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Los Angeles -- Davis-Yust Garden

Former owner:
Davis, Francis Pierpont  Search this
Churchill Family Trust  Search this
Architect:
Davis, Francis Pierpont  Search this
Landscape architect:
Davis, Francis Pierpont  Search this
Provenance:
Hancock Park Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Davis-Yust Garden (Los Angeles, California)
United States of America -- California -- Los Angeles County -- Los Angeles
Scope and Contents:
The folder includes worksheets, garden plans, photocopies of articles featuring the house and garden, and a plant list.
General:
Located in a 1920s neighborhood four miles west of downtown Los Angeles, this Italian-style garden is divided into four sections: a formal garden, a secret garden, a woods (including a shade garden), and an orchard. East/west and north/south axes set the basic structure of the garden. The plan of the square-shaped formal garden has changed little since its initial development. Plantings include myrtle hedges (thought to be original), hybrid tea roses, vintage pomegranates, dombeya, and citrus. Situated throughout are European artifacts imported by the original architect and owner. The secret garden, reached through the living room or from the woods, features an original Moorish-tiled wall and Corinthian capital that serves as a fountain. The woods lie along the southern edge of the property and include eucalyptus, fir, and native California oak remaining from the original plantings. The trees are arrayed along a wide gravel path in a long park-like "room" used for entertaining. North of the woods at the eastern edge of the property is the shade garden, which is divided into quadrants by one of the main axes and the gravel path. Its predominantly green plantings combine interesting textures with clipped hedges contrasting with bold foliage. Beyond the shade garden lie the orchard and service area.
Persons and organizations associated with the garden include: Francis Pierpont Davis (former owner, architect, landscape architect, 1921-1930s) and the Churchill Family Trust (former owners, 1930s-1986).
Related Materials:
Davis-Yust Garden related holdings consist of 1 folder (9 35 mm. slides)
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- California -- Los Angeles  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File CA451
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref24250

Oral history interview with Claire Falkenstein

Interviewee:
Falkenstein, Claire, 1908-1997  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Creator:
Women in the Arts in Southern California Oral History Project  Search this
Names:
Galerie Stadler  Search this
University of California, San Francisco. School of Fine Arts  Search this
Women in the Arts in Southern California Oral History Project  Search this
Appel, Karel, 1921-  Search this
Francis, Sam, 1923-1994  Search this
Jackson, Martha Kellogg  Search this
Lusk, George, 1902-  Search this
Still, Clyfford, 1904-1980  Search this
Tapie, Michel  Search this
Extent:
3 Sound cassettes (Sound recording (60 min. each), analog)
51 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1995 Mar. 2-21
Scope and Contents:
An interview of Claire Falkenstein conducted 1995 Mar.2-21, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, in Falkenstein's studio, Venice, Calif.
Falkenstein discusses the evolution of her work; the benefit of being alone to her personal and artistic growth; her "vocabulary of art" which she created while at the University of California at Berkeley; her largest commission at St. Basil's Cathedral in Los Angeles and her views on religion and art; the influence on her of George Lusk, a visiting artist and philosopher from Paris; studying the nude figure and how it taught her personal expression; her family background and introduction to art; teaching in the Bay Area at the California School of Fine Arts; her friendships with other artists there such as Clyfford Still; her reasons for leaving the Bay Area to go to Paris; and meeting Michel Tapie and the Stadler Gallery group. She recalls Karl Appel, Martha Jackson, Clyfford Still, Sam Francis, and others.
Biographical / Historical:
Claire Falkenstein (1908-1997) was a sculptor of Venice, Calif.
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. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- California  Search this
Painters -- California  Search this
Jewelers -- California  Search this
Educators -- California  Search this
Authors -- California  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.falken95
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-falken95
Online Media:

Claire Falkenstein papers

Creator:
Falkenstein, Claire, 1908-1997  Search this
Names:
Coos Art Museum  Search this
Fresno Art Museum  Search this
Galerie Anderson-Mayer  Search this
Galerie Stadler  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Los Angeles Museum of Art  Search this
Malvina Miller  Search this
Martha Jackson Gallery  Search this
Merging One Gallery  Search this
Mills College -- Faculty  Search this
Pond Farm Workshop  Search this
San Francisco Museum of Art  Search this
University of California, San Francisco. School of Fine Arts -- Faculty  Search this
Green, Ray, 1908-1997  Search this
Guggenheim, Peggy, 1898-  Search this
Kuh, Katharine  Search this
O'Donnell, May, 1906-2004  Search this
Sawyer, Kenneth B.  Search this
Still, Clyfford, 1904-  Search this
Still, Patricia  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Wildenhain, Frans, 1905-1980  Search this
Extent:
42.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Notebooks
Diaries
Scrapbooks
Drawings
Sketches
Photographs
Movie scripts
Motion pictures (visual works)
Interviews
Date:
circa 1914-1997
bulk 1940-1990
Summary:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Scope and Content Note:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.

Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.

Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.

Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.

Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.

Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.

Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.

Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.

There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.

Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.

Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)

Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)

Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)

Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)

Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)

Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)

Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)

Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)

Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)

Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)
Biographical Note:
Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.

Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.

During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.

In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.

In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.

During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.

Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.

Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.

Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.

Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.

Falkenstein died in 1997 at the age of 89.
Related Material:
The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.
Provenance:
The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.
Restrictions:
Use of original papers requires an appointment.
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 -- California  Search this
Painters -- California  Search this
Jewelers -- California  Search this
Educators -- California  Search this
Authors -- California  Search this
Topic:
Art -- Study and teaching  Search this
Art patronage  Search this
Art -- Economic aspects  Search this
Artists' studios  Search this
Jewelry  Search this
Poetry  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Sketchbooks
Notebooks
Diaries
Scrapbooks
Drawings
Sketches
Photographs
Movie scripts
Motion pictures (visual works)
Interviews
Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai
See more items in:
Claire Falkenstein papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-falkclai
Online Media:

Oral history interview with Merry Renk

Interviewee:
Renk, Merry, 1921-2012  Search this
Interviewer:
Fisch, Arline M.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
750 Studio  Search this
American Craft Council  Search this
Institute of Design (Chicago, Ill.) -- Students  Search this
Metal Arts Guild  Search this
Mobilia Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
School of Industrial Design (Trenton, N.J.) -- Students  Search this
University of California, Berkeley. Department of Art -- Faculty  Search this
Albers, Josef  Search this
Asawa, Ruth  Search this
Bates, Kenneth F. (Kenneth Francis), 1904-1994  Search this
Brancusi, Constantin, 1876-1957  Search this
Brynner, Irena  Search this
Cunningham, Imogen, 1883-1976  Search this
Curtis, Earle  Search this
De Patta, Margaret, 1903-1964  Search this
Godfrey, Mary Jo Slick  Search this
Guermonprez, Trude, 1910-1976  Search this
Hall, Doris.  Search this
Nordness, Lee  Search this
Oliver, Olive  Search this
Tajiri, Shinkichi, 1923-2009  Search this
Tawney, Lenore  Search this
Extent:
49 Pages (Transcript)
1 Item (sound file (4 min. 15 sec.) Audio excerpt, digital)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2001 January 18-19
Scope and Contents:
An interview of Merry Renk conducted 2001 January 18-19, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Renk's home and studio, San Francisco, California.
Renk speaks of her family background; growing up during the Depression; her father's creativity and encouragement; early inspiration from "the structure of nature"; attending the School of Industrial Arts in Trenton, N.J., and later the Institute of Design in Chicago; student life at the Institute of Design; establishing a studio and gallery, 750 Studio, at 750 North Dearborn, in Chicago, in 1947, with two other students, Mary Jo Slick [Godfrey] and Olive [Bunny] Oliver; managing 750 Studio and organizing exhibitions of Harry Callahan, Henry Miller, Lazlo Maholy-Nagy, Warren and Ethel MacKenzie, Doris Hall, and others; working with enamels; early "primitive" spirals; decision to be a jeweler; the importance of the "wearability" of jewelry; moving to San Francisco in 1948; living in Paris, 1950-1951; relationship with Shinkichi Tajiri; visiting Constantin Brancusi; traveling with Lenore Tawney through Spain and Morocco; settling in San Francisco; friendship with sculptor and neighbor Ruth Asawa; learning about Josef Albers from Asawa, resulting in experiments with folded metal; meeting her second husband, potter Earle Curtis on Halloween 1954; purchasing and remodeling their home; teaching part-time at the University of California, Berkeley and in workshops; her children, Baunnie and Sandra; managing motherhood and jewelry making in a two-artist household; drawing as a form of inventory; the influence of Lee Nordness; learning the plique-à-jour technique of enameling through trial and error; early influence of Doris Hall's work; working with wire; use of natural forms and interlocking forms; the process of making Wedding Crown (1968) for the exhibition Objects USA; making wedding crowns for her daughters; her shift from non-objective art to portraiture and symbolic imagery in the early 1970s; making large-scale sculpture in 1974, then "drifting back" to jewelry; importance of working independently; her "memory paintings" in the 1980s; evolution of her name from Mary Ruth Gibbs to Merry Renk Curtis (married Stanley Renk in 1941); her involvement with local guilds such as the Metal Arts Guild of San Francisco and national organizations such as the American Craft Council (ACC); lack of critical writing about her work; the value of exhibitions; various pieces in museum collections; early ACC conferences; her long friendship with photographer Imogen Cunningham; posing for Cunningham; becoming an ACC fellow; her jewelry tools; the process of painting compared to jewelry making. She also mentions Kenneth Bates, Trude Guermonprez, Irena Brynner, the Mobilia Gallery in Cambridge, Massachusetts, and her mentor Margaret de Patta.
Biographical / Historical:
Merry Renk (1921-2012) was a jeweler, painter, and sculptor from San Francisco, California. Arline M. Fisch (1931-) is a metalsmith from San Diego, California.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 9 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.
Topic:
Enamel and enameling  Search this
Enamelers -- California -- San Francisco -- Interviews  Search this
Jewelry making  Search this
Jewelers -- California -- San Francisco -- Interviews  Search this
Painters -- California -- San Francisco -- Interviews  Search this
Sculptors -- United States -- Interviews  Search this
Sculptors -- California -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.renk01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-renk01
Online Media:

