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Karl Benjamin papers

Creator:
Benjamin, Karl  Search this
Names:
Hammersley, Frederick, 1919-2009  Search this
Extent:
13 Items
Type:
Collection descriptions
Archival materials
Date:
1958-1980
Summary:
The papers of painter and educator Karl Benjamin consist of thirteen items dating from 1958-1980 and include correspondence and clippings relating to Benjamin's career as a painter and teacher, and one photograph.
Scope and Contents:
The papers of painter and educator Karl Benjamin consist of thirteen items dating from 1958-1980 and include correspondence and clippings relating to Benjamin's career as a painter and teacher, and one photograph.

Nine letters, seven of which are written by Benjamin and four of which are photocopies, are to a variety of people and relate to the beginning of Benjamin's career as a painter, his feelings about teaching, and his exhibitions, including the origins of the 1959 show Four Abstract Classicists. Included are a resignation letter to the Chino school district in 1977, and an exchange with a former student who recalls Benjamin as an art teacher.

Three clippings include a newspaper article from the Chino Champion regarding a beautification project Benjamin was involved in at Gird Elementary in Chino, California and a printed letter written and submitted by Benjamin to the Los Angeles Times in August, 1978 regarding Proposition 13. Also found is a 1977 photograph of Benjamin's baby granddaughter.
Arrangement:
Due to the small size of the collection, the papers are arranged as one series.
Biographical / Historical:
Karl Benjamin (1925- 2012) was a painter and educator in Claremont, California, known for his Hard Edge geometric and vibrantly colored abstract paintings.

After serving in the United States Navy in World War II, Benjamin graduated from Southern California's University of Redlands in 1949 with a BA degree in English literature, history and philosophy. He relocated to Claremont, where he taught in public schools and subsequently at Pomona College, and began painting and exhibiting his work. Following the 1959 exhibition Four Abstract Classicists: Karl Benjamin, Lorser Feitelson, Frederick Hammersley and John McLaughlin at the Los Angeles County Museum of Art, Benjamin became known as one of the region's leading Hard Edge painters.

Benjamin received the National Endowment for the Arts Grant for Visual Arts in 1983 and 1989. His work has been featured in numerous exhibitions and can be found in the collections of the Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, Israel, Oakland Museum, San Francisco Museum of Modern Art, Seattle Art Museum, and the Whitney Museum of American Art, among others.
Provenance:
Donated 1980 by Karl Benjamin.
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 -- California -- Claremont  Search this
Educators -- California -- Claremont  Search this
Topic:
Hard-edge  Search this
Citation:
Karl Benjamin papers, 1958-1980.
Identifier:
AAA.benjkarl
See more items in:
Karl Benjamin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-benjkarl

Frederick Hammersley Foundation records

Creator:
Frederick Hammersley Foundation (2009)  Search this
Hammersley, Frederick, 1919-2009  Search this
Extent:
0.026 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
circa 2009-2019
Scope and Contents:
The Frederick Hammersley Foundtion records measure 26.07 megabytes and date from circa 2009-2019. Included is a comprehensive record of the work of artist Frederick Hammersley that consists of PDF and HTML versions of an Excel spreadsheet with images, derived from the Foundation's database of Hammersley works, a key to the spreadsheet, guidelines for captioning Hammersley's works, and catalog reports on Hammersley works from the Foundation's database. The Foundation created these records in lieu of a catalog raisonne, for which there are no plans.
Biographical / Historical:
The Frederick Hammersley Foundation (est. 2009) is a charitable organization dedicated to promoting the life and works of artist, Frederick Hammersley.
Related Materials:
The Archives also holds the Frederick Hammersley papers, circa 1860-circa 2018, and the Tamara Webster papers relating to Frederick Hammersley, circa 1917-circa 1920s.
Provenance:
Donated in 2020 by the Frederick Hammersley Foundation via Kathleen Shields, Executive Director and President.
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 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.
The New Mexico Museum of Art has retained all intellectual property rights, including copyright, that they may own in the following material: All digital images of works of art. Researchers should be directed to NMMA to obtain any images of works of art for publication.
Function:
Foundations (Organizations)
Identifier:
AAA.fredhamm
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fredhamm

