Biographical material, correspondence files, writings, photographs, and printed material.
Biographical material includes Zeigler's Works Progress Administration identification card, 1936, obituaries, 1952, a biographical sketch, pages from an engagement book, 1914-1917, and an address book.
Correspondence, 1920-1941, relates to Zeigler's freelance painting, mural designs for Tiffany Studios, mural commissions for churches and other public and private commissions, including the Chapel of the Transfiguration Glendale, Oh. (1927-1928), St. Michael's Church, N.Y.C. (1929); Calvary Church, Cincinnati, Oh. (1936-1937), the "Faerie Queene" murals in the Enoch Pratt Free Library, Baltimore, Md. (1933-1941); WPA-FAP projects in New York State (1933-1937), including murals for Washington Hall, West Point Military Academy, the Stony Point Battlefield Museum, Stony Point-on-the Hudson, and the Newburgh Free Academy, Newburgh. Among the correspondents are architects responsible for the designs of the buildings, such as Ralph Adams Cram and O.H. Murray, individuals associated with the execution of the projects, including Charles Osgood and Joseph L. Wheeler; and WPA adminstrators Edward Bruce and Juliana Force.
Printed material includes clippings, ca. 1910-1948, regarding Zeigler's works of art and his involvement in the war effort and local politics; exhibition catalogs and programs, ca. 1925, 1940-1968; and reproductions of Zeigler's illustrations for bookplates, Christmas cards, magazines, including Gunter's Magazine, Harper's Weekly, and Life, ca.1890-1900, and for limited edition books by such authors as Jane Austen, Honore' de Balzac, Amelia E. Barr, Theophile Gautier, Charles Kingsley, and William Stearns Davis, ca.1890-1915.
Photographs consist of three portraits of Zeigler, ca. 1930-1940, and photographs of works by him, ca.1900, 1915, 1993, and by others ca. 1900-1913. Also included are portrait of actor Fritz Leiber, ca. 1900, a snapshot of Percy and Ella Grainger, 1929.
Also included are copyrights for Zeigler's art work, 1911, 1944, 1945, 1979; an unpublished typescript of a short story by Zeigler, "Story of the Son of Roland"; a sketch of a suit of armor created by Zeigler, ca. 1945; a project file regarding a statue of "Ushabti," created by Zeigler, 1923-1924; and a guestbook from an exhibition at the Vanderbilt Galleries, 1941.
Biographical / Historical:
Illustrator, muralist; Baltimore, Md. Studied at the Maryland Institute of Art and was founding member of the Charcoal Club of Baltimore. He began his career as an illustrator and later specialized in mural painting.
Provenance:
Donated 1979 and 1994 by Audrey Z. Archer-Shee; Zeigler's daughter.
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.
Quotes and excerpts must be cited as follows: Oral history interview with Hananiah Harari, 1992 Sept. 24-Oct. 15. Archives of American Art, Smithsonian Institution.
An interview of Hananiah Harari conducted 1992 Sept. 24-Oct. 15, by Gail Stavitsky, for the Archives of American Art. Harari discusses his work as he shows examples to the interviewer; mural sketches he completed for the WPA (1936-1941); his background; the N.Y. art scene in the 1930s; his political cartoons; writing a monthly column in the magazine THE NEW MASSES entitled "On Safari with Harari"; his commercial artwork; being blacklisted as a commercial artist during the McCarthy Era; how his views on Communism have changed; his early training; studying in Paris and traveling around Europe for several years in the early 1930s; his teaching career at The School of Visual Arts, N.Y. (1974-1991) and at the Art Students League. He recalls Stuart Davis and Herzl Emanuel.
Biographical / Historical:
Hananiah Harari (1912-2000) was a painter, cartoonist, muralist, commercial artist, and educator from New York. Born in Rochester, NY. Taught at the School of Visual Arts in Manhattan from 1974-1990 and at the Art Students League from 1984-1999. Died July 19, 2000.
General:
Sound quality is poor in parts of the interview.
Provenance:
These interviews are 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 Horace Goldsmith Foundation.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Commercial artists -- New York (State) -- New York -- Interviews Search this
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, two photograph albums and photographs, and one scrapbook. Correspondents include family members, Witter Bynner, Ann and Eric Gugler, Leon Kroll, Isabel Manship, James Johnson Sweeney, Maxfield Parrish and others. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Scope and Content Note:
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, photograph albums and photographs, and one scrapbook. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Biographical materials include biographical sketches, awards, and records documenting Faulkner's military service. Also found are a list of medications, a list of Faulkner's writings, party guest lists, an address book, a calendar, and materials related to the posthumous publication of Sketches From an Artist's Life. Of special interest are oversized architectural drawings by Eric Gugler for Faulkner's Keene, New Hampshire house.
Correspondence includes letters from Faulkner's friends, family, fellow artists, and art organizations and institutions. Faulkner's correspondence with his parents document his 1900-1901 trip to Italy with the Thayer family. Of special interest is his correspondence with writer Witter Bynner about Faulkner's daily life in New Hampshire, his travels through Europe, his artistic practice and career, Bynner's writings, his opinions on artistic and literary works, and his service in World War One. Many of the letters to Bynner include sketches by Faulkner of Abbott Handerson Thayer, Rockwell Kent, Augustus Saint-Gaudens, Homer Saint-Gaudens, George de Forest Brush, Kahlil Gibran, and Mark Twain. Additional correspondents include sculptor Frances Grimes, architect Eric Gugler, painter Leon Kroll, and museum director James Johnson Sweeney.
Faulkner's writings are about art, artists, and the New Hampshire art community. Found are essays on Gifford Beal, George de Forest Brush, James Earle Fraser, Harriet Hosmer, Paul Manship, Charles Adams Platt, Hiram Powers, Edward Willis Redfield, Joseph Lindon Smith, Mary Lawrence Tonetti, Mark Twain, Lawrence Grant White, and Mahonri Young. Other writings discuss Faulkner's mural commissions, various aspects of New Hampshire history, and the history of the Dublin and