Oral history interview with Bob Winston

Interviewee:
Winston, Bob, 1915-  Search this
Interviewer:
Baizerman, Suzanne  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
California College of Arts and Crafts -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
95 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 July 31-October 10
Scope and Contents:
An interview of Bob Winston conducted 2002 July 31-2002 October 2002, by Suzanne Baizerman, for the Archives of American Art as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home in Concord, California.
Winston speaks of his early childhood and running away from home at 19 months old, being found in a garage and building things ever since; the numerous operations he had as a child; his dyslexia and how he got through college; the death of his father and move to Berkeley, California; teaching at Berkeley High school; 17 years teaching at California College of Arts and Crafts (1942-1959) and the growth of the school throughout that time period; moving to Arizona and teaching lost wax casting in an abandoned supermarket; his inventions, Win-Ox, an oxidizer, and Bubble-Be-Gone, a cleaner; his latest sale of Win-Ox; his title as "San Francisco's Most Professional Eccentric;" and finding that a lot of the people he teaches do not find the "magic" that he does in jewelry work. Winston then discusses his current studio layout in an former hospital building; his machines and different work rooms; his chemistry table, where he makes his Win-Ox solution; his collection; how he's accomplished so much despite his dyslexia; the Hunt brothers and how they made the price of gold drop; living from Art Festival to Festival on the road in his Jeep; his mentors John Haley and Chiura Obata; and his bike, which he still rides. Winston also recalls Aileen Webb, Margaret DePatta, Gene Bielawski, Mark Hopkins, Karl Kasten, and others.
Biographical / Historical:
Bob Winston (1915-2003) metalsmith of Walnut Creek, California. Suzanne Baizermann, art historian, Alameda, California.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 4 hr., 41 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 available on the Archives of American Art website.
Topic:
Metal-workers -- California -- Interviews  Search this
Jewelers -- California -- Interviews  Search this
Metal-work -- Study and teaching  Search this
Metal-work -- Equipment and supplies  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.winsto02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-winsto02
Online Media:

Oral history interview with Helen Z. Shirk

Interviewee:
Shirk, Helen Z., 1942-  Search this
Interviewer:
Lauria, Jo  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
84 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2012 July 29
Scope and Contents:
An interview of Helen Z. Shirk conducted 2012 July 29, by Jo Lauria, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Shirk's home and studio, in La Mesa, California.
Biographical / Historical:
Helen Z. Shirk (1942- ) is an artist and educator in La Mesa, California. Jo Lauria (1954- ) is a curator and writer in Sherman Oaks, California.
General:
Originally recorded as 5 sound files. Duration is 3 hr., 31 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:
For information on how to access this interview contact Reference Services.
Occupation:
Jewelers -- California  Search this
Metal-workers -- California  Search this
Topic:
Metal-work  Search this
Women artists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.shirk12
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shirk12
Online Media:

Florence Resnikoff papers

Creator:
Resnikoff, Florence Lisa Herman  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1950-2011
Scope and Contents:
The papers of silversmith, Florence Resnikoff measure 1.4 linear feet and date from circa 1950-2011. Included is professional correspondence regarding Resnikoff, silversmithing and Resnikoff's work; printed material; few photographs; price lists; and project files.
Biographical / Historical:
Florence Resnikoff (1920-2013) was a metalsmith known for jewelry design in California.
Provenance:
Donated in 2021 by Carl Resnikoff, Florence Resnikoff's son.
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:
Metal-workers -- California  Search this
Jewelers -- California -- San Francisco  Search this
Topic:
Women artists  Search this
Identifier:
AAA.resnflor
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-resnflor

Oral history interview with Arline M. Fisch

Interviewee:
Fisch, Arline M.  Search this
Interviewer:
Church, Sharon, 1948-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Haystack Mountain School of Crafts -- Faculty  Search this
Haystack Mountain School of Crafts -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Skidmore College -- Faculty  Search this
Skidmore College -- Students  Search this
Wheaton College (Ill.) -- Faculty  Search this
Adamson, Glenn  Search this
Extent:
61 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 July 29-30
Scope and Contents:
An interview of Arline M. Fisch conducted 2001 July 29-30, by Sharon Church McNabb, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fisch's home, in San Diego, California.
Biographical / Historical:
Arline M. Fisch (1931-) is a metalsmith from San Diego, California. Sharon Church McNabb (1948-) is a jewelry designer.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 13 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Metal-workers -- California -- San Diego  Search this
Jewelers -- California -- San Diego  Search this
Educators -- California -- San Diego  Search this
Fulbright scholars  Search this
Topic:
Art and religion  Search this
Decorative arts  Search this
Knitting  Search this
Jewelry making -- Study and teaching  Search this
Jewelry making -- Technique  Search this
Women artists  Search this
Women educators  Search this
Women textile artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.fisch01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fisch01
Online Media:

Oral history interview with Claire Falkenstein

Interviewee:
Falkenstein, Claire, 1908-1997  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
4 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 Apr. 13
Scope and Contents:
An interview of Claire Falkenstein conducted 1965 Apr. 13, by Betty Hoag, for the Archives of American Art.
Biographical / Historical:
Claire Falkenstein (1908-1997) was a sculptor in Venice, Calif.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 10 min.
Due to technical problems with the recording, only portions were able to be transcribed.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Occupation:
Painters -- California  Search this
Sculptors -- California  Search this
Jewelers -- California  Search this
Educators -- California  Search this
Authors -- California  Search this
Topic:
New Deal, 1933-1939  Search this
Federal aid to the arts  Search this
Women artists  Search this
Women sculptors  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.falken65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-falken65
Online Media:

Merry Renk papers

Creator:
Renk, Merry, 1921-2012  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Armstrong, Roger  Search this
Brown, Conrad  Search this
Daniel, Greta  Search this
Merritt, Francis Sumner, 1913-2000  Search this
Nichols, Alice W.  Search this
Slivka, Rose  Search this
Smith, Paul J.  Search this
Soldner, Paul  Search this
Webb, Aileen O.  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Video recordings
Date:
1952-2000
Scope and Contents:
Correspondence, printed maerials, drawings, writings, and a VHS video.
Biographical / Historical:
Metalsmith, jeweler, painter; San Francisco, Calif.; b. 1921.
Provenance:
Donated 2003 and 2004 by Merry Renk as a part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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:
Painters -- California -- San Francisco  Search this
Jewelers -- California -- San Francisco  Search this
Enamelers -- California -- San Francisco  Search this
Topic:
Women artists  Search this
Genre/Form:
Drawings
Video recordings
Identifier:
AAA.renkmerr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-renkmerr

