The papers of California collector and art patron Mary Heath Keesling measure 0.4 linear feet and date from 1960 to 1996. The collection consists of personal and professional correspondence documenting the close relationship between Keesling and members of the San Francisco art community.
Scope and Contents:
The papers of California collector and art patron Mary Heath Keesling measure 0.4 linear feet and date from 1960 to 1996. The collection consists of personal and professional correspondence documenting the close relationship between Keesling and members of the San Francisco art community. Correspondents include William George Allan, Phyllis and Richard Diebenkorn, Philip Guston, Grace Morley, and others.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Collector and art patron Mary Heath Keesling (1914-2006) lived in San Francisco, California. Through volunteer work with the Junior League of San Francisco, she sparked an interest in modern art. Keesling served as a longtime member of the San Francisco Art Institute's Women's Board and acted as trustee for the institute.
Provenance:
Donated 1997 by Mary Heath Keesling.
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:
Art patrons -- California -- San Francisco Search this
Collectors -- California -- San Francisco Search this
Quotes and excerpts must be cited as follows: Oral history interview with Grace Morley, 1982 Feb. 6-Mar. 24. Archives of American Art, Smithsonian Institution.
The papers of painter, printmaker, and sculptor Peter Krasnow (1886-1979) and his wife, writer Rose Krasnow (1885-1984), measures 6.9 linear feet and date from 1914 to 1984. Papers include biographical materials, a sound recording, correspondence, essays, poetry, short stories, notes, transcripts of lectures and radio talks, five diaries of Peter Krasnow, personal business records, exhibition catalogs and announcements, clippings, magazines, five sketchbooks, sketches and drawings in multiple media, prints, and photographs.
Scope and Content Note:
The papers of painter, printmaker, and sculptor Peter Krasnow (1886-1979) and his wife, writer Rose Krasnow (1885-1984), measures 6.9 linear feet and date from 1914 to 1984. Papers include biographical materials, a sound recording, correspondence, essays, poetry, short stories, notes, transcripts of lectures and radio talks, five diaries of Peter Krasnow, personal business records, exhibition catalogs and announcements, clippings, magazines, five sketchbooks, sketches and drawings in multiple media, prints, and photographs.
Biographical materials include documentation of Rose Krasnow's service as a member of the Army Air Forces Ground Observer Corps, programs and other materials from various memorial services, a sound recording with commentary on a Peter Krasnow exhibition, and documentation of a project to publish Rose Krasnow's poetry.
Correspondence consists of Peter and Rose Krasnow's personal and professional correspondence as well as a small amount of third party correspondence. Personal correspondence with friends and family involves health, work, daily events, and other life updates. Professional correspondence with art dealers, curators, gallery and museum directors, collectors, and colleges and universities concerns exhibitions, sales, loans, and donations of artwork. Primary correspondents include Leslie Burton and Harriet Blades, Dan Budnik, Grace Clements, Conrad Crocker, Dudley Howe, Lilly Weil Jaffe, Grace L. McCann Morley, Dale and Elaine Owen, Aimée Brown Price, Ernest and Ina Raboff, Irving Stone, and Edward Weston. There are also numerous scattered letters from artists, writers, curators, critics, museums, arts associations, and Jewish organizations.
Writings and notes are by Peter Krasnow, Rose Krasnow, and others. Writings by Peter Krasnow include a draft autobiography, essays, lectures on wood sculpture, typescripts, notes, and writings on art. Writings by Rose Krasnow include essays, plays, poetry, and short stories. Writings by others consist of essays, lectures, notes, plays, poetry, short stories, and typescripts. Other writers include Grace Clements, Fidel Danieli, Robert DeLuce, Alfred S. Drake, and Philip Noer. There are also five handwritten personal diaries by Peter Krasnow.
Personal business records include Rose Krasnow's bank book from 1980, Peter Krasnow's naturalization certificate and passport, an inventory of paintings on index cards, tax applications for the Peter Krasnow Arts Foundation, materials relating to Peter Krasnow's estate and the purchase of his artwork, and various receipts.
