University, both in English literature. She is the author of numerous books including Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art; James McNeill Whistler; and Edward Hopper's New York. She was also co-author and editor of Katharine Kuh's memoir, My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. Berman has written numerous articles on subjects including painting, sculpture, photography, illustration, design, architecture, and the social history of the visual arts for a broad range of publications including The New York Times, The New York Review of Books, The Washington Post, Smithsonian, Saturday Review, The Boston Book Review, American Art, ARTnews, The San Francisco Examiner, The Boston Globe, The Philadelphia Inquirer, The Baltimore Sun, Art in America, Art & Antiques, House & Garden, and Architectural Digest. Throughout the 1980s 1990s and 2000s Avis served as a consultant for the Archives of American Art, Washington, D.C., in her capacity as interviewer for the oral history project for which she has researched and interviewed countless artists, collectors, and other figures in the art world in Europe and the United States. Since 2001, Avis Berman has overseen the Roy Lichtenstein Foundation's oral history project.
Related Materials:
Also in the Archives are the Avis Berman research material on Katharine Kuh, 1939-2006, research material on Juliana Force, circa 1930-2020, research material on art and artists, 1976-1994, and an interview of Reuben Nakian conducted by Berman for the Archives Oral History Program, June 1981.
Provenance:
Donated in 2021 by Avis Berman.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all writings by Avis Berman.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Women art historians  Search this
Folk art  Search this
Citation:
Avis Berman research material on Elie Nadelman, circa 1998-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermavis5
See more items in:
Avis Berman research material on Elie Nadelman
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6baa174-578f-490b-b9d3-8fe306c67e31
EDAN-URL:
ead_collection:sova-aaa-bermavis5

Oral history interview with Jennifer Bartlett

Interviewee:
Bartlett, Jennifer, 1941-  Search this
Interviewer:
Berman, Avis  Search this
Names:
Mills College -- Students  Search this
Yale University. School of Fine Arts -- Students  Search this
Murray, Elizabeth, 1940-  Search this
Serra, Richard, 1938-  Search this
Tworkov, Jack  Search this
Extent:
4 Cassettes (Sound recording: (5 hrs. 20 min.), analog.)
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Cassettes
Pages
Sound recordings
Interviews
Date:
1987 June 18-September 28
Scope and Contents:
An interview of Jennifer Bartlett conducted 1987 June 18-September 28, by Avis Berman, for the Archives of American Art.
Bartlett discusses her family background and the dynamics within the family; her childhood interest in art; growing up in suburban Long Beach, California; attending Mills College and Yale School of Fine Arts; and her teachers and co-students there. She remembers in particular Elizabeth Murray, Jack Tworkov, and Richard Serra. She speaks about themes and intentions in her work, especially "Rhapsody" and various commissions including works created for ISI, Saatchi, Volvo, and Battery Park. Bartlett speaks about her writings "Cleopatra" and "History of the Universe" and their relationship to her painting. She concludes the interview with philosophical musings about art and taste.
Biographical / Historical:
Jennifer Bartlett (1941-2022) was a painter, writer, and art instructor in New York, New York.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 15 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Conceptual artists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women authors  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bartle87
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90758e593-0844-45c5-bbbc-c8bd16d2bc9b
EDAN-URL:
ead_collection:sova-aaa-bartle87
Online Media:

Oral history interview with Diane Waldman

Interviewee:
Waldman, Diane  Search this
Interviewer:
Richards, Judith Olch  Search this
Names:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Guggenheim International Exhibition  Search this
Solomon R. Guggenheim Museum  Search this
Cornell, Joseph  Search this
De Kooning, Willem, 1904-1997  Search this
Ernst, Max, 1891-1976  Search this
Fry, Edward F.  Search this
Hess, Thomas B.  Search this
Kelly, Ellsworth, 1923-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Messer, Thomas M.  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
106 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 June 8-9
Scope and Contents:
An interview of Diane Waldman conducted 2010 June 8-9, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Waldman's home, in New York, N.Y.
Waldman speaks of her background; education and early career; her curatorial work at the Solomon R. Guggenheim Museum; relationships with artists; her exhibitions of works by Joseph Cornell, Willem de Kooning, Ellsworth Kelly, Roy Lichtenstein, Max Ernst, and others; her travels to India; her life after resigning from the Guggenheim Museum; Frank Lloyd Wright's building; the Guggenheim International; the museum profession dominated by men; writing detective stories; and other topics. She recalls Ed Fry, Thomas Hess, Thomas Kress, Thomas Messer, and others.
Biographical / Historical:
Diane Waldman (1936- ) is an independent art history scholar in New York, N.Y. Judith Olch Richards (1947- ) is a former director of iCI in New York, N.Y.
General:
Originally recorded on 4 memory cards. Duration is 5 hr., 57 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Art historians -- New York (State) -- New York -- Interviews  Search this
Topic:
Authors -- New York (State) -- New York -- Interviews  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Art -- History -- Study and teaching  Search this
Women art historians  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.waldma10
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96aeb78f4-637e-40a2-bb38-726bc8f2e747
EDAN-URL:
ead_collection:sova-aaa-waldma10
Online Media:

Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
70.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2010
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Arrangement:
The collection is arranged as nine series:

Missing Title

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-94; 17.0 linear feet)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015 and 2021.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Curators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Artists -- Political activity  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Art, Modern -- 20th century  Search this
Conceptual art  Search this
Minimal art  Search this
Women museum curators  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Virginia Admiral papers

Creator:
Admiral, Virginia, 1915-2000  Search this
Names:
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Mapplethorpe, Robert  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-1978
Summary:
The papers of painter and poet Virginia Admiral measure 0.6 linear feet and date from 1945-1978. The scattered papers include identification cards, correspondence with artists and friends, personal business records, and printed material. Found are files relating to the Art Workers' Coalition, a group that sought to pressure the Museum of Modern Art and others to implement political and economic reforms to their practices.
Scope and Contents:
The papers of painter and poet Virginia Admiral measure 0.6 linear feet and date from 1945-1978. The scattered papers include identification cards, correspondence with artists and friends, personal business records, and printed material. Found are files relating to the Art Workers' Coalition, a group that sought to pressure the Museum of Modern Art and others to implement political and economic reforms to their practices.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Virginia Admiral (1915-2000) was a painter and poet based in New York City, New York. She was the ex-wife of Robert De Niro and mother of actor Robert De Niro Jr.

Virginia Admiral was born in Oregon in 1915 and studied at the Art Institute of Chicago. She worked for the Federal Arts Project in Oakland, California in 1938 but enrolled at the Hofmann School in New York City two years later. It was at the Hofmann school, where she studied under its founder Hans Hoffman, that she met fellow artist Robert De Niro. They married and had a son, Robert De Niro Jr., who would later become an actor. Admiral and De Niro divorced in 1945.

Admiral's work was included in the 1948 Peggy Guggenheim exhibition at the Venice Biennale. Also an activist and a writer, Admiral participated in the anti-Vietnam War movement, and wrote for True Crimes magazine. She died in 2000 in New York City, New York.
Provenance:
Virginia Admiral donated her papers to the Archives of American Art in 1979 and 1980.
Restrictions:
This collection is open for research. Access to the original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Poets -- New York (State) -- New York  Search this
Topic:
Women authors  Search this
Women artists  Search this
Women painters  Search this
Citation:
Virginia Admiral papers, 1945-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.admivirg
See more items in:
Virginia Admiral papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db007217-fac8-4421-90a6-64eb87a06669
EDAN-URL:
ead_collection:sova-aaa-admivirg