Margaret De Patta papers

Creator:
De Patta, Margaret, 1903-1964  Search this
Names:
California College of Arts and Crafts (San Francisco, Calif.)  Search this
California Labor School  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Nanny's Design Gallery  Search this
Oregon State System of Higher Education  Search this
San Francisco Metal Arts Guild  Search this
Barson, Fred  Search this
Bielawski, Eugene  Search this
Davis, Adelle  Search this
Designs Contemporary  Search this
Fleisher, Janet  Search this
Flory, Alice  Search this
McHendrie, Janet  Search this
Ries, Victor, 1907-  Search this
Untracht, Oppi  Search this
Extent:
2.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Designs
Drawings
Date:
circa 1930-2012
Summary:
The papers of California jewelry designer Margaret De Patta measure 2.7 linear feet and date from circa 1930 to 2012. The papers include correspondence, writings, teaching files, exhibition files, personal business records, printed material, artwork and sketchbooks, and photographs.
Scope and Contents:
The papers of California jewelry designer Margaret De Patta measure 2.7 linear feet and date from circa 1930 to 2012. The papers include correspondence, writings, teaching files, exhibition files, personal business records, printed material, artwork and sketchbooks, and photographs.

Personal and professional correspondence is with family, friends, artists, galleries, museums, and universities. Notable correspondents include Fred Barson, Adelle Davis, Janet Fleisher, Alice Flory, Janet McHendrie, Victor Ries, Oppi Untracht, and Nanny's Design Gallery.

Writings include essays, personal statements, and notes. There is also an outline for a book on design and an annotated calendar.

Teaching files consist of course materials, administrative records, meeting minutes, and limited correspondence from the California Labor School. There are also a few folders from the California College of Arts and Crafts and the Oregon State System of Higher Education.

Exhibition files include announcements, correspondence, inventories, price lists, loan forms, and other material for Margaret De Patta shows at museums and galleries.

Personal business records consist of financial, legal, and administrative records on Margaret De Patta's jewelry designs and sales, as well as material related to Designs Contemporary, the jewelry production business created and managed by De Patta and her husband Eugene Bielawski. There is also material on large gifts and loans to museums and universities, and files relating to the San Francisco Metal Arts Guild.

Printed materials are mostly clippings about Margaret De Patta and other subjects, along with a few magazines and periodicals, including the San Francisco Metal Arts Guild newsletters, 1952-1964.

There is one sketchbook and several folders of drawings, jewelry designs, and flatware designs.

The bulk of the photographs are of jewelry and other objects designed by Margaret De Patta. There are a few photographs of Margaret De Patta working on jewelry and other subjects, such as a trip to Japan and her house on Laidley Street in California.
Arrangement:
This collection is arranged as 8 series.

Missing Title

Series 1: Correspondence, 1946-2011 (0.4 linear feet; Box 1)

Series 2: Writings, circa 1935-1963 (0.1 linear feet; Box 1)

Series 3: Teaching Files, 1944-1969 (0.2 linear feet; Box 1)

Series 4: Exhibition Files, 1948-2012 (0.4 linear feet; Boxes 1-2)

Series 5: Personal Business Records, 1943-2001 (0.9 linear feet; Box 2)

Series 6: Printed Material, 1938-1981 (0.1 linear feet; Box 3)

Series 7: Artwork and Sketchbook, circa 1930-circa 1960 (0.2 linear feet; Box 3)

Series 8: Photographs, circa 1935-1967 (0.4 linear feet; Boxes 3-4, OV 5)
Biographical / Historical:
San Francisco contemporary jewelry designer Margaret De Patta, née Strong, was born in Tacoma, Washington in 1903 and raised in San Diego, California. She was among the first contemporary studio jewelers and a proponent of modernism. De Patta studied painting at the San Diego Academy of Fine Arts from 1921-1923, the California School of Fine Arts from 1923-1925, and the New York Art Students League from 1926-1929.

Margaret De Patta began to create jewelry when she designed her own modernist wedding ring for her marriage to Sam De Patta in 1929. By the mid-1930s, she had become an accomplished jeweler whose work was frequently shown in galleries and museums. Her jewelry was featured in the 1939 Golden Gate International Exposition in San Francisco. Around 1939, De Patta also started collaborating with Francis Sperisen, a noted San Francisco lapidary. De Patta designed the shapes of the jewelry using Lucite and wood, and Sperisen would use her models as a reference for the actual gem cutting.

From 1940-1941, De Patta attended the Chicago Bauhaus (now the Institute of Design) where she studied under Laszlo Moholy-Nagy. De Patta's time at the school was formative and Moholy-Nagy was tremendously impressed with her work. She also met her future second husband Gene Bielawski while she was a student in Chicago.