Printed materials include exhibition catalogs and announcements, clippings, bound books, magazines and journals, a Chicago Society of Artists block print calendar, and two printed posters from Peter Krasnow's exhibit at the Galerie Pierre in 1934.
Artwork is mostly by Peter Krasnow, and includes five sketchbooks, sketches and drawings, watercolors, preliminary studies in oil, and prints.
Photographs include personal photographs, photographs of major sculpture projects in progress, and artwork. Personal photographs are of Peter and Rose, family members, and friends, as well as a few scattered images of landscapes and architecture, possibly travel photographs. There are also photographs of Edward and Flora Weston. There are three photograph albums, one contains images of Krasnow's relief sculptures for the Sinai Temple's Kohn Chapel. Two photograph albums were compliled by Susan Ehrlich for Peter and Rose Krasnow. Also found are photographs of works of art. Some of the photographs in the papers were taken by Dan Budnik.
Arrangement:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Materials, circa 1942-1983 (Boxes 1, 6; 7 folders)
Series 2: Correspondence, circa 1930-1984 (Box 1; 0.4 linear feet)
Series 3: Writings and Notes, circa 1916-1980 (Boxes 1-2; 1.3 linear feet)
Series 4: Diaries, circa 1955-1968 (Box 2-3; 5 folders)
Series 5: Personal Business Records, circa 1914-1982 (Box 3; 0.4 linear feet)
Series 6: Printed Materials, circa 1922-1981 (Boxes 3-4 and OV 9; 1.1 linear feet)
Series 7: Artwork, circa 1918-1980 (Boxes 4-6 and OV 7-8, 10; 1.5 linear feet)
Series 8: Sketchbooks, circa 1918-1973 (Box 5; 5 folders)
Series 9: Photographs, circa 1914-1981 (Boxes 5-6; 0.6 linear feet)
Biographical Note:
Peter Krasnow (1886-1979) was a painter, sculptor, and printmaker who lived and worked primarily in Southern California. His wife, Rose Krasnow (1885-1984), was a prolific writer of poems, short stories, and plays.
Peter Krasnow was born on August 20, 1886 in the Ukraine, Russia to Jewish parents. His father's work as an interior designer inspired Krasnow's interest in art.
In 1907, Krasnow emigrated to the United States, first living in Boston. He moved to Chicago in 1908 to attend the Art Institute of Chicago, where he met his future wife, Rose Bloom. To support himself during his studies, Krasnow worked as a security officer and performed other manual jobs. He graduated from the Art Institute of Chicago in 1916 and married Rose that same year.
The Krasnows moved to New York in 1919. In New York, Krasnow experienced some artistic success, participating in group and solo exhibitions at the Whitney Studio Club. During this time period, Krasnow often painted city scenes using a dark color palette.
In 1922, the Krasnows moved to Los Angeles, California. Krasnow built a studio near Glendale in 1923, on land purchased from photographer and friend Edward Weston. The studio also served as the Krasnows' main residence for the rest of their lives. In 1923 in Los Angeles, Krasnow exhibited with the Group of Independent Artists, which included Stanton Macdonald-Wright, Boris Deutsch, Nick Brigante, Ben Berlin, and other noteworthy artists. During his first years in California, Krasnow mostly created watercolor paintings, including a series of landscapes, using a lighter color palette than his earlier works. In the 1920s, Krasnow also accepted commissions for carved wood reliefs at the Temple Emmanu-El in San Francisco and the Sinai Temple in Los Angeles.
Krasnow received a grant in 1931, and he and Rose temporarily relocated to the Dordogne region of France, where they lived until 1934. During this time, Krasnow painted a series of watercolors and paintings of the French landscape. Before returning to the United States, Krasnow exhibited these landscapes at the Galerie Pierre.