Oral history interview with Lucy Lippard

Interviewee:
Lippard, Lucy R.  Search this
Interviewer:
Heinemann, Sue  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Art Workers Coalition  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Guerilla Art Action Group  Search this
Heresies Collective, Inc.  Search this
Museum of Modern Art (New York, N.Y.) -- Employees  Search this
Political Art Documentation/Distribution (Organization)  Search this
Smith College -- Students  Search this
Ashton, Dore  Search this
Chicago, Judy, 1939-  Search this
Hammond, Harmony  Search this
Judd, Donald, 1928-1994  Search this
LeWitt, Sol, 1928-2007  Search this
Miss, Mary, 1944-  Search this
Reinhardt, Ad, 1913-1967  Search this
Ryman, Robert, 1930-2019  Search this
Schneemann, Carolee, 1939-  Search this
Sholette, Gregory  Search this
Stevens, May  Search this
Extent:
4 Items (memory cards (4 hr., 29 min.), secure digital, wav, 1.25 in.)
97 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2011 Mar. 15
Scope and Contents:
An interview with Lucy Lippard conducted 2011 Mar. 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Lippard's home, in Galisteo, N.M.
Lippard discusses her childhood summers in Maine; growing up in New Orleans, La., and Charlottesville, Va.; attending the Abbot Academy and Smith College; her junior year in Paris; working in the Museum of Modern Art Library; living on Avenue D; meeting Bob Ryman and Sol Lewitt; birth of her son Ethan; Dore Ashton as a role model; involvement with various groups and political causes including the Angry Arts movement, the Art Workers' Coalition, Women Artists' Committee, Guerilla Art Action Group, Womanhouse, Political Art Documentation and Distribution (PAD/D), the Ad Hoc Women Artists Committee, and others; the development of Heresies Collective; her publications including, "From the Center: Feminist Essays on Women's Art," (1976), "On the Beaten Track: Tourism, Art and Place," (1999), "Mixed Blessings: New Art in a Multicultural America," (1990, 2000), "The Lure of the Local: Sense of Place in a Multicentered Society," (1997), and "Overlay: Contemporary Art and the Art of Prehistory," (1983) ; curating exhibitions; travels to Argentina and Mexico; moving to Galisteo, N.M.; interest in the Galisteo Basin; teaching; and other topics. She recalls Ad Reinhardt, Donald Judd, Harmony Hammond, Judy Chicago, Gregory Sholette, Carolee Schneemann, Max Koszloff, Joyce Koszloff, May Stevens, Betsy Hess, Mary Miss, and others.
Biographical / Historical:
Lucy R. Lippard (1937- ) is a writer and art critic in New York, N.Y. and Galisteo, N.M.
General:
Originally recorded on Edirol R-09HR on 4 secure digital memory cards. Duration is 4 hr., 29 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Curators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Women museum curators  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lippar11
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b83cc211-01df-48fa-bb27-fb6ea7cd8d42
EDAN-URL:
ead_collection:sova-aaa-lippar11
Online Media:

Merton Clivette papers

Creator:
Clivette  Search this
Names:
Nassauery, Gustave  Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1927-1932
Scope and Contents:
The papers of Merton Clivette date from circa 1927-1932, measure 0.01 linear feet, and consist of a 1929 handwritten biographical sketch of Clivette written by Gustave Nassuery, news clippings and other printed material about Clivette including an autobiographical piece, reviews of Clivette's work and exhibitions, and a page from a catalog with a reproduction of Clivette's painting of Walt Whitman.
Biographical / Historical:
Painter, sculptor, author, and magician Merton Clivette (1868-1931), spent his early life as a vaudevillian and entertainer before he settled in New York City to paint, and was a well-known figure in the Bohemian Greenwich Village scene of the 1920s. While Clivette's early artistic style was associated with the realism of the Ashcan school his work evolved through periods of expressionism and more figurative work, before ultimately becoming more abstract.
Provenance:
The provenance of the Merton Clivette papers is unknown.
Occupation:
Magicians -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Ashcan school of art  Search this
Identifier:
AAA.clivmert
See more items in:
Merton Clivette papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d0399093-2a1c-4cb7-984d-96c534b19cc9
EDAN-URL:
ead_collection:sova-aaa-clivmert
Online Media:

Oral history interview with Gordon Parks

Creator:
Parks, Gordon, 1912-2006  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
Doud, Richard Keith  Search this
Names:
New Deal and the Arts Oral History Project  Search this
United States. Farm Security Administration  Search this
Stryker, Roy Emerson, 1893-1975  Search this
Extent:
19 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Dec. 30
Scope and Contents:
An interview of Gordon Parks conducted 1964 Dec. 30, by Richard Doud, for the Archives of American Art, in New York, N.Y.
Parks speaks of his background; his early interest in photography; influences on him; his early career as a fashion photographer; joining the Farm Security Administration; his early impressions of the FSA; Roy Stryker's influence and guidance; how being Black and the experience of racism influenced his ability to relate to his subjects; memorable people he met during the FSA years; his post-FSA career, including his novels and his work for LIFE; and his opinions about the FSA's impact on people and on photography.
Biographical / Historical:
Gordon Parks (1912-2006) was a filmmaker, author, photographer, and composer from New York, N.Y.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 1 hr., 1 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 available on the Archives of American Art website.
Occupation:
Photographers -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Composers -- New York (State) -- New York  Search this
Topic:
Art and race  Search this
Documentary photography  Search this
Photography  Search this
African American artists  Search this
African American photographers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.parks64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91e7e028f-a417-4d49-a273-21777df7419e
EDAN-URL:
ead_collection:sova-aaa-parks64
Online Media:

Emilio Cruz papers

Creator:
Cruz, Emilio, 1938-  Search this
Names:
Black Artists' Group  Search this
Looker, Ben  Search this
Extent:
5 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Sound recordings
Video recordings
Date:
1961-2008
Summary:
The papers of African American artist and writer Emilio Cruz measure 5 linear feet and date from 1961 to 2008. The collection includes biographical material, correspondence, writings, personal business records, exhibition and project files, printed material, and photographic material.
Scope and Contents:
The papers of African American artist and writer Emilio Cruz measure 5 linear feet and date from 1961 to 2008. The collection includes biographical material, correspondence, writings, personal business records, exhibition and project files, printed material, and photographic material.

Biographical material includes Cruz's career narratives, an interview with Ben Looker for a book about the Black Artists' Group, an address book, and a recording of Emilio Cruz's memorial service.

Correspondence includes drafts and final copies of correspondence sent and received by Cruz. Though primarily professional in nature, some letters include Cruz's theories regarding art and literature.

Writings includes two subseries: general writings as well as literary work and performance material. General writings consist of Emilio Cruz's writings about art, exhibition text, and other essays and writing. Literary work and performance material includes poems, short stories, novels, and plays, as well as materials related to the performance of these works. This subseries includes audiovisual material in a variety of formats related to Cruz's performances.

Personal business records include shipping invoices and a small number of gallery records.

Exhibition and project files include correspondence, planning documents, financial documents, printed material, and photographic material related to Emilio Cruz's exhibitions and projects.

Printed material includes publications in which Emilio Cruz's writing was published or in which he was written about; exhibition and performance catalogs, programs, and invitations; and clippings of reviews.

Photographic material includes photographs of Emilio Cruz and slides of his artwork.
Arrangement:
The collection is arranged in seven series.

