Biographical material; correspondence, mostly of Hankin's wife, Estelle Hankins; artwork including sketchbooks, loose sketches, drawings; writings, including a facsimile of Hankins annotated manuscript for "The Way to Art" privately published in 1979 by Dorothy Morgan Levin, the executor of Hankins' estate, and "Primer of Art"; photographs; and printed material including exhibition catalogs, documenting the career of teacher and painter Abraham Hankins.
Biographical / Historical:
Abraham Hankins (1900-1963) was a teacher and painter in Philadelphia, Pennsylvania. Two of Hankins' paintings were purchased by Dr. Albert Barnes.
Provenance:
Donated 1964 by Mrs. Estelle Hankins, Abraham Hankins' widow, and in 2015 by Deborah Stone, whose mother Ruth Kirschner Stone received art work from her friend Dorothy Morgan Levin, executor of Hankins' estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Educators -- Pennsylvania -- Philadelphia Search this
Painters -- Pennsylvania -- Philadelphia Search this
The papers of African American painter and educator Allan Randall Freelon, who was based in Pennsylvania, measure 4.4 linear feet and date from 1830 to 2018. The collection contains biographical material, including appointment books and family history material; correspondence; writings; material related to professional activities, including exhibitions and school visits; personal business records, including estate records; printed material; scrapbooks; photographic material; and artwork and artifacts.
Scope and Contents:
The papers of African American painter and educator Allan Randall Freelon, who was based in Pennsylvania, measure 4.4 linear feet and date from 1830 to 2018. The collection contains biographical material, including appointment books and family history material; correspondence; writings; material related to professional activities, including exhibitions and school visits; personal business records, including estate records; printed material; scrapbooks; photographic material; and artwork and artifacts.
Biographical material include address lists, certificates, appointment books, and family history material.
Correspondence includes a mixture of personal and professional correspondence with families, friends, galleries, museusm, and and Philadelphia area schools.
Writings consist of Freelon's MFA thesis, notes and notecards. There is also a fair amount of writings by others, such as essays, poems, reports, and even a travel diary from 1879-1880 by someone with the initials "I. J. G."
Materials related to professional activities include exhibition, project, and committee files. There are also assorted materials related to Freelon's work as the Art Director for Philadelphia public schools.
Also included are personal business records, which contain estate records (which includes a audiovisual recording), auction records, condition reports, inventories, property records, and sale records.
Printed material consists of clippings, magazines, newsletters, and exhibition catalogs and announcements.
There are three scrapbooks, which primarily contains a mixture of photographic material, correspondence, and printed material.
Photographic materials include slides, photographs, and negatives of Freelon, his paintings, studio, friends and family, and various other location.
Artwork and artifacts include sketchbooks, sketches, and one souvenir spoon from the Sesqui-Centennial Exposition of 1926.
Arrangement:
This collection is arranged as nine series.
Series 1: Biographical Material, 1919, circa 1938-2001 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1878-2010 (Box 1; 0.3 linear feet)
Series 3: Writings, 1879-1880, 1922-1959 (Box 1; 0.2 linear feet)
Series 4: Professional Activities, circa 1935-1957, 2000-2005 (Box 1; 0.2 linear feet)
Series 5: Personal Business Records, 1856-1957, 1995-2018 (Boxes 1-2, OV 6; 0.3 linear feet)
Series 6: Printed Material, 1849-2015 (Box 2, Box 4; 0.5 linear feet)
Series 7: Scrapbooks, 1923-1960 (Box 2, Boxes 4-5; 0.7 linear feet)
Series 8: Photographic Material, circa 1880-circa 2006 (Boxes 2-3, Box 5, OV 6, MGP 6, Box 7; 1.6 linear feet)
Series 9: Artwork and Artifacts, circa 1912-circa 1960 (Box 3; 0.2 linear feet)
Biographical / Historical:
Allan Randall Freelon Sr. (1895-1960) was painter and educator in Philadelphia, Pennsylvania known for his impressionist paintings.
Freelon studied at the Pennsylvania Museum and School of Industrial Art (now the University of the Arts), the University of Pennsylvania, and the Tyler School of Art of Temple University. He also spent summers studying painting with Hugh Breckenridge in Gloucester, Massachusetts.