In 1941, De Patta returned to San Francisco, divorced Sam De Patta, and renovated her Laidley Street house in Glen Park. In 1946, she married Eugene Bielawski. The couple taught at the California Labor School. They also moved to Napa and founded Designs Contemporary, a business for producing jewelry that was as high quality as De Patta's handcrafted pieces at more affordable prices. Since all aspects of the business were conducted by the two of them, the workload became overwhelming and Designs Contemporary closed in 1957.

In 1951, Margaret De Patta was a founding member of the San Francisco Metal Arts Guild, established to promote the metal arts and specifically address the unique needs of studio jewelers. During her lifetime, she befriended many artists and continued to create jewelry, teach, and lecture. De Patta committed suicide in 1964. Her innovative jewelry designs continue to be influential today.
Provenance:
The Margaret De Patta papers were donated in two installments in 2003 and 2015 by Martha Bielawski, the second wife of Margaret De Patta's second husband, Eugene Bielawski. These papers were collected as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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:
Jewelers -- California -- San Diego  Search this
Educators -- California -- San Diego  Search this
Topic:
Women artists  Search this
Women designers  Search this
Women educators  Search this
Genre/Form:
Photographs
Sketchbooks
Designs
Drawings
Citation:
Margaret De Patta papers, circa 1930-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.depamarg
See more items in:
Margaret De Patta papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-depamarg
Online Media:

Oral history interview with Merry Renk, 2001 January 18-19

Interviewee:
Renk, Merry, 1921-2012  Search this
Renk, Merry, 1921-2012  Search this
Interviewer:
Fisch, Arline M., 1931-  Search this
Subject:
Albers, Josef  Search this
Asawa, Ruth  Search this
Bates, Kenneth F. (Kenneth Francis)  Search this
Brancusi, Constantin  Search this
Brynner, Irena  Search this
Cunningham, Imogen  Search this
Curtis, Earle  Search this
De Patta, Margaret  Search this
Godfrey, Mary Jo Slick  Search this
Guermonprez, Trude  Search this
Hall, Doris.  Search this
Nordness, Lee  Search this
Oliver, Olive  Search this
Tawney, Lenore  Search this
Tajiri, Shinkichi  Search this
750 Studio  Search this
American Craft Council  Search this
Metal Arts Guild  Search this
Mobilia Gallery  Search this
Institute of Design (Chicago, Ill.)  Search this
School of Industrial Design (Trenton, N.J.)  Search this
University of California, Berkeley. Department of Art  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Interviews
Sound recordings
Topic:
Enamel and enameling  Search this
Enamelers -- California -- San Francisco -- Interviews  Search this
Jewelry making  Search this
Jewelers -- California -- San Francisco -- Interviews  Search this
Painters -- California -- San Francisco -- Interviews  Search this
Sculptors -- United States -- Interviews  Search this
Sculptors -- California -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)11961
(DSI-AAA_SIRISBib)227005
AAA_collcode_renk01
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_227005
Online Media:

Oral history interview with Bob Winston, 2002 July 31-October 10

Interviewee:
Winston, Bob, 1915-2003  Search this
Winston, Bob, 1915-2003  Search this
Interviewer:
Baizerman, Suzanne  Search this
Subject:
California College of Arts and Crafts  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Metal-workers -- California -- Interviews  Search this
Jewelers -- California -- Interviews  Search this
Metal-work -- Study and teaching  Search this
Metal-work -- Equipment and supplies  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)12194
(DSI-AAA_SIRISBib)238991
AAA_collcode_winsto02
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_238991
Online Media:

Arline M. Fisch papers

Creator:
Fisch, Arline M.  Search this
Names:
American Craftsmen's Council  Search this
Boston University  Search this
Electrum (Gallery : London, England)  Search this
Internationale Handwerksmesse  Search this
Lee Nordness Galleries  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Endowment for the Arts  Search this
San Diego State University -- Faculty  Search this
Skidmore College  Search this
Society of North American Goldsmiths  Search this
World Crafts Council  Search this
Antunes, Edith  Search this
Extent:
9.8 Linear feet
3.82 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Video recordings
Date:
1931-2015
Summary:
The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and digital and photographic materials.
Scope and Contents:
The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB and date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and and digital photographic materials.

Awards and certificates are from the Indonesian National Crafts Council, Internationale Handwerksmesse Munchen, San Diego State University, State of California, and other organizations. Correspondence is with Edith Antunes, Skidmore College and other educational institutions, as well as galleries, students, and colleagues. Files for exhibitions consist of inventory and price lists, loan and shipping records, printed material, correspondence, a digital disk, and a video recording for Elegant Fantasy: The Jewelry of Arline Fisch (2000), The Art of Arline Fisch (2003), Arline Fisch: Creatures from the Deep (2008), and various exhibitions.

