Hibbard, A. T. (Aldro Thompson) (1886-1972) Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Diaries
Date:
1914-1971
Summary:
The papers of landscape painter Aldro T. Hibbard measure 1.7 linear feet and date from 1914 to 1971. The papers document his career as a painter through correspondence; diaries, notes and other writings; awards, discussions, and other professional activity; clippings, exhibition catalogs, and other printed material; and personal sound recordings.
Scope and Contents:
The papers of landscape painter Aldro T. Hibbard measure 1.7 linear feet and date from 1914 to 1971. The papers document his career as a painter through correspondence; diaries, notes and other writings; awards, discussions, and other professional activity files; clippings, exhibition catalogs, and other printed material; and personal sound recordings.
Correspondence includes letters to his wife, Winifred, fan letters, and letters to friends and art organizations. Writings include notes, a notebook, a diary of his travels through Europe in 1914, and a diary from 1962. Professional material includes awards, an audio reel lecture delivered to the Rockport Art Association, one motion picture film, photographs of Hibbard and his students, and a biographical statement. Printed material includes newspaper clippings, exhibition announcements and catalogs, and material related to the Hibbard School of Painting. Sound Recordings consist of 17 wire recordings. The recordings are mostly unlabeled and primarily personal in nature, but some contain lectures and sales records.
Arrangement:
The collection is arranged into five series.
Series 1: Correspondence, 1922-1971 (0.5 linear feet; Box 1)
Series 2: Writings, circa 1914-1962 (0.1 linear feet; Box 1)
Series 3: Professional Activity Files, 1927-1971 (0.2 linear feet; Box 1, FC 4)
Series 4: Printed Material, 1933-1970 (0.5 linear feet; Boxes 1-2)
Series 5: Sound Recordings, circa 1950 (0.4 linear feet; Boxes 2-3)
Biographical / Historical:
Aldro T. Hibbard (1886-1972) was an American landscape painter who worked primarily in oil. He studied at the Massachusetts College of Art and Design and later at the Museum of Fine Arts, Boston. Hibbard assisted in founding the Rockport Art Association and served as its president for 20 years. Hibbard also created and taught at the Hibbard School of Painting in Rockport, Massachusetts.
Provenance:
The Aldro Hibbard papers were donated 1977 and 1979 by Winifred Hibbard, the widow of Aldro T. Hibbard.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Aldro T. Hibbard papers, 1914-1971. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.
Social Security numbers and other personally identifiable information has been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Elaine Ostroff Universal Design Papers, 1965-2009, Archives Center, National Museum of American History
Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.
Social Security numbers and other personally identifiable information has been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Elaine Ostroff Universal Design Papers, 1965-2009, Archives Center, National Museum of American History
Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.
Social Security numbers and other personally identifiable information has been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Elaine Ostroff Universal Design Papers, 1965-2009, Archives Center, National Museum of American History
Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.
Social Security numbers and other personally identifiable information has been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Elaine Ostroff Universal Design Papers, 1965-2009, Archives Center, National Museum of American History
Artwork includes Morin's pencil and ink sketches and diagrams for sculptures. Most of the drawings date from his student years at Cranbrook Academy of Art and Massachusetts College of Art, as well as his early career at the Silvermine Guild and Rhode Island School of Design.
Collection Restrictions:
Use of original papers requires an appointment.
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:
Thomas Morin papers, 1952-2015. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
The papers of painter, printmaker, photographer, and educator Beverly Hallam measure 24.2 linear feet and 2.73 Gigabytes, and date from 1899-2013. The collection includes biographical material, correspondence, personal business records, writings, journals, teaching materials, printed material, photographs, film, video, and sound recordings, guest books, and artwork.
Scope and Contents:
The papers of painter, printmaker, photographer, and educator Beverly Hallam measure 24.2 linear feet and 2.73 Gigabytes, and date from 1899-2013. The collection includes biographical material, correspondence, personal business records, writings, journals, teaching materials, printed material, photographs, film, video, and sound recordings, guest books, and artwork.
Biographical material includes family histories for both Hallam and Mary-Leigh Smart, as well as Hallam's family estate management, in addition to résumés and travel documents. Correspondence is both professional and personal, including extensive letters with the writer May Sarton. Personal business records include gallery and exhibition records, including some consignments, loans and price lists, as well as donation records. Writings include a master's thesis, artist statements, articles and lectures by Beverly Hallam, as well as student assignments and writings by others. Hallam's journals include travel and artwork journals, as well as heavily annotated and interleaved yearly planners. Teaching materials date back to Hallam's earliest lessons delivered while obtaining her bachelor's degree of education Massachusetts College of Art, and include her work at Lassell Junior College and her tenure teaching at Massachusetts College of Art.