Merle Schipper interviews

Creator:
Schipper, Merle  Search this
Names:
Anderson, John S., 1928-  Search this
Card, Greg S., 1945-  Search this
Cutler-Shaw, Joyce, 1932-  Search this
DeLap, Tony, 1927-2019  Search this
Graham, Robert, 1938-  Search this
Hammersley, Frederick, 1919-2009  Search this
Harden, Marvin, 1935-  Search this
Kauffman, Craig, 1932-2010  Search this
Kent, Claude, 1945-  Search this
Kessler, Charles, 1943-  Search this
Kipper, Harry  Search this
Onslow-Ford, Gordon  Search this
Pashgian, Helen, 1934-  Search this
Phillips, Jay, 1954-1987  Search this
Seliger, Charles, 1926-2009  Search this
Shelton, Peter, 1951-  Search this
Simonian, Judith, 1945-  Search this
Trowbridge, David, 1945-  Search this
Valentine, De Wain, 1936-  Search this
Van Hamersveld, John  Search this
Wight, Frederick Stallknecht, 1902-  Search this
Yokoi, Rita, 1938-  Search this
Extent:
21 Sound cassettes (Sound recording)
Type:
Collection descriptions
Archival materials
Sound cassettes
Date:
1978-1987
Scope and Contents:
A lecture and interviews of twenty-two Southern California painters and sculptors, conducted and recorded by Los Angeles art critic Merle Schipper.
Interview tapes and Schipper's fragmentary notes are available for Greg S. Card, Tony Delap, Robert Graham, Frederick Hammersley, Marvin Harden, Craig Kauffman, Claude Kent, Charles Kessler, Harry Kipper, Jay Phillips, Charles Seliger, Peter T. Shelton, Judith Simonian, David Trowbridge, and John Van Hamersveld.
Only tapes are available for John Anderson, Joyce Cutler-Shaw, Gordon Onslow-Ford, Helen Pashgian, Frederick Stallknecht Wight and Rita Yokoi. Only Schipper's fragmentary notes are available for the DeWain Valentine interview. A tape of Craig Kauffman's May 9, 1979 lecture at the Los Angeles County Museum of Art is also included.
Arrangement:
John Anderson interview is on the Gordon Onslow-Ford tape.
John Van Hamersveld interview is on the Harry Kipper tape.
Frederick Stallknecht Wight interview is on the Joyce Cutler-Shaw tape.
Rita Yokoi interview is on the Helen Pashgian tape.
Biographical / Historical:
California art critic and curator of the Fine Arts Gallery, California State University; b. in 1922.
Provenance:
Donated 1988 by Merle Schipper.
Restrictions:
Untranscribed interviews; use requires an appointment and is limited to AAA's Washington, D.C. office.
Occupation:
Conceptual artists -- California -- Interviews  Search this
Topic:
Art, Modern -- California  Search this
Painters -- California -- Interviews  Search this
Sculptors -- California -- Interviews  Search this
Identifier:
AAA.schimerl2
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schimerl2

An Evening with the Los Angeles Modernists

Creator:
Santa Barbara Museum of Art  Search this
Names:
Benjamin, Karl  Search this
Ehrlich, Susan, 1942-  Search this
Engel, Jules  Search this
Hammersley, Frederick, 1919-2009  Search this
Karlstrom, Paul J.  Search this
Mullican, Lee, 1919-1998  Search this
Wayne, June, 1918-2011  Search this
Extent:
2 Items (sound cassettes)
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
1990
Scope and Contents:
A recording on two audio cassettes of "An Evening with the Los Angeles Modernists," November 7, 1990, held in conjunction with the exhibit "Turning the Tide: Early Los Angeles Moderns 1920-1950," organized by the Santa Barbara Museum of Art, Santa Barbara, California. Speakers include Susan Ehrlich, Paul Karlstrom, and artists Karl Benjamin, Jules Engel, Frederick Hammersley, June Wayne, and Lee Mullican.
Biographical / Historical:
Santa Barbara Museum of Art (established 1941) is an art museum in Santa Barbara, California.
Provenance:
Provenance unknown.
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:
Artists -- California -- Los Angeles  Search this
Topic:
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Identifier:
AAA.santbarm
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-santbarm