After returning to California, Krasnow began creating carved wood sculptures, which he named 'demountables,' often using wood from trees on his property. Krasnow created these sculptures to celebrate the organic shapes inherent in wood.
In 1934, Krasnow returned to painting, this time creating bright, colorful, geometric designs which often incorporated symbolism from his Jewish heritage. Krasnow focused on these paintings through the remaining years of his life. In 1977, Krasnow received a fellowship from the National Endowment for the Arts.
Peter Krasnow died on October 30, 1979 in Los Angeles. Rose Krasnow died five years later, in 1984.
Provenance:
The Peter and Rose Krasnow papers were donated in several increments between 1976 and 1998 by Peter Krasnow, the Estate of Peter Krasnow, and the Peter and Rose Krasnow Foundation.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of New York City arts administrator Porter A. McCray measure 12.3 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.
Scope and Contents:
The papers of New York City arts administrator Porter A. McCray measure 12.3 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.
Scattered biographical materials include appointment books, curricula vitae, a transcript of an interview conducted by McCray with Dr. Grace Morley, and an unsigned painting.
Found within the general correspondence are letters that relate to his work as an arts advisor and consultant, but which appear to be more personal in nature. The bulk of correspondence related to specific projects is found within the professional files. Correspondents include Hubert Humphrey, Mrs. John Lockwood, Grace Morely, Kazuko Oshima, Donald Richie, John D. Rockefeller III, and Tenzin Thetong among others.
Writings and notes include lectures by McCray and writings by others including Brock Cutting, Lord Sherfield, and Nam June Paik. Also found are travel notes for McCray's travels throughout Asia, Europe, and the Middle East.
Professional files document McCray's work as an arts advisor and consultant for numerous museums, foundations, organizations, foundations, and special committees, as well as his membership in various arts committees and boards. Files document McCray's work for and/or membership in the Asia Society, Asian Cultural Program of Cultural Exchange, Byrd Hoffman Foundation, Cathedral Church of St. John the Divine, Cunningham Dance Foundation, Indo-United States committees, International Council of Museums, Japan Society, John D. Rockefeller 3rd Fund, Museum of Modern Art, Society of Architectural Historians, UNESCO, and the United States Foreign Service.
Printed materials include clippings and articles, a Drawing and Architecture exhibition catalog, and a book by Robert Wilson. Photographs include personal photographs and oversized photographs of sculptures by an unknown artist.
Arrangement:
This collection is arranged as 6 series.
Missing Title
Series 1: Biographical Materials, 1959-1982 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1959-1986 (0.5 linear feet; Box 1)
Series 3: Writings and Notes, 1960-1983 (1.5 linear feet; Box 2-3)
Series 4: Professional Files, 1936-1987 (8.2 linear feet; Box 3-11, OVS 12-13)
Series 5: Printed Materials, 1965-1989 (0.5 linear feet; Box 11, OV 14)
Series 6: Photographs, 1945-1980s (0.2 linear feet; Box 11, OV 15)
Biographical / Historical:
Porter A. McCray (1908-2000) was an arts administrator working in New York City, New York.
Born in Clarksburg, West Virginia in 1908, McCray recieved a degree in English literature from the Virginia Military Institute in 1930, and a degree in architecture from Yale University in 1941. McCray traveled extensively throughout Europe, Asia, and the Middle East, developing relationships with individuals and organizations across the world.
In 1941, McCray worked as an exhibition specialist in the Office of the Coordinator of Inter-American Affairs and collaborated with the Museum of Modern Art on an American exhibition at the Guatemala National Fair. After serving as an ambulance driver in World War II, he was employed by the architectural firm of Harrison and Abramovitz where he worked on some preliminary designs of the present site of the United Nations.