His work was included in exhibitions at the Schomburg Center for Research in Black Culture, traveling exhibitions with the William E. Harmon Foundation, the Albright-Knox Gallery, the National Gallery of Art, the Howard University Gallery of Art, and the Whitney Museum of American Art. He was also one of seven Black artists included in the exhibition Art Commentary on Lynching, organized by the NAACP.
Freelon married Marie Cuyjet in 1918 and they had one son Allan Randall Freelon Jr. Freelon and Cuyjet eventually divorced and Freelon married Mary Kouzmanoff.
Freelon taught art in the Philadelphia public school system and in 1921 was appointed as assistant director of art education. In 1939 he was named the special assistant to the director of art in the Philadelphia public schools. Freelon also taught painting at Windy Crest, his studio in Telford, Pennsylvania, where he passed away in 1960.
Provenance:
The Allan Randall Freelon papers were donated to the Archives of American Art in 2019 by Nnenna and Maya Freelon as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation. Nnenna is the widow of Phil Freelon, Allan Randall Freelon's grandson. Maya Freelon is Nnenna and Phil's daughter.
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.
Access to nitrate negatives is restricted. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. 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:
Painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
Allan Randall Freelon papers, 1830-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization of this collection was provided in part by the Roy Lichtenstein Foundation and the Walton Family Foundation.
Archambault, Anna Margaretta, 1856-1956 Search this
Extent:
2 Microfilm reels (partial microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
circa 1880-1946
Scope and Contents:
The microfilmed Anna Margaretta Archambault selected papers contain correspondence and papers relating primarily to Archambault's work in miniatures. Omitted from microfilming are photographs of Archambault's sitters and models.
Biographical / Historical:
Anna Margaretta Archambault (1856-1956) was a portrait painter, miniaturist, author, and educator in Philadelphia, Pennsylvania. She is also known for editing the book A guide book of art, architecture, and historic interests in Pennsylvania, published in 1924.
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955. Donated to the HSP by Anna Archambault, 1933-1946.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Miniature painters -- Pennsylvania -- Philadelphia Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
Authors -- Pennsylvania -- Philadelphia Search this
Andrew, A. Piatt (Abram Piatt), 1873-1936 Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Poems
Diaries
Date:
1863-1968
Summary:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968. Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts.
Scope and Content Note:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968.
Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers.
Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found.
A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting.
Arrangement:
The collection is arranged into 6 series, with multiple subseries in Series 2:
Missing Title
Series 1: Biographical Materials, circa 1893-1943 (Box 1, OV 4-5; 0.3 linear feet)
Series 2: Correspondence, circa 1863-1968 (Boxes 1-2; 1.2 linear feet)
Series 3: Writings, circa 1868-1954 (Boxes 2-3, OV 6; 0.8 linear feet)
Series 4: Personal Business Records, circa 1883-1936 (Box 3, OV 6; 0.2 linear feet)
Series 5: Printed Materials, circa 1874-1953 (Box 3, OV 6; 0.5 linear feet)
Series 6: Photographs, circa 1888-1919(Box 3; 0.3 linear feet)
Biographical Note:
Cecilia Beaux was born in Philadelphia in 1855. Her mother died just days after her birth, and Beaux and her sister went to live with their grandmother and aunts. Her adoptive family exposed her to fine art throughout her childhood and, once in school, Beaux excelled in her drawing classes and began training in the studio of Catherine A. Drinker, an artist and a cousin of her uncle Will Biddle. From 1881-1883 she attended life classes directed by William Sartain, who traveled to Philadelphia from New York to give criticisms. She also counted the Pennsylvania Academy of the Fine Arts master Thomas Eakins among her early influences, though she did not receive direct instruction from him.
Her first major success in painting was a double-portrait of her sister and nephew entitled Les Derniers Jours d'Enfance, exhibited first at the American Art Association, and in 1885 at the Pennsylvania Academy, where it won the Mary Smith Prize, the first of many prizes Beaux received during her lifetime. In 1887, the painting was exhibited at the Paris salon to critical acclaim. Beaux's reputation as a Philadelphia portraitist grew steadily with the execution of several portraits her in Chestnut Street studio, and in 1888 she traveled to Europe to continue her studio education.
In the 1890s, Beaux earned a living painting commissioned portraits at her Philadelphia studio, while experimenting with and refining her style and technique with portraits of friends and family such as Sita and Sarita, of her cousin Sarah Leavitt with her cat, The Dreamer, of her friend Caroline Smith, and Ernesta with Nurse, of her niece, who was a favorite sitter of Beaux's throughout her life. Beaux became the first full-time female faculty member at the Pennsylvania Academy of the Fine Arts in 1895, and continued teaching there until 1915.