Frederick Hammersley letter to Tamara Webster

Creator:
Hammersley, Frederick, 1919-2009  Search this
Webster, Tamara, 1917-2011  Search this
Hammersley, Frederick, 1919-2009  Search this
Subject:
Hammersley, Frederick  Search this
Type:
Correspondence
Date:
1972 August 8
Record number:
(DSI-AAA)17960
See more items in:
Tamara Webster papers relating to Frederick Hammersley, 1961-1996
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_17960

Frederick Hammersley notes on "An idea"

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Type:
Writings
Date:
between 1948 and 1971
Topic:
Graphic art  Search this
Record number:
(DSI-AAA)10000
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10000
Online Media:

Frederick Hammersley collage An idea

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Type:
Artworks
Date:
between 1948 and 1971
Topic:
Graphic art  Search this
Record number:
(DSI-AAA)10001
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10001
Online Media:

Holiday card design

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Type:
Artworks
Date:
195-?
Topic:
Holidays  Search this
Record number:
(DSI-AAA)11238
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11238
Online Media:

Punched cards for computer art by Frederick Hammersley

Creator:
University of New Mexico  Search this
Hammersley, Frederick, 1919-2009  Search this
University of New Mexico  Search this
Type:
Artifacts
Date:
1969 Mar. 20
Topic:
Computer art  Search this
Record number:
(DSI-AAA)14817
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_14817
Online Media:

Hammersley reads four talks given in 1967

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Type:
Sound Recording
Date:
1989 June
Record number:
(DSI-AAA)19542
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_19542

"Something Concrete on Abstract Art" lecture

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Type:
Sound Recording
Date:
1984 August 26
Topic:
Art, Abstract  Search this
Record number:
(DSI-AAA)19543
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_19543

Frederick Hammersley christmas card to unidentified recipient

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Type:
Correspondence
Date:
ca. 1952-53
Record number:
(DSI-AAA)9536
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9536
Online Media:

Frederick Hammersley Christmas card to unidentified recipient

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Type:
Correspondence
Date:
ca. 1952-53
Record number:
(DSI-AAA)9537
See more items in:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9537
Online Media:

Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Creator:
Hammersley, Frederick, 1919-2009  Search this
Hammersley, Frederick, 1919-2009  Search this
Subject:
McLaughlin, John  Search this
Stone, Susie  Search this
Benjamin, Karl  Search this
L.A. Louver Gallery  Search this
Pomona College (Claremont, Calif.)  Search this
Type:
Diaries
Drawings
Scrapbooks
Interviews
Sketchbooks
Sound recordings
Video recordings
Topic:
Computer Art  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7270
(DSI-AAA_SIRISBib)209421
AAA_collcode_hammfred
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209421
Online Media:

Frederick Hammersley Foundation records, circa 2009-2019

Creator:
Frederick Hammersley Foundation  Search this
Hammersley, Frederick, 1919-2009  Search this
Frederick Hammersley Foundation  Search this
Record number:
(DSI-AAA_CollID)22080
AAA_collcode_fredhamm
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22080

Lorser Feitelson and Helen Lundeberg papers

Creator:
Feitelson, Lorser, 1898-1978  Search this
Names:
Federal Art Project (Calif.)  Search this
Benjamin, Karl  Search this
Butterfield, Jan  Search this
Hammersley, Frederick, 1919-2009  Search this
Kadish, Reuben, 1913-1992  Search this
Langsner, Jules, 1911-1967  Search this
Longstreet, Stephen, 1907-  Search this
Lundeberg, Helen, 1908-1999  Search this
McCoy, Esther  Search this
McLaughlin, John, 1898-  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Moran, Diane De Gasis  Search this
Rattner, Abraham  Search this
Seldis, Henry  Search this
Sheets, Millard, 1907-1989  Search this
Extent:
15.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Poetry
Writings
Drawings
Sound recordings
Photographs
Date:
circa 1890s-2002
Summary:
The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.
Scope and Content Note:
The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.