The printed material series includes extensive clippings regarding Hallam's career as well as family history and the careers of notable friends and colleagues, in addition to those regarding regional artists and the art scene in Maine. Also included are invitations and catalogs for Beverly Hallam's exhibitions, and early research into polyvinyl acetate. Photographs include those of Beverly and her friends and family, as well as artwork and albums documenting installations for exhibitions throughout Hallam's career. Some albums more closely document the homes and estates of Surf Point belonging to Hallam and Smart, as well as Wild Knoll belonging to May Sarton. Also included are photographs Hallam created as illustrations for writing projects by Sarton.
The film, video, and audio recording series includes numerous home movies documenting Hallam's family life and her home at Surf Point, as well as some reels documenting her artwork and exhibitions and a few audio recordings most likely of artist talks. Guest books document attendance for select exhibitions in Hallam's career, as well as of her various homes. The artwork series is comprised of sketchbooks including those detailing Hallam's airbrush works, holiday cards drawn and designed by Hallam, and prints of later computer-generated works.
Arrangement:
The collection is arranged in eleven series:
Series 1: Biographical Material, circa 1899-2012 (1.0 linear foot: Box 1; 0.349 GB: ER01)
Series 2: Correspondence, circa 1930s-2013 (4.3 linear feet: Boxes 2-6; 0.376 GB: ER02-ER11)
Series 3: Personal Business, circa 1952-2012, circa 1952-2012 (0.7 linear feet: Box 6; 0.066 GB: ER12-ER14, ER16)
Series 4: Writings, circa 1920s-2006 (1.4 linear feet: Boxes 7-8, 22; 0.001 GB: ER15)
Series 5: Journals, circa 1941-1999 (2.7 linear feet: Boxes 8-10)
Series 6: Teaching Material, circa 1944-1962 (0.7 linear feet: Box 11)
Series 7: Printed Material, circa 1920s-2010 (4.3 linear feet: Boxes 11-15, 22)
Series 8: Photographs, circa 1900-2013 (4.7 linear feet: Boxes 15-20; 1.95 GB: ER17-ER30)
Series 9: Film, Video, and Sound Recordings, circa 1970s-1990 (2.6 linear feet: Box 17, FC25-FC47)
Series 10: Guest Books, 1954-2004 (0.8 linear feet: Boxes 17, 21)
Series 11: Artwork, circa 1940s-2008 (1.0 linear foot (Boxes 21, 23-24)
Biographical / Historical:
Beverly Linney Hallam (1923-2013) was a painter, photographer, printmaker, and art educator in York, Maine. Hallam was born in Lynn, Massachusetts to parents Alice Linney Hallam and Edwin Hallam, who was an engineer. Beverly Hallam gravitated toward art making at a young age, and pursued a bachelor's degree in education from the Massachusetts College of Art. Shortly after graduation Hallam accepted a position at Lasell Junior College where she was Chairman of the Art Department until 1949. In 1948 she attended a summer study program at Cranbrook Academy of Art in Michigan. In 1953 she received her M.F.A. at Syracuse University where she wrote her thesis on the use of polyvinyl acetate as an artistic medium. For this and other early efforts she would be known as a pioneer for the medium of acrylic paint, which polyvinyl acetate would come to be known. From 1949-1962 Ms. Hallam was professor at the Massachusetts College of Art from 1949-1961 where she taught Painting, Drawing and Design, and Photography. She is particularly well known as a printmaker, and especially for her large-scale airbrush paintings of flowers.
Around the early 1960s with Hallam's departure from teaching, she relocated permanently to Ogunquit, Maine where she kept a studio and home known as Stonecrop, which is currently an art gallery by the same name. In 1971 Hallam and lifelong friend and companion Mary-Leigh Smart completed the construction of Surf Point, which served as both a home as well as a studio for Hallam. Surf Point was situated near the property known as Wild Knoll which was home to Hallam's close friend and correspondent, the poet and writer May Sarton, who lived there from 1974-1995. Sarton and Hallam Smart was a founder of The Barn Gallery, under the Ogunquit Art Association, for which both Hallam and Smart were board members. Smart also was also a collector and art consultant, passionate about Maine regional artists. In 1988 Mary-Leigh Smart established a Trust that would ensure their home and surrounding land would be turned into an artist residency upon their deaths, known as the Surf Point Foundation, modelled after the MacDowell Colony.
Related Materials:
The originals of some letters from May Sarton, 1954, and 1966-1994, included in this collection as photocopies, appear in the May Sarton papers held at New York Public Library's Archives and Manuscripts.
Provenance:
Material on reel 1428 was lent for microfilming in 1978. The majority of the collection was donated in 1992 and 1996 by Beverly Hallam, and in 2014 by the Beverly Hallam estate via executor Mary-Leigh Smart.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C.
Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.