In the late 1890s, Beaux painted several works for which she would be repeatedly honored, including Mother and Daughter, a double-portrait of Mrs. Clement A. Griscom and her daughter Frances, which won four gold medals at international exhibitions, and The Dancing Lesson, a double-portrait of Dorothea and Francesca Gilder, the daughters of Richard Watson Gilder, editor of Century Magazine and himself a devoted friend and supporter of Beaux. The Gilders, and especially Dorothea, were steady companions as well as sitters for Beaux throughout her adult life. In 1901 and 1902, Beaux painted Mrs. Theodore Roosevelt and her daughter Ethel in the White House, and in 1903, she was elected to the National Academy of Design.
By 1905 Beaux was living and working primarily in New York during the winter, and at "Green Alley," a home she built in Gloucester, Massachusetts, in the summer. She was introduced to Gloucester by her friend, the Harvard economist A. Piatt Andrew, and entertained a steady stream of intellectual, literary, and artistic friends such as Isabella Stuart Gardner, William James, and Thornton Oakley. Beaux continued to amass prizes and honors for her artwork, including an honorary doctorate at the University of Pennsylvania in 1908. She had solo exhibitions at Macbeth Gallery in 1910, the Corcoran Gallery in 1912, and M. Knoedler Gallery in 1915 and 1917. She had regular public speaking appearances, published articles, and interviews on such subjects as art education, women in art, and modernist art, the pervasive influence of which she eschewed as a passing fad.
In 1919, she traveled to war-torn Europe as the official portraitist of the United States War Portraits Commission painted the portraits of three European war heroes: Cardinal Mercier, Admiral Beatty, and Georges Clemenceau. In 1924, she broke her hip in Paris, and although she continued to paint, she would never again be the prolific painter of her earlier years due to the injury. She wrote her autobiography Background with Figures in 1930, and in 1935-1936, the American Academy of Arts and Letters held the largest exhibition of her work that was mounted during her lifetime. Beaux died in 1942 in Gloucester, at the age of 87.
Related Material:
The Pennsylvania Academy of the Fine Arts holds additional papers related to Cecilia Beaux, particularly personal photographs. Portions of these papers were loaned to the Archives of American Art for microfilming in 1985 and were microfilmed on reel 3658.
The Archives of American Art also holds the Dorothea Gilder papers regarding Cecilia Beaux.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 3425 and 3658) including a sketchbook and other related papers. Lent materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Portions of the papers were first lent for microfilming by Harrison Cultra in 1968. The bulk of the collection was donated in1970-1971 by Catherine Drinker Bowen, Beaux's niece, and by Cultra. In 1985, the sketchbook on reel 3425 was lent for microfilming by art dealer Jeffrey Brown with additional material by The Pennsylvania Academy of Fine Arts. A palette was donated by Helen Seely Wheelwright, whose former husband, Paul Seeley, was an artist and friend of Beaux. Awards and diplomas were gifted in 1995 by Cecilia Saltonstall, a descendant of Beaux. Material and a poster reproduction of Beaux's portrait of Rear-Admiral Sampson advertising an article in Century Magazine, 1899, was donated in 1991 by Alfred J. Walker, a dealer who organized a Beaux exhibition. He received the material along with artwork he exhibited from the estate of Richard Barker, who had received them from Harrison Cultra. Cultra had inherited them from Beaux's niece, Ernesta Drinker Barlow.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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 -- Pennsylvania -- Philadelphia Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
The microfilmed Cecilia Beaux photographs and newsclippings contain photographs of Beaux and her family, among them William F. Biddle, Rev. Aratus Kent, Ernesta Drinker, Emily Leavitt Biddle, Mr. and Mrs. Henry S. Drinker, and Eliza Leavitt; a glass negative of Beaux's residence, Green Alley; and news clippings about Beaux, including an interview, excerpts from Beaux's lectures, and untitled and undated gallery sheets on Beaux by Anne O'Hagan.
The Archives of American Art also holds the Cecilia Beaux papers, 1863-1968; the Dorothea Gilder papers regarding Cecilia Beaux, 1897-1920; and the microfilmed Henry Drinker research material on Cecilia Beaux, circa 1880-1920.