While working for Harrison, McCray met Nelson Rockefeller, who was chairman of the board of the Museum of Modern Art (MOMA). In 1947, Rockefeller asked McCray to serve as the director of circulating exhibitions at MOMA and be responsible for the Museum's national and international traveling exhibition program. McCray accepted and remained at MOMA until 1961. The following year, he orchestrated the preparation of a MOMA exhibition of Mark Rothko's work in Paris in 1962. In 1963, McCray became the executive director of the JDR 3rd Fund, a non-profit started by John D. Rockefeller III to promote artistic and cultural exchanges between the United States and Asia. McCray also worked as a consultant for the Japan Society's visual arts programs, the Asian Cultural Council, for the dean of the Cathedral Church of St. John the Divine's visual and performing arts program, and for MOMA's International Program after retiring.
McCray died in 2000 in Hightstown, New Jersey.
Related Materials:
Also found at the Archives of American Art is an oral history interview of Porter A. McCray conducted by Paul Cummings from September 17 to October 4, 1977.
Provenance:
The collection was donated in 1994 by Porter McCray.
Restrictions:
Use of original papers requires an appointment and is limited to the 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:
Arts administrators -- New York (State) -- New York Search this
California painting: 40 painters, selected by Samuel Heavenrich [director of the exhibition] and Grace L. McCann Morley, with statements by the artists. The Municipal Art Center, Long Beach, in collaboration with the San Francisco Museum of Art
The collection documents the career of Bolivian born painter and illustrator, Antonio Sotomayor, his interest in Latin American art and artists, and his association with the San Francisco arts community. Materials found in the collection include letters, writings, sketches and sketchbooks, printed material and photographs.
Scope and Content Note:
The collection documents the career of Bolivian born painter and illustrator, Antonio Sotomayor, his interest in Latin American art and artists, and his association with the San Francisco arts community.
The collection consists primarily of correspondence, writings, artwork, printed material, and photographs documenting Sotomayor's career, his interest in Latin American art and artists, and his association with the San Francisco arts community.
Arrangement:
The collection is arranged as six series:
Missing Title
Series 1: Correspondence, 1931-1988, undated (box 1, 21 folders)
Series 2: Writings, 1932-1946, undated (box 1, 11 folders)
Series 3: Artwork, 1935, undated (box 1, 23 folders)
Series 4: Printed Material, 1935-1987 (boxes 1-2, 12 folders)
Series 5: Photographs, circa 1920-1984, undated (box 2, 13 folders)
Series 6: Oversized Material, 1941, 1958, undated (2 OV folders)
Biographical Note:
Antonio Sotomayor was born in Bolvia and came to San Francisco in 1923. He was educated at the Escuela de Belleas Arts in La Paz and the Hopkins Institute of Art in San Francisco. Primarily known for his murals and paintings, Sotomayor was also an illustrator, caricaturist, designer, ceramicist, and educator. Over the course of his career his work was exhibited in the United States, France, Italy, Spain, Mexico, and South America and he became known as the popular "artist laureate" of San Francisco where he lived with his wife, Grace. He died of cancer in 1985 at the age of 82.
Provenance:
The Antonio Sotomayor papers were donated to the Archives of American Art by Grace Sotomayor in 1998.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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 -- San Francisco Search this
Cartoonists -- California -- San Francisco Search this
Topic:
Muralists -- California -- San Francisco Search this
The records of the National Association of Women Artists measure 1.6 linear feet and date from 1926 to 1971. Found are administrative and membership records from the 1960s, exhibition records, printed material, and three scrapbooks. The bulk of the collection consists of catalogs and correspondence regarding the Association's annual exhibition from 1926 to 1971.
Scope and Contents:
The records of the National Association of Women Artists measure 1.6 linear feet and date from 1926 to 1971. Found are administrative and membership records from the 1960s, exhibition records, printed material, and three scrapbooks. The bulk of the collection consists of catalogs and correspondence regarding the Association's annual exhibition from 1926 to 1971.
NAWA's administrative and membership records includes general writings and notes, board meeting notes, constitution and by-laws, mailing lists, and membership forms from 1963 to 1964.