Biographical documentation is found for both artists. Lundeberg's early life is documented by school notebooks, yearbooks, diplomas, calendars, awards, and a "memory book." Feitelson's biographical materials include family certificates and documents compiled by Lundeberg regarding Feitelson's funeral. Also found are curriculum vitae and biographical sketches for both artists.

Correspondence is extensive and includes both personal and professional correspondence for both Feitelson and Lundeberg. Materials consist of letters with critics, museums, artists, and friends, including Karl Benjamin, Frederick Hammersley, Reuben Kadish, John McLauglin, Diane Moran, and Abraham Rattner. Of special interest is Feitelson and Lundeberg's correspondence with Museum of Modern Art curator Dorothy Canning Miller.

A small amount of exhibition materials, mostly loan agreements and checklists, are found in the papers documenting exhibitions and loans of their artwork to exhibitions. Personal business records concern the management of their artwork and personal collections. Found here are lists of artwork, price lists, appraisal reports, sales invoices, purchase receipts, tax documents, and a set of index cards for their artwork. There are a few scattered legal documents as well. In addition to personal business records, there is a series of records of the Lorser Feitelson and Helen Lundeberg Foundation, established by Lundeberg in 1978.

Scattered research and teaching files are mostly Feitelson's. They document his personal research, teaching activities, and television programs, particularly the program Feitelson on Art. Writings, however, are found for both artists and include artist statements, writings about art and art styles and movements, writings about each artist, and writings about the Federal Arts Program in southern California. Of interest are numerous writings by other contemporary writers and critics, including Jan Butterfield, Jules Langsner, Stephen Longstreet, Esther McCoy, Diane Moran, Henry Seldis, and Millard Sheets.

A small amount of artwork is found within the collection by Feitelson and Lundeberg, mostly sketches and drawings. There is one print by Hans Burkhardt.

Printed materials include newsclippings, exhibition announcements and catalogs, lecture announcements, posters, press releases, and printed reproductions of Feitelson's and Lundeberg's artwork. There are also pamphlets produced by the Works Progress Administration Federal Arts Program and Lundeberg's poetry.

Photographs are extensive and include many of Lorser Feitelson and Helen Lundeberg, as well as of family, friends, and students. There are four photo albums and numerous photographs of Feitelson's and Lundeberg's artwork, including some exhibition installations.

There is one circa 1957 reel-to-reel sound recording of an episode of Feitelson on Art, focusing on Paul Gauguin.

An addition of 0.2 linear feet received in 2014 includes Feitelson's art history and teaching notes, writings by Feitelson, and photographs and contact sheets of Feitelson and works of art.
Arrangement:
The collection is arranged into 11 series:

Series 1: Biographical Materials, 1922-1995 (Boxes 1-2, 19; 1.5 linear feet)

Series 2: Correspondence, 1932-1998 (Boxes 2-4; 2.5 linear feet)

Series 3: Exhibition Records, 1936-1989 (Boxes 4-5; 0.25 linear feet)

Series 4: Personal Business Records, 1943-1998 (Boxes 5-6; 1.0 linear feet)

Series 5: Feitelson and Lundeberg Foundation Records, 1978-1997 (Boxes 6-7, 19; 1.5 linear feet)

Series 6: Research and Teaching Materials, 1940s-1960s (Boxes 7-8; 0.75 linear feet)

Series 7: Writings, 1930-1989 (Boxes 8-9; 1.0 linear feet)

Series 8: Artwork, 1920s-1991 (Boxes 9, 19; 9 folders)

Series 9: Printed Materials, 1923-2002 (Boxes 9-11, 20; 2.0 linear feet)

Series 10: Photographs, circa 1890s-1993 (Boxes 11-14, 16-19, and OV 21-22; 4.3 linear feet)

Series 11: Audio Recording, circa 1957 (Box 15; 1 item)

Series 12: Unprocessed Addition, circa 1919-1978 (Box 23; 0.2 linear feet)
Biographical Note:
Art instructor and painter Lorser Feitelson (1898-1978) lived and worked in Los Angeles with his wife Helen Lundeberg (1908-1999), also one of southern California's leading painters. Together, Feitelson and Lundeberg founded the movement known as Subjective Classicism, or Post-surrealism. Their work had a great influence on southern California art and they formed many relationships with artists and critics of the area.