Provenance:
Microfilmed from the Pennsylvania Academy of the Fine Arts archives in 1985. Additional family and Beaux memorabilia related to Beaux at the PAFA was not microfilmed.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
Andrade, C. Preston (Clarence Preston), 1912-1977 Search this
Extent:
5.4 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
1917-circa 1986
Summary:
The papers of painter and educator Edna Andrade measure 5.4 linear feet and date from 1917 to circa 1986. The collection documents Andrade's career through biographical materials including a video recording, personal and professional correspondence, printed material, and photographs including five photo albums. Of note are examples of propaganda Andrade created for the Office of Strategic Services during World War II.
Scope and Contents:
The papers of painter and educator Edna Andrade measure 5.4 linear feet and date from 1917 to circa 1986. The collection documents Andrade's career through biographical materials including a video recording, personal and professional correspondence, printed material, and photographs including five photo albums. Of note are examples of propaganda Andrade created for the Office of Strategic Services during World War II.
Personal correspondence includes letters exchanged between Andrade with her parents, husband C. Preston Andrade, and sister, Mary. Professional correspondence concerns the exhibition of her works of art and teaching career.
Arrangement:
The collection is arranged as 4 series.
Series 1: Biographical Material, 1917-circa 1986 (0.9 linear feet; Box 1, 6)
Series 2: Correspondence, 1925-1981 (1.6 linear feet; Boxes 1-2)
Series 3: Printed Material, 1930s-1970s (1.8 linear feet; Boxes 3-6, OV 7)
Series 4: Photographs, 1917-1980 (1.1 linear feet; Boxes 5-6)
Biographical / Historical:
Edna Andrade (1917-2008) was a painter and educator active in Philadelphia, Pennsylvania. She was known for her optical illusion paintings.
Born in Portsmouth, Virginia in 1917, Edna Davis Wright began her study of art at the Barnes Foundation in Marion, Pennsylvania. Later, she studied at the Pennsylvania Academy of the Fine Arts and earned her degree from the University of Pennsylvania in 1937. She won Cresson Scholarships to travel to Europe in 1936 and 1937. In 1941, she married architect C. Preston Andrade.
During WWII, Andrade worked under Eero Saarinen in the Office of Strategic Services (OSS) where she designed propaganda. After the war, Andrade returned to Philadelphia, where she began a long teaching career at the Philadelphia College of Art from 1958 until her retirement in 1982. Andrade was part of the Op Art movement in the 1960s and also painted abstract landscapes.
Edna Andrade died in 2008 in Philadelphia, Pennsylvania.
Related Materials:
The Archives of American Art also holds an oral history interview with Edna Andrade conducted 1987 April 1-29.
Provenance:
Edna Andrade donated her papers to the Archives of American Art in 1987 and 2004.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
Edna Andrade Papers, 1917-circa 1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
The papers of Joseph J. Greenberg measure 0.5 linear feet and date from 1939-1989. The papers document Greenberg's career through biographical materials, including resumes and award certificates, professional correspondence, and printed material such as news clipping and exhibition catalogs. Also found is a scrapbook which contains clippings and catalogs, press releases, correspondence regarding his sculptures, a poem Greenberg wrote and notes. Photographic material contains photographs of Greenberg, his colleagues, and his artwork.
Scope and Contents:
The papers of Joseph J. Greenberg measure 0.5 linear feet and date from 1939-1989. The papers document Greenberg's career through biographical materials, including resumes and award certificates, professional correspondence, and printed material such as news clipping and exhibition catalogs. Also found is a scrapbook which contains clippings and catalogs, press releases, correspondence regarding his sculptures, a poem Greenberg wrote and notes. Photographic material contains photographs of Greenberg, his colleagues, and his artwork.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Joseph J. Greenberg (1915-1991) was a sculptor and educator from Philadelphia, Pennsylvania. Greenberg first became interested in sculpture as a child while attending the Oak Lane Country Day School and meeting sculptor Boris Blai, who was working as the school's art teacher. Years later Greenberg discovered Blai had become the director of the Tyler School of Art at Temple University prompting him to transfer there from the Massachusetts Institute of Technology, where he had been studying engineering. Greenberg graduated from the Tyler School of Art in 1939 as a member of the first class of Tyler's complete five-year program. He went on to study in Italy where he had his first solo show in Rome and exhibited in the twenty sixth Venice Biennale. In 1951, Greenberg was the winner of a prize from the Metropolitan Museum of Art's National Sculpture Exhibition. He returned to Philadelphia in 1953 and continued living and working in the city until his death in 1991.