Series 1: Biographical Material, 1988, 2001-2005, undated (Box 1; 4 folders)

Series 2: Correspondence, 1965-2008 (Box 1, 0.9 linear feet)

Series 3: Writings, 1969-2004 (Boxes 1-3, FC 5-6, Box 7-9; 2.5 linear feet)

Series 4: Personal Business Records, 1989-2000 (Box 3; 5 folders)

Series 5: Exhibition and Project Files: 1963-2004 (Boxes 3-4; 1.2 linear feet)

Series 6: Printed Material, 1964-2003 (Box 4; 0.6 feet)

Series 7: Photographic Material, 1961-2003 (Box 10, OV 11; 0.3 linear feet)
Biographical / Historical:
Emilio Cruz (1938-2004) was an African American artist, playwright, and novelist of Cuban descent. He was born in the Bronx and spent much of his life in New York. He taught at the Art Institute of Chicago in the 1970s and was active in the Chicago art scene. In the 1980s he returned to New York where he continued to exhibit. He later taught at Pratt Institute and New York University. His two plays Homeostasis: Once More the Scorpion and The Absence Held Fast to Its Presence were first performed in New York in 1981, and later in Europe as part of the World Theater Festival.

Throughout his career, Cruz received a number of honors and awards, including a John Hay Whitney Fellowship and a fellowship from the National Endowment for the Arts. Emilio Cruz died in 2004.
Provenance:
The Emilio Cruz papers were donated to the Archives of American Art by Patricia Cruz, Emilio Cruz's widow, in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Rights:
The donor has retained all intellectual property rights, including copyright, that she may own, in the following material: Emilio Cruz's unpublished short stories, poems, plays, and novels.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Dramatists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Abstract expressionism  Search this
Art -- Philosophy  Search this
Cuban American artists  Search this
African American artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Interviews
Photographs
Sound recordings
Video recordings
Citation:
Emilio Cruz papers, 1961-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cruzemil
See more items in:
Emilio Cruz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw911f826a1-4c14-46d6-9d1b-a4d3b76d064f
EDAN-URL:
ead_collection:sova-aaa-cruzemil
Online Media:

John D. Graham papers, 1799-1988, bulk 1890-1961

Creator:
Graham, John D. (John Dabrowsky), ca. 1887-1961  Search this
Subject:
Picasso, Pablo  Search this
Ultra Violet  Search this
Burliuk, David  Search this
Davis, Stuart  Search this
Gilot, Francoise  Search this
Gorchov, Ron  Search this
Gorky, Arshile  Search this
Tobey, Mark  Search this
Kitaj, R. B.  Search this
Mayer, Jack  Search this
Type:
Sketchbooks
Photographs
Citation:
John D. Graham papers, 1799-1988, bulk 1890-1961. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Artists as authors -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Works of art  Search this
Antiques  Search this
Painters -- New York (State) -- New York  Search this
Theme:
Sketches & Sketchbooks  Search this
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7215
(DSI-AAA_SIRISBib)209352
AAA_collcode_grahjohn
Theme:
Sketches & Sketchbooks
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209352
Online Media:

Fred Nankivel papers, 1899-1973

Creator:
Nankivel, Fred, 1876-1950  Search this
Subject:
Newell, Peter  Search this
Cooke, Claudine Nankivel  Search this
Citation:
Fred Nankivel papers, 1899-1973. Archives of American Art, Smithsonian Institution.
Topic:
Artists as authors -- New York (State) -- New York  Search this
Artists' illustrated books -- New York (State) -- New York  Search this
Caricatures and cartoons  Search this
Illustrated books, Children's  Search this
Painting, Modern -- 20th century -- New England  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9078
(DSI-AAA_SIRISBib)211271
AAA_collcode_nankfred
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211271

Charles Green Shaw papers, 1833-1979, bulk 1909-1974

Creator:
Shaw, Charles Green, 1892-1974  Search this
Type:
Sound recordings
Photographs
Scrapbooks
Sketchbooks
Citation:
Charles Green Shaw papers, 1833-1979, bulk 1909-1974. Archives of American Art, Smithsonian Institution.
Topic:
Art, Abstract -- New York (State) -- New York  Search this
Works of art  Search this
Artists as authors -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Theme:
Sketches & Sketchbooks  Search this
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9399
(DSI-AAA_SIRISBib)211596
AAA_collcode_shawchar
Theme:
Sketches & Sketchbooks
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211596
Online Media:

William Henry Shelton autobiography

Topic:
Century illustrated monthly magazine
Frank Leslie's illustrated newspaper
New York ledger
Creator:
Shelton, W. H. (William Henry), 1840-1932?  Search this
Names:
Harper's Magazine Foundation  Search this
Salmagundi Club  Search this
Tile Club  Search this
Quartley, Arthur, 1839-1886  Search this
Reinhart, Charles Stanley, 1844-1896  Search this
Smith, Francis Hopkinson, 1838-1915  Search this
Extent:
450 Pages ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Pages
Date:
1840-1890
Scope and Contents:
Typescript of Shelton's unpublished autobiography, in which he writes of his boyhood in New York and his experiences in the Civil War. Shelton also describes his career as an artist-illustrator in New York City, beginning in 1871, work for LESLIE'S, HARPER'S, CENTURY, and the NEW YORK LEDGER, how engraving was done, the beginning of the artists' colony at Cold Spring Harbor with Stanley Reinhart, Arthur Quartley, and others, the work of Frank Smith, the colony at East Hampton, and recollections of the Tile Club and the Salmagundi Club.
Provenance:
Lent 1974 by the New-York Historical Society.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Authors -- New York (State) -- New York  Search this
Engravers -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Soldiers -- New York (State) -- New York  Search this
Topic:
Art, American -- New York (State) -- New York  Search this
Function:
Artist colonies
Identifier:
AAA.shelwill
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b0db291f-3088-49f4-b7a2-37eb61004881
EDAN-URL:
ead_collection:sova-aaa-shelwill

Louis M. Eilshemius letters and photographs

Creator:
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Collector:
Lewison, Florence  Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1892-circa 1931
Scope and Contents:
The Louis M. Eilshemius letters and photographs date from circa 1892-circa 1931 and measure 0.01 linear feet. The collection includes a studio portrait of Eilshemius, a photograph of the interior of Eilshemius's studio in his house on East 57th Street, New York, and typescripts of letters from Eilshemius to his mother, a diary entry, and a poem. Collection dates reflect the dates of the items in the typescripts, as typescript dates are unknown.
Related Materials:
A portion of Eilshemius's papers, including correspondence with Mr. and Mrs. Douglas Rigby, letters, sketches and a sketchbook, a manuscript, handbills and pamphlets, are located at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Hirshhorn may have received some or all of these items from Florence Lewison.
Provenance:
The collection was donated by Florence Lewison in 1965. Lewison purchased some papers from Eilshemius's estate for the purpose of researching his art and personality. Lewison also owned many of his paintings, a number of which were bought by Joseph Hirshhorn.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center .
Occupation:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Identifier:
AAA.eilsloui
See more items in:
Louis M. Eilshemius letters and photographs
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94621e26e-8016-46bb-80ba-a7889942ba9c
EDAN-URL:
ead_collection:sova-aaa-eilsloui

Naomi Lorne papers

Creator:
Lorne, Naomi, 1902-  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1928-1964
Summary:
The scattered papers of painter and writer Naomi Lorne measure 0.7 linear feet and date from 1928 to 1964. Found are biographical materials, photographs of Lorne and her artwork, poetry, printed material, and a mixed-media scrapbook.
Scope and Contents:
The scattered papers of painter and writer Naomi Lorne measure 0.7 linear feet and date from 1928 to 1964. Found are biographical materials, photographs of Lorne and her artwork, poetry, printed material, and a mixed-media scrapbook.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Naomi Duckman Furth Lorne (1902-1964) was a painter and author in New York City, New York. Lorne attended the Art Students League, and City College of New York with A. T. Hibbard, George Bridgman, and Frederick J. Waugh.
Provenance:
Donated 1982 by Harold M. Le Roy.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women authors  Search this
Scrapbooks  Search this
Citation:
Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lornnaom
See more items in:
Naomi Lorne papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bcfe76c7-b27a-4766-9281-b5b071ba6cba
EDAN-URL:
ead_collection:sova-aaa-lornnaom

Robert Hughes papers

Creator:
Hughes, Robert, 1938-2012  Search this
Names:
Arikha, Avigdor, 1929-  Search this
Kitaj, R. B.  Search this
Motherwell, Robert  Search this
Pegram, Lorna  Search this
Rattazzi, Delfina  Search this
Extent:
16.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Interviews
Motion pictures
Scrapbooks
Sound recordings
Video recordings
Date:
1952-2012
bulk 1973-2004
Summary:
The papers of art critic, author, and historian, Robert Hughes measure 16.6 linear feet and date from 1952 to 2012. The collection provides a glimpse of Hughes' personal life and documents his extensive career through biographical material, personal and professional correspondence, interviews, journals, writings, project files related to books and television programs, research files, personal business records, printed material, and photographic material.
Scope and Contents:
The papers of art critic, author, and historian, Robert Hughes measure 16.60 linear feet and date from 1952 to 2012. The collection provides a glimpse of Hughes' personal life and documents his extensive career through biographical material, personal and professional correspondence, interviews, journals, writings, project files related to books and television programs, research files, personal business records, printed material, and photographic material.

Biographical material includes address books and day planners, stationery, sound recordings, memoirs, academic memorabilia, and a scrapbook documenting the National Gallery of Australia's tenth birthday in 1992. Correspondence includes letters, emails, and post cards from personal and professional contacts, including friends, family, colleagues, and fans. Interviews include video and sound recordings, transcripts, and clippings related to Robert Hughes interviewing others or Robert Hughes being interviewed for various publications and television programs. Journals include excerpts from the 1970s and sound recordings that document Hughes' travels around the world. Writings include notes, notebooks, and draft articles, essays, lectures, speeches, and manuscripts written by Hughes. Some of the lectures were recorded. Project files include clippings, transcripts, draft scripts, digital files, sound and video recordings, photographs, proposals, outlines, notes and correspondence related to various publications and television programs. Research files include notes, correspondence, drafts, clippings, translations, and a sound recording of Australian convict ballads. Personal business records include sound recordings, photographs, legal files, a description of events related to a 1999 car crash that left Hughes in critical condition, lists of travel expenses and publications, a lecture contract, email correspondence related to litigation, and legal files related to a defamation claim and some of Hughes' writings. Printed material includes clippings, exhibition announcements and catalogs, press releases, and a published poem. Photographic material includes slides, photographs, and negatives documenting Hughes' travels, friends, family, his Shelter Island home, self-portraits, and works of art.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, 1955-2007 (1.05 linear feet; Box 1, 16, 21)

Series 2: Correspondence, 1952-2012 (1.40 linear feet, Box 1-2, 21)

Series 2: Sub-Series 1: Personal, 1952-2012 (0.50 linear feet; Box 1, 21)

Series 2: Sub-Series 2: Professional, 1966-2012 (0.90 linear feet; Box 2, 21)

Series 3: Interviews, 1971-2006 (0.64 linear feet; Box 2, 17, 21-22)

Series 4: Journals, circa 1970-1987 (0.41 linear feet; Box 2, 22-23)

Series 5: Writings, 1960-2009 (2.05 linear feet, Box 1, 3-4, 23)

Series 6: Project Files, 1961-circa 2008 (7.74 linear feet, Box 5-9, 13-20, 23)

Series 7: Research Files, 1962-2000 (0.65 linear feet, Box 9-10, 23)

Series 8: Personal Business Records, 1972-2007 (0.30 linear feet, Box 10)

Series 9: Printed Material, 1959-2008 (0.51; Box 10-11, 14)

Series 10: Photographical Material, 1973-2006 (0.70 linear feet, Box 11)

Series 11: Unidentified Audiovisual and Born-Digital Materials (Box 11, 12, 23)
Biographical / Historical:
Robert Studley Forrest Hughes (1938-2012) was an art critic, author, and historian based in New York, New York. Born in Sydney, Australia, Hughes attended St. Ignatius College and Sydney University, where he studied art and architecture. After a stint as an abstract expressionist painter, Hughes worked as a political cartoonist before becoming a full-time art critic. He lived in Italy and London and traveled extensively throughout Europe before moving to New York City in 1970, where he lived until his death in 2012. Hughes was best known for the 1980s television series, "Shock of the New," where he explored the development of modern art, and for his longstanding position with TIME Magazine. Throughout his career, Hughes published several books, including his 2006 memoir where he recounted the story of his near fatal accident in 1999, and wrote and presented multiple documentary style television series and films.
Provenance:
Donated in 2021 by Doris Downes, Robert Hughes' widow.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Historians -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Interviews
Motion pictures
Scrapbooks
Sound recordings
Video recordings
Citation:
Robert Hughes papers, 1952-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hughrobe
See more items in:
Robert Hughes papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91e43c30f-cdfe-4107-8c5c-23ef2dc5ddf3
EDAN-URL:
ead_collection:sova-aaa-hughrobe
Online Media:

William Horace Littlefield papers

Creator:
Littlefield, William Horace, 1902-1969  Search this
Names:
Club (New York, N.Y.)  Search this
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
New School for Social Research (New York, N.Y.)  Search this
Busa, Peter, 1914-1985  Search this
Draper, Muriel, b. 1886  Search this
Grimaldi, Vincent  Search this
Hayter, Stanley William, 1901-1988  Search this
Hofmann, Hans, 1880-1966  Search this
Kirstein, Lincoln, 1907-  Search this
MacLeish, Archibald, 1892-1982  Search this
Mayor, A. Hyatt (Alpheus Hyatt), 1901-1980  Search this
Phillips, Duncan, 1886-1966  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Wheeler, Monroe, 1899-  Search this
Extent:
6.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1920-1969
Scope and Contents:
Biographical information, correspondence, photographs, writings, works of art, scrapbooks, artists' and organization files, and inventories documenting William Littlefield's career and a painter, writer, and art collector.
Biographical material includes resumes and awards. Correspondence is with family, friends, galleries, and others, including letters from Littlefirld written while studying in Paris and other European cities. Correspondents include Jean Paul Slusser, Vincent Grimaldi, Stanley William Hayter, Monroe Wheeler, Paul Sachs, Mary Rockwell, Lincoln Kirstein, Duncan Phillips, Muriel Draper, A. Hyatt Mayor, Peter Busa, Archibald MacLeish, among others. Photographs are of Littlefield, his work, friends, and works of art by others. Writings include poetry, articles, essays, notes, a draft for "The Son," a ballet by Littlefield, 1934, and a transcript of a speech by Hans Hofmann given at the Riverside Museum, New York City, Feb. 16, 1941. Works of art include sketches by Littlefield and Stanley Hayter.
Scrapbooks and artists' files contain printed material, correspondence and photographs pertaining to Frank and Isabel Moser, and Mary Peixotto, Herman Heilborn and Alexis Arapoff and others. Organization files include the Hans Hofmann School of Fine Arts, the New School for Social Research, and The Club, of which he was a member. Inventories include works of art by Littlfield and in his estate.
Biographical / Historical:
William Horace Littlefield (1902-1969) was a painter, writer, and art collector in New York, N.Y.
Provenance:
Donated 1971 by Nancy Stiner, an antique dealer who bought the papers, in 1992, by Fred J. Stone who purchased the estate, in 2007 by Peggy Stone, Fred Stone's daughter, and in 2011 by Arthur Hughes, who purchased the additional material from Nancy Stiner.
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:
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Painting, American  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.littwill
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94717618d-e843-4ade-8991-d17771a69041
EDAN-URL:
ead_collection:sova-aaa-littwill

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