Exhibition records date from 1926 to 1971 and are not complete. Files may include artist and price lists, catalogs and printed material, correspondence, itineraries, and photographs. Notable correspondents and institutions included are Mildred Baker, Vernon Bobbitt, the Butler Institute of American Art, Sylvester Jerry, Grace Morley, the Museum of New Mexico, the Newark Museum, and the Texas Fine Arts Association.
Additional printed materials include a certificate of community service, press clippings, press releases, and printed material from other art-related sources, such as newsletters and exhibition catalogs.
Three mixed media scrapbooks date from 1951 to 1963. Scrapbooks include photographs, clippings, and exhibition catalogs.
Arrangement:
The collection is arranged as 4 series.
Missing Title
Series 1: Administrative and Membership Records, 1947-1970 (Box 1; 0.2 linear feet)
Series 2: Exhibition Records, 1926-1971 (Box 1; 0.7 linear feet)
Series 3: Printed Material, 1957-1967 (Box 1; 0.1 linear feet)
Series 4: Scrapbooks, 1951-1963 (BVs 2-4; 0.3 linear feet)
Biographical / Historical:
The National Association of Women Artists (NAWA) was founded in 1889 and remains the oldest women's fine arts organization in the country.
Founded under the name the Woman's Art Club of New York, the National Association of Women Artists established a space for women to exhibit, create work, and learn about art. Artists Anita Ashley, Adele Frances Bedell, Elizabeth S. Cheever, Grace Fitz-Randolph, and Edith Mitchill Preilwitz established the organization in 1889. Also known as the National Association of Women Painters and Sculptors from 1913, NAWA adopted its current name in 1941.
NAWA's annual exhibition of member artworks gained recognition for the association. The organization also promoted membership by sending out traveling exhibitions across the world. The National Association of Women Artist currently has hundreds of members from all across the United States.
Separated Materials:
Additional records on the National Association of Women Artists can be found at the Solomon R. Guggenheim Museum, Metropolitan Museum of Art, Whitney Museum of American Art, Zimmerli Art Museum, Museum of Modern Art, Ryerson & Burnham Libraries, Frick Art Reference Library, New York Public Library, Film and Fine Art Library, and Library of Congress.
Provenance:
Printed material, 1926-1971, donated by Jane Gray, historian for the NAWA, 1971. Scrapbooks donated by the NAWA, 1981, and the traveling exhibition records donated by NAWA, 1980.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Wasington, 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:
Arts administrators -- New York (State) -- New York Search this
An interview of Grace McCann Morley conducted 1982 Feb. 6-1982 Mar. 24, by Porter McCray, for the Archives of American Art.
Morley speaks of her career in museums, beginning with the Cincinnati Art Museum as a curator; becoming the director of the San Francisco Museum of Art; the San Francisco Museum of Art's history and efforts to show contemporary art; the San Francisco Art Association and its support of artists; her involvement in the Golden Gate International Exhibition in 1939; her involvement with Unesco as a consultant on the efforts to recover artworks confiscated by the Germans during World War II; and going to India to help establish their National Museum.
Biographical / Historical:
Grace Morley (1900-1985) was a museum director in both California and India. Morley was the director of the San Francisco Museum of Art in 1934-1958 and was involved in the establishment of the National Museum of India in New Delhi.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 9 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Small museums : scope, needs, and organization : proceedings of the 1974 All India Museums Conference held at Mathura, October 9-13, in honour of the centenary of the Government Museum, Mathura / editor, O. P. Agrawal ; editorial advisory committee, Grace Morley, chairman ... [et al.]
Author:
All India Museums Conference (1974 : Mathura, India) Search this
Visualisation of theoretical concepts in anthropology in museums of ethnography : December 8-9, 1978 : National Museum of Natural History, New Delhi, India / under the auspices of the Indian National Committee for the International Council of Museums ; [edited by Grace Morley]
Author:
ICME Symposium on Visualisation of Theoretical Concepts in Anthropology in Museums of Ethnography (1978 : New Delhi, India) Search this