Gallery files contain business records for Atrium, Electrum Gallery, Lee Nordness Galleries, and galleries in Germany and Switzerland. Project files include records for an advertising campaign, articles and lectures, Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists, a cataloging project, commercial ventures, curriculum development at Boston University, NEA and Fulbright grant projects, an artwork installation, an oral history project, a seminar, and workshops.

San Diego State University teaching files include correspondence, evaluations, exhibition material, grant programs and projects, university programs, recommendations, and sabbatical records. Membership records are for the American Craftsmen's Council (ACC), Society of North American Goldsmiths (SNAG), and World Crafts Council (WCC).

Printed materials consist of booklets, a calendar, clippings, exhibition announcements and catalogs, periodicals and posters, and chronological files. Photographic materials are of Fisch, her family, travel, her studio, with colleagues and in class, and works of art. A detailed archive of Fisch's work on slides and in digital format is also included.
Arrangement:
The collection is arranged as nine series.

Series 1: Awards and Certificates, 1961-2001 (0.3 linear feet; Boxes 1, 11)

Series 2: Correspondence, 1956-2003 (0.8 linear feet; Box 1)

Series 3: Exhibition Files, 1957-2010 (1.0 linear feet; Boxes 1-2)

Series 4: Gallery Files, 1968-2010 (0.5 linear feet; Boxes 2-3)

Series 5: Project Files, 1956-2010 (1.4 linear feet; Boxes 3-4, 11)

Series 6: San Diego State University, 1955-2014 (1.0 linear feet; Boxes 4-5)

Series 7: Membership Records, 1964-1994 (1.0 linear feet; Boxes 5-6)

Series 8: Printed Materials, circa 1960-2015 (3.3 linear feet; Boxes 6-9, 11, OV 12)

Series 9: Photographic Materials, 1931-circa 2005 (0.5 linear feet; Boxes 9-11, 3.82 GB; ER01)
Biographical / Historical:
Arline M. Fisch (1931- ) is a metalsmith, jeweler, and educator in San Diego, California.

Fisch was born in Brooklyn, New York. She studied art education at Skidmore College and earned a master of arts degree from the University of Illinois. From 1956 to 1957 she studied at the School of Arts and Crafts in Copenhagen Denmark, and she returned to Denmark in 1966 under a Fulbright Research Grant. She also received Fulbright and NEA grants for multiple projects in Uruguay, Austria, and the U.S.

From 1954 to 1961, she taught at Wheaton College and Skidmore College. Fisch began teaching at San Diego State University (SDSU) in 1961 where she developed the Jewelry and Metalsmithing program. She retired from SDSU in 2000.

Fisch was a member of the American Craft Council (ACC), Haystack Mountain School of Crafts' Board of Trustees, and was vice president of the World Crafts Council (WCC) from 1976 to 1981. She was a founding member of Society of North American Goldsmiths (SNAG) and was president of the organization from 1982 to 1985.

Fisch has received numerous awards and honors for her accomplishments in craftsmanship including an honorary doctorate degree from Skidmore College, United States Artists fellowship award, and Fresno Art Museum Council of 100 Distinguished Woman Artist award in 2012. Fisch has exhibited her work all over the world including her solo retrospective exhibition titled, Elegant Fantasy: The Jewelry of Arline Fisch, which was shown in San Diego, Oakland, New York, and Washington, D.C.
Related Materials:
Also at the Archives of American Art is an interview of Arline M. Fisch conducted July 29-30, 2001 by Sharon Church McNabb, for the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fisch's home, in San Diego, California.
Provenance:
The papers were donated from 2003 to 2018 by Arline M. Fisch as a part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Arline M. Fisch retains copyright for the manuscript for the 2nd edition of her book Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists (New York: Van Nostrand Reinhold, c. 1975) and notes for the first edition.
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:
Metal-workers -- California -- San Diego  Search this
Jewelers -- California -- San Diego  Search this
Educators -- California -- San Diego  Search this
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Decorative arts  Search this
Women artists  Search this
Women educators  Search this
Genre/Form:
Photographs
Video recordings
Citation:
Arline M. Fisch papers, 1931-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fiscarli
See more items in:
Arline M. Fisch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fiscarli

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