Greenberg was known for his large public sculptures in Pennsylvania include Bear and Cub in the Philadelphia Zoo, the aluminum seal of Pennsylvania on the State Office Building, and Symbol of Progress located in the heart of Bethlehem, PA by the entrance of the Bethlehem Area Public Library. In addition to his studio work, Greenberg taught at the Oak Lane Country Day School, the Tyler School, the New Hope Fine Arts Workshop, the Philadelphia Museum of Art and the Fleisher Memorial.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4566) including two photograph albums containing photographs of Greenberg's sculptures. Loaned materials were returned to the lender, Mrs. Sheila Greenberg, and are not described in the collection container inventory.
Provenance:
Donated 1991 by Sheila Greenberg, Joseph's widow, except for the photograph albums which were lent for microfilming. Collected and microfilmed as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
Use of 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:
Sculptors -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
Genre/Form:
Scrapbooks
Citation:
Joseph J. Greenberg papers, 1939-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of stained glass artist and educator Judith Schaechter measure 14.3 linear feet and 35.3 Gigabytes and date from circa 1900s-2019, with the bulk of the material dating from the 1960s-2019. The collection documents Schaechter's career through biographical material, correspondence, professional files, writings, printed material, photographic material, and artwork, and includes records in digital format.
Scope and Contents:
The papers of stained glass artist and educator Judith Schaechter measure 14.3 linear feet and 35.3 Gigabytes and date from circa 1900s-2019, with the bulk of the material dating from the 1960s-2019. The collection documents Schaechter's career through biographical material, correspondence, professional files, writings, printed material, photographic material, and artwork, and includes records in digital format.
Biographical material includes student records, honors and awards, and biographies and genealogical research.
Schaechter's correspondence is professional and personal. Professional correspondence documents many aspects of Schaechter's art career and includes business-related correspondence and some conversations on art. Personal correspondence (which is access restricted) includes greeting cards and extensive letters with family and friends including other artists and musicians.
Professional files includes calendars documenting professional appointment planning, exhibition records including consignments, condition reports, and Schaechter's workshop teaching records.
Schaechter's writings series includes, but is not limited to, notebooks, diaries, digital blog entries, interviews, and artist statements, and an original music recording by the artist.
Photographic material includes photos of home and family gatherings, glass workshops, art openings, and music shows. Also included are printed images of artwork and historic photographs related to Schaecter's genealogy.
Arrangement:
The collection is arranged in seven series:
Series 1: Biographical Material, circa 1969-2019 (0.3 Linear feet; Box 1, 13; 0.936 Gigabytes: ER0001-ER0002)
Series 2: Correspondence, circa 1974-2019 (4.4 Linear feet; Boxes 1-4, 20-21; 0.027 Gigabytes: ER0003-ER006)
Series 3: Professional Files, circa 1982-2019 (0.9 Linear feet: Box 5, 13; 0.624 Gigabytes: ER0007-ER0013, ER0056-ER0057)
Series 4: Writings, circa 1973-2019 (0.9 Linear feet: Boxes 5-6; 12.4 Gigabytes: ER0014-ER0026)
Series 5: Printed Material, circa 1973-2019 (3.8 Linear feet: Boxes 6-9, 14-15, OV19; 17.1 Gigabytes: ER0027-ER0042)
Series 6: Photographic Material, circa 1900s-2019 (1.8 Linear feet: Boxes 10, 12, 16; 4.17 Gigabytes: ER0043-ER0055)
Series 7: Artwork, circa 1965-2015 (2.2 Linear feet: Boxes, 10-11, 15, 17-18, 22)
Biographical / Historical:
Judith Schaechter (1961-) is a Philadelphia-based stained glass artist and educator.
Schaechter was born in Gainesville Florida and her family soon relocated to Newton Massachusetts where her father Moselio Schaechter was a microbiology professor at Tufts University. She exhibited artistic talent and imagination that was nurtured at an early age, and Schaechter worked on developing her art in high school. She received her bachelor's degree from Rhode Island School of Design in 1983. During her undergraduate work she discovered the glass program and completed her undergraduate work there.