Lorser Feitelson was born in Savannah, Georgia on February 11, 1898, and grew up in New York City. By the age of twelve, he was painting in oils, and three years later he began to paint in earnest after attending the Armory Show. At the age of eighteen, Feitelson had his own studio in New York City. Over the next few years, he met other artists, including Arthur Davies, Walter Pach, and John Sloan. From 1919 to 1926, Feitelson lived in Paris and traveled to New York to exhibit; he also spent some time in Italy. In 1927, Feitelson moved to Los Angeles, the city that would remain his home for the rest of his life. There he met his wife and artist, Helen Lundeberg, and married in 1933.

Feitelson taught at the Chouinard Art Institute and the Stickney Memorial School of Art, became involved in the operations of the Centaur Gallery, and helped to found the Stanley Rose Gallery and the Hollywood Gallery of Modern Art. Beginning with the first Post-surrealist exhibition 1934, Feitelson and Lundeberg's work was exhibited at the San Francisco Museum of Art, the Brooklyn Museum, and was included in the Museum of Modern Art's Fantastic Art, Dada and Surrealism exhibition of 1937. Feitelson continued to create Post-surrealist paintings until 1942. During this same time, Feitelson also served as the Supervisor of Murals, Painting, and Sculpture for the Southern California Works Progress Administration Federal Arts Project.

In 1944, Feitelson began to paint abstract shapes that he referred to as "magical forms." Feitelson continued working in an abstract manner throughout the fifties, and in 1959 was included by Jules Langsner in the exhibition Four Abstract Classicists along with Karl Benjamin, Frederick Hammersley, and John McLaughlin. From this exhibition emerged the term "hard edge" painting, which referred to the presence of geometric shapes and flat pictorial space in the work of these artists. During the final two decades of his life, Feitelson continued to work regularly, and continued to explore abstraction.

Feitelson taught for many years at the Art Center School and was a visiting professor at the University of Illinois, Urbana. He also hosted the television program Feitelson on Art from 1956-1963, as well as serving as a frequent guest on the program Cavalcade of Books to discuss art publications. Lorser Feitelson died in 1978.

Helen Lundeberg was born in Chicago, Illinois on June 24, 1908. At the age of four, her family moved to Pasadena, where she attended Pasadena High School and Junior College. In the spring of 1930, a family friend sponsored Lundeberg's tuition to attend classes at the Stickney Memorial School of Art. That summer Lundeberg met Lorser Feitelson, who had recently taken over the teaching of her construction and composition class. The following year, Lundeberg's work was included in an exhibition for the first time. By 1933, Lundeberg had a solo exhibition at the Stanley Rose Gallery. Throughout the 1930s, Lundeberg painted in a Post-surrealist manner and created some of her best known works including "Double Portrait of the Artist in Time" (1935). She also began working for the California Works Progress Administration Federal Art Project in 1936. Over the next six years, she designed murals for libraries, high schools, and parks. She and Feitelson married in 1933.

During the next five decades, Lundeberg created a distinctive and diverse body of work that included surreal images of floating mountains and falling skies, austere landscapes and architectural forms, and abstract works with brilliant colors. She remained from the 1930s to the time of her death in 1999 one of the leading and most respected figures in southern California art. Her work has been exhibited in the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art, and acquired by the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art.
Related Material:
Found in the Archives of American Art are oral history interviews with Lorser Feitelson conducted by Betty Lochrie Hoag, May 12, 1964; with Lorser Feitelson and Helen Lundeberg conducted by Betty Lochrie Hoag, March 17, 1965; and with Helen Lundeberg conducted by Jan Butterfield, July 19 and August 29, 1980. Also found are Lorser Feitelson lectures recorded by Bonnie Trotter, 1973-1974.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reel LA 1) including a scrapbook of clippings primarily concerning Lorser Feitelson's activities with the federal Works Progress Administration. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1964, Feitelson loaned for microfilming a scrapbook of clippings primarily concerning his activities with the federal Works Progress Administration. The scrapbook was microfilmed on Reel LA1 and returned to Feitelson. It is not included in the container inventory in this finding aid.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The 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 -- California -- Los Angeles  Search this
Topic:
Art -- Study and teaching  Search this
Genre/Form:
Sketches
Poetry
Writings
Drawings
Sound recordings
Photographs
Citation:
Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.feitlors
See more items in:
Lorser Feitelson and Helen Lundeberg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-feitlors
Online Media:

Frederick Hammersley papers

Creator:
Hammersley, Frederick, 1919-2009  Search this
Names:
Chouinard Art Institute (Los Angeles, Calif.)  Search this
Hoshour Gallery  Search this
L.A. Louver Gallery  Search this
Modernism (Gallery)  Search this
Pomona College (Claremont, Calif.)  Search this
Benjamin, Karl  Search this
Brice, William, 1921-2008  Search this
Chuey, Robert  Search this
Hammersley, Anna Westberg  Search this
Hammersley, Harold  Search this
Lebrun, Rico, 1900-1964  Search this
McLaughlin, John, 1898-  Search this
Nowells, Lu  Search this
Stone, Susie  Search this
Extent:
35.05 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Drawings
Scrapbooks
Interviews
Sketchbooks
Sound recordings
Video recordings
Place:
Europe -- Description and Travel -- Photographs
Date:
circa 1860-2009
bulk 1940-2009
Summary:
The papers of Los Angeles Abstract Classicist painter and educator Frederick Hammersley measure 35.05 linear feet and date from circa 1860-2009, bulk 1940-2009. The papers contain biographical materials, 32 diaries, family and professional correspondence, personal business and financial records, estate records, writings, graphic design projects, teaching files, printed materials, scrapbooks, photographs, and works of art. There is a 0.3 linear foot unprocessed addition to this collection donated in 2020 that includes photographs of Hammersley's family, and most significantly for research, a study in pencil and a "model for making cubes," a paper document that can be stored flat and folded into a cube shape.
Scope and Contents:
The papers of Los Angeles Abstract Classicist painter and educator Frederick Hammersley measure 34.75 linear feet and date from circa 1860-2009, bulk 1940-2009. The papers contain biographical materials, 32 diaries, family and professional correspondence, personal business and financial records, estate records, writings, graphic design projects, teaching files, printed materials, scrapbooks, photographs, and works of art. 2015 and 2018 additions include a diary possibly written by Hammersley's mother, photograph albums and photographs, sketches and block prints, computer printouts, and hand painted grid color boxes used by Hammersley in teaching color theory. There is a 0.3 linear foot unprocessed addition to this collection donated in 2020 that includes photographs of Hammersley's family, and most significantly for research, a study in pencil and a "model for making cubes," a paper document that can be stored flat and folded into a cube shape.

Biographical materials include resumes and biographies, calendars, military records, family genealogies, school records, high school and college yearbooks, and awards. There are also sound and video recordings of talks, interviews, and television appearances. Scattered materials relating to Hammersley's parents, Anna Westberg Hammersley and Harold Hammersley, are also found in the series.

Correspondence consists of letters from family and close friends as well as business correspondence with collectors and professional art associations. Family correspondents include Hammersley's immediate family and aunts and cousins. Additional noteworthy correspondents include fellow artists Karl Benjamin, William Brice, Robert Chuey, Rico Lebrun, and John McLaughlin, among others.

There are 23 diaries written by Frederick Hammersley dating from 1935-2008, with a gap spanning 1954-1972. Also found are six diaries written by Harold Hammersley dating from 1940-1959 and three by Anna Hammersley from 1909-1965.

Hammersley's writings include college class notes, essays, poetry, lecture notes, grant applications, and proposals. There are also sound recordings of lectures and talks as well as drafts and a final copy of an article published in the journal Leonardo in 1970.

Teaching files consist of class lecture notes, student evaluations, and grade books for classes likely taught at Pomona University and the Chouinard Art Institute.

Graphic design projects contain materials from Hammersley's company Handsome Cards for which he designed greeting and holiday cards. Also included are various freelance designs and draft designs for exhibition catalogs. General financial and business records focus on Hammersley business relationships and transactions with galleries and museums and his efforts to promote his art. Galleries and museums represented in the files include Modernism Gallery (San Francisco), L.A. Louver Gallery (Venice, California), and Hoshour Gallery (Albuquerque). This series also contains tax returns and expense ledgers. Also found are scattered materials from the household of Anna and Harold Hammersley.

Estate records are found for Frederick Hammersley, Susie Hammersley Stone, Anna and Harold Hammersley, Frederick Hammersley Sr., Mrs. E. Hammersley, Maude Eliza Hammersley, Dorothy Hutchinson Hammersley, and Basil Edward Pratt. These files include wills and yearly financial reports.

Printed material consists of newspaper and magazine clippings, exhibition catalogs and announcements, and printed copies of Hammersley's graphic designs. The series is extensive and contains clippings and exhibition material that represents Hammersley's entire career as an artist. Also found are packets of printed materials created by Hammersley to represent the careers of his friends and colleagues.

Scrapbooks consist of eleven "scrapfiles," postcard albums, and clippings scrapbooks created by Frederick Hammersley and Anna Hammersley. Scrapfiles refers to the original title created by the Hammersleys. Frederick's scrapbooks contain clippings of art, criticisms of his work, and news mentions of his career. Anna's scrapbooks contain one postcard album and 4 scrapbooks and scrapfiles of news clippings relating to subjects of her personal interest.

Photographs include snapshots of Hammersley; images of Hammersley with family and friends; travel photographs, many of them taken in Europe during World War II; photographs of exhibitions; and photographs of Hammersley's artwork. Most of the photographs were labeled and dated by Hammersley. There are six photo albums created by Frederick Hammersley and four albums compiled by his parents Harold and Anna Hammersley.

Artwork consists of Hammersley's sketchbooks, drawings, and paintings from high school and college classes, designs for exhibition catalogs, and cards and printouts for his computer drawings series. Also included are geometric color studies on panel and artwork for a bank mural proposal from 1977. Drawings and design work by Susie Stone, Hammersley's sister are also included, as well as two works by Lu Nowels.
Arrangement:
The collection is arranged as 13 series.

Series 1: Biographical Material, 1919-2008 (2.5 linear feet; Box 1-3, 31, 33, 37)

Series 2: Correspondence, circa 1900-2009 (3.1 linear feet; Box 3-6, 37)

Series 3: Diaries, 1909-2008 (2.1 linear feet; Box 6-8, 37)

Series 4: Writings, Lectures, and Notes, circa 1940-2009 (0.6 linear feet; Box 8-9, 37)

Series 5: Teaching Files, circa 1950-1993 (0.2 linear feet; Box 9)

Series 6: Graphic Design Projects, circa 1945-1980 (0.4 linear feet; Box 9-10, 31)

Series 7: Personal Business and Financial Records, 1897-2008 (3.2 linear feet; Box 10-13, 24, 33, 35, 37)

Series 8: Estate Records, 1898-2001 (0.7 linear feet; Box 13, 24, 37)

Series 9: Printed Material, 1945, 2011 (3.6 linear feet; Box 13-17, 31, 37, 42, OV45)

Series 10: Scrapbooks, circa 1890-1960s (3.3 linear feet; Box 17-18, 25-29)

Series 11: Photographs, circa 1860s-2007 (10.7 linear feet; Box 18-23, 29-31, 37-43)

Series 12: Artwork and Artifacts, 1934-2009 (3.2 linear feet; Box 22, 31-32, 35, 38, 42, 44, OV46-56)

Series 13:Unprocessed Addition, undated (0.3 linear feet; Box 66)
Biographical / Historical:
Painter, graphic designer, and educator Frederick Hammersley (1919-2009) spent most of his career in Los Angeles and New Mexico. He is closely associated with the hard-edge abstraction painting style of the Abstract Classicists of Southern California.

Hammersley was born on January 5, 1919 to Anna Westberg and Harold Hammersley in Salt Lake City, where his father worked for the U.S. Department of the Interior. The family lived in Utah and Idaho before finally settling in San Francisco. Hammersley attended the University of Idaho and later enrolled in the Academy of Advertising Art in San Francisco. In 1940, Hammersley began taking classes at the Chouinard Art Institution in Los Angeles.

Hammersley's studies were interrupted by World War II military service from 1942 to 1946. He was stationed first in Paris as a draftsman in the Signal Corp and was eventually promoted to Army sargeant in the Office of Military Government in Berlin. While in Paris, he visited Picasso's studio several times and also took classes at the √ącole des Beaux Arts at the end of the war. When he returned home in 1946, the GI Bill subsidized his final year of study at Chouinard, now the California Institute of Arts, and three years at the Jepson Art Institute in Los Angeles.

Hammersley made his living as an art professor in California for twenty years, where he taught at the Jepson Art Institute and Pomona College in Claremont. He moved to Albuquerque after accepting a teaching position at the University of New Mexico in 1968. In 1971, Hammersley resigned his teaching position and devoted himself to painting.

Hammersley's reputaton as a painter began in 1948 when one of his small paintings was accepted in an annual exhibition at the San Francisco Museum of Modern Art. In 1958, several of his works were included in the seminal exhibition Four Abstract Classicists, organized by Jules Langsner and Peter Selz and shown at the Los Angeles County Museum of Art. Hammersley, and fellow painters Lorser Feitelson, Karl Benjamin, and John McLaughlin, were dubbed the "hard-edged painters," whose style consisted of flat, colored geometric shapes that were a sharp contrast to the more popular Abstract Expressionism. The label stuck and in the mid 1970s, Hammersley submitted several works of art for a show called L.A. Hard Edge, a show that featured art from the 1950s and 1970s.

During the late 1970s and 1980s, Hammersley exhibited in several one-man shows, including at L.A. Louver in Venice, California, the Hoshour Gallery in Albuquerque, and the Corcoran in Washington, D.C. In 2000, the Laguna Art Museum presented a traveling exhibition organized by the Museum of Fine Arts in Sante Fe, and the Pomona College Museum of Art organized a retrospective in 2007. His work is in museum collections across the country, including the Los Angeles County Museum of Art (LACMA), the San Francisco Museum of Modern Art, the Santa Barbara Museum of Art, the Albright-Knox Art Gallery in Buffalo, and the Corcoran Gallery of Art. Hammersley died in 2009 at the age of 90. He was survived by his sister, Susie Hammersley Stone.
Related Materials:
The Archives of American Art also holds the Tamara Webster papers relating to Frederick Hammersley.
Provenance:
Frederick Hammersley donated his papers to the Archives of American Art in nine accessions from 1974 to 2008. The Frederick Hammersley Foundation donated additional papers in 2012, 2015, 2018 and 2020 via Executive Director, Kathleen Shields.
Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization of the 2015 and 2018 additions. 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 -- New Mexico  Search this
Painters -- California -- Los Angeles  Search this
Art teachers -- California -- Los Angeles  Search this
Topic:
Color in art  Search this
Painting, Abstract  Search this
Computer Art  Search this
Art -- Study and teaching  Search this
World War, 1939-1945 -- Photographs  Search this
Genre/Form:
Diaries
Drawings
Scrapbooks
Interviews
Sketchbooks
Sound recordings
Video recordings
Citation:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hammfred
See more items in:
Frederick Hammersley papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hammfred
Online Media:

Business Cards

Collection Creator:
Hammersley, Frederick, 1919-2009  Search this
Container:
Box 1, Folder 9
Type:
Archival materials
Date:
circa 1950, circa 1980
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization of the 2015 and 2018 additions. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Frederick Hammersley papers
Frederick Hammersley papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-hammfred-ref10

California State University Fine Arts Gallery

Collection Creator:
Hammersley, Frederick, 1919-2009  Search this
Container:
Box 3, Folder 48
Type:
Archival materials
Date:
1989-1990
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization of the 2015 and 2018 additions. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Frederick Hammersley papers
Frederick Hammersley papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-hammfred-ref100

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