While her methods of art production may be centuries old, Schaecter infuses contemporary themes in her pieces that resonate with the grotesque imagery that appears in the Medieval and Renaissance motifs that she emulates. In addition to lending her works as cover artwork to literary and music artists, Schaecter also played in bands such as Ken throughout the 1990s and recorded her own music. In this way the punk and D.I.Y. ethos resonates with all of her creative endeavors, despite the fact that her works take many hours to create. Skillful draftsmanship is at the core of her artistic practices and her more recent work incorporates computer illustration as well as animation.
Schaechter served as an adjunct professor in the Crafts Department at The University of the Arts in Philadelphia, Pennsylvania and Adjunct Faculty at the New York Academy of Art in New York, New York. She has also taught workshops and classes at Pilchuck Glass School in Seattle, Penland School of Crafts, Toyama Institute of Glass (Toyama, Japan) and Australian National University in Canberra, Australia, among others.
An early career milestone was achieved with her stained glass artwork appearing on the cover of The New Yorker in 1993. She showed her work Bigtop Flophouse Bedspins in the 2002 Whitney Biennial. Schaechter's artwork is featured in the collections of the Metropolitan Museum of Art, the Victoria and Albert Museum, the Hermitage Museum, the Philadelphia Museum of Art, the Corning Museum of Glass, and the Renwick Gallery, among numerous other public and private collections.
Provenance:
The collection was donated in 2019 and 2021 by Judith Schaechter.
Restrictions:
This collection is open for research. This personal correspondence series is access restricted; written permission is required. 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:
Stained glass artists -- Pennsylvania -- Philadelphia Search this
Sculptors -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
This microfilm collection consists of papers compiled by Milton Morriss James on African American artists Laura Wheeler Waring and Henry Ossawa Tanner, as well as on artist Julius Bloch.
The compiled papers related to Laura Wheeler Waring include correspondence (1923-1946) regarding commissions, exhibitions, honorary positions, and activities related to State Teachers College at Cheyney, as well as a letter from J. O. Tanner offering to sell an H. O. Tanner painting to Waring for Cheyney; teaching materials, including course outlines, exams, and reports for music and art appreciation, handwriting, visual education, and other art classes; a sketchbook; and printed material (1948-1977).
Julius Bloch material (1950-1980) includes correspondence regarding James' effort to purchase a Bloch painting, as well as an article on Bloch.
James' correspondence (1948-1977) relates to efforts to get a Philadelphia public school named after Laura Wheeler Waring and to organize exhibitions of Waring's work. Research correspondence conserns publications on Warring and Henry O. Tanner. Also included is correspondence with Mary Beattie Brady of the Harmon Foundation regarding works of art for Cheyney and the Laura Wheeler Waring Public School.
Biographical / Historical:
Milton Morriss James (1926-) is a teacher and author in Yeadon, Pennsylvania. James taught in the Philadelphia Public School System and publishes books and articles on African American artists. He was acquainted with Laura Wheeler Waring in the 1940s.
Provenance:
Microfilmed in 1990 as part of AAA's Philadelphia Arts Documentation Project. James collected the Waring papers from Dr. Waring after Laura Wheeler Waring's death for his research.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of painter and educator Neil Welliver measure 1.4 linear feet and date from 1964-1981. The collection documents Welliver's career through mixed professional and personal files that include correspondence, some exhibition material, writings, slides of art by others and of friends, and a video recording of a talk given by Welliver in 1974.
Scope and Contents:
The papers of painter and educator Neil Welliver measure 1.4 linear feet and date from 1964-1981. The collection documents Welliver's career through mixed professional and personal files that include correspondence, some exhibition material, writings, slides of art by others and of friends, and a video recording of a talk given by Welliver in 1974.
Arrangement:
This collection is arranged as one series due to its small size.
Biographical / Historical:
Neil Welliver (1929-2005) was a painter and educator from Millville, Pennsylvania.
Welliver earned his bachelor's degree from the Philadelphia College of Art and his Master of Fine Arts degree at Yale University where he studied under Josef Albers and Burgoyne Diller. By the late 1950s Welliver had developed his signature style of combining abstract and representational art, painting people and landscapes and other natural scenes. He taught at Cooper Union from 1953-1957 and at Yale University from 1955-1966. He then began working at the University of Pennsylvania Graduate School of Fine Art, going on to become chairman before retiring in 1989. With the encouragement of Alex Katz and Lois Dodd, Welliver began spending time in Maine in the early 1960s, painting and exploring the natural landscape. By the 1970s, Welliver spent most of his time away from Philadelphia on his property in Lincolnville, Maine.
Welliver's solo shows included exhibitions at Alexandra Grotto in Philadelphia, Stable Gallery in New York, Tibor de Nagy Gallery in New York, and the Farnsworth Museum of Art in Maine. Group exhibitions that featured his work included Five Landscape Paintings (2006), University of Maine Museum of Art, In The Country (1987), The Bronx Museum of the Arts, Annual Exhibition: Contemporary American Painting (1972), Whitney Museum of American Art, and many others. His paintings can be found in the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art, among others.
Provenance:
The collection was donated by Neil Welliver in 1981 and 1999.
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.
Educators -- Pennsylvania -- Philadelphia Search this
Genre/Form:
Video recordings
Citation:
Neil Welliver papers, 1964-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
An interview of Edna Andrade conducted 1987 April 1-29, by Patricia Likos, for the Archives of American Art.
Andrade speaks of her upbringing in Virginia, her education at the Pennsylvania Academy of the Fine Arts in the 1930s under Daniel Garber, Henry McCarter, and George Harding; visiting the Barnes Foundation; her travels in Europe and Egypt and living and working as a teacher and a graphic designer in New Orleans, Washington, and Philadelphia. She discusses the influence of the Bauhaus and Paul Klee on her work and teaching, her marriage to C. Preston Andrade, working in the training and education division of the Office of Strategic Services during World War II, the shift in her work from realism to abstraction, her associations with the Easthampton Gallery in New York and the Marian Locks Gallery in Philadelphia, and changes in the Philadelphia art scene. She recalls Violet Oakley.
Biographical / Historical:
Edna W. Andrade (1917-2008) was a painter from Philadelphia, Pennsylvania.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 3 hrs., 31 minutes.
Provenance:
These interviews are part of the Archives' 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 others.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
An interview with Helen Williams Drutt English conducted 2018 January 8,9, and 26, by Jane Milosch, for the Archives of American Art, at Drutt's homes in Philadelphia, Pennsylvania, and New York, New York.
Biographical / Historical:
Helen Williams Drutt English (1930- ) is a curatorial consultant and educator in Philadelphia, Pennsylvania and New York, New York. Jane Milosch (1964- ) is a former curator with the Renwick Gallery, Smithsonian Institution.
Related Materials:
The Archives of American Art also holds the papers of Helen Williams Drutt English.
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.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
Art -- Collectors and collecting -- Pennsylvania -- Philadelphia -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Art dealers -- Pennsylvania -- Philadelphia -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Helen Williams Drutt English, 2018 January 8-26. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
Art -- Collectors and collecting -- Pennsylvania -- Philadelphia -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Art dealers -- Pennsylvania -- Philadelphia -- Interviews Search this
Pennsylvania Academy of the Fine Arts -- Faculty Search this
Extent:
110 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1991 July 18
Scope and Contents:
An interview of Louis Sloan conducted 1991 July 18, by Cynthia Veloric, for the Archives of American Art Philadelphia Project.
Sloan discusses his background; early art training at the Fleisher Art Memorial; attending the Pennsylvania Academy of the Fine Arts; his instructors including Hobson Pittman and Francis Speight; fellow students including Roy Saunders and Elizabeth Osborne; difficulties he encountered as an African American artist; traveling to Europe on a Cresson fellowship and traveling the United States on a Guggenheim fellowship; teaching at the PAFA and changes in the school; working as an assistant to conservator Ted Siegel at the PAFA and the Philadelphia Museum of Art; the development of his art; subject matter; being a landscape painter; and exhibitions and sales of his work.
Biographical / Historical:
Louis Sloan (1932- ) is a painter from Philadelphia, Pennsylvania.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 53 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:
Transcript: Patrons must use microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
An interview of Paul Keene conducted 1990 Apr. 23, by Marina Pacini, for the Archives of American Art Philadelphia Project.
Keene discusses his early life, family and education including his studies at the Philadelphia College of Art and Temple University's Tyler Art School; his service during World War II; traveling to Paris on the GI Bill, his studies at the Academie Julian and the founding and operation of Galerie Huit; his travels to Haiti on a Whitney fellowship including a discussion of his time at the Centre d'Art with DeWitt Peters and the Hatian Renaissance; his teaching at the Philadelphia College of Art and Bucks County Community College; and his work.
Biographical / Historical:
Paul F. Keene (1920-2009) was an Afro-American painter and educator from Philadelphia, Pa.
Provenance:
This interview is part of the Archives' 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 others.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
An interview of Richard Reinhardt conducted 1991 Aug. 22, by Marina Pacini, for the Archives of American Art Philadelphia Project.
Reinhardt discusses Virginia Cute and her classes in jewelry making at the Pennsylvania Museum School of Industrial Art in the 1940's; Margret Craver Withers and the late 1940's Handy & Harman workshops where Baron Erik Fleming taught new silversmithing techniques; exhibition of work produced during the 1948 workshop at the Metropolitan Museum of Art in that year; changes in the Pennsylvania Museum School over the years; and crafts in Philadelphia.
Biographical / Historical:
Richard Reinhardt (1921-1998) was a jewelry maker, industrial designer, furniture maker, and educator from Philadelphia, Pa.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 19 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:
Transcript: Patrons must use microfilm copy.
Occupation:
Jewelers -- Pennsylvania -- Philadelphia Search this
Silversmiths -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
Topic:
Silversmiths -- Pennsylvania -- Philadelphia -- Interviews Search this
Jewelry makers -- Pennsylvania -- Philadelphia -- Interviews Search this
An interview of Roswell Weidner conducted 1989 July 20-27, by Marina Pacini, for the Archives of American Art Philadelphia Project. Weidner discusses his early life, education, and art training at the Pennsylvania Academy of the Fine Arts, first at the school at Chester Springs, and later at the main school in Philadelphia. He discusses the programs at both schools, and recalls some of the faculty members, including Roy Nuse, Albert Laessle, George Harding, Joseph Pierson, Francis Speight, Daniel Garber, and Henry McCarter. He discusses the courses, exhibitions, and the competitions for traveling scholarships. He also discusses his study at the Barnes Foundation with Violette De Mazia and Angelo Pinto. After leaving the Academy, he joined the National Youth Administration and then transferred to the WPA with the Museum Extension, the Painting Project and the Print Project. He speaks of his work for each of these programs, their administration, and some of the individuals involved including Dox Thrash. He recalls Mary Curran and the efforts made by Albert Barnes to have her removed as head of the Painting Project. Weidner discusses his fifty years as a teacher at the Academy, beginning in 1939, and the changes in the institution since then, including the introduction of printmaking, the growth of abstraction, the hiring of women and black instructors, and other changes. He speaks of his wife, Marilyn Kemp Weidner, a paper conservator, and the development of her practice, as well as his own future work.
Biographical / Historical:
Roswell T. Weidner (1911-1999) was a painter and educator from Philadelphia, Pennsylvania.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr.; 18 min.
Provenance:
These interviews are part of the Archives' 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 others.
United States. National Youth Administration Search this
United States. Works Progress Administration Search this
United States. Work Projects Administration Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Roswell Weidner, 1989 July 20-27. Archives of American Art, Smithsonian Institution.
An interview of Warren Rohrer conducted 1989 March 9-June 1, by Marina Pacini, for the Archives of American Art Philadelphia Project. Rohrer speaks of his early life as a Mennonite and his schooling on a farm in Lancaster, Pa.; his art studies at Eastern Mennonite College, James Madison College, Pennsylvania State University with Hobson Pittman, the Pennsylvania Academy of the Fine Arts with Francis Speight, and art history classes at the University of Pennsylvania; the development of his work, his efforts at portraiture, and the importance of landscape to his art for most of his career as a painter; his teaching in the Education Department at the Philadelphia Museum of Art, and the Philadelphia College of Art; his exhibitions at the Robert Carlen Galleries, the Makler Gallery, the Pennsylvania Academy's Morris Gallery, the Marian Locks Gallery in Philadelphia, as well as the Lamagna Gallery and CDS Gallery in New York City; his collectors, and critics' reactions to his work in New York and Philadelphia.
Biographical / Historical:
Warren Rohrer (1927-1995) was a painter and educator from Philadelphia, Pa.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 13 digital wav files. Duration is 9 hr., 54 min.
Provenance:
These interviews are part of the Archives' 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 others.
Quotes and excerpts must be cited as follows: Oral history interview with Warren Rohrer, 1989 March 9-June 1. Archives of American Art, Smithsonian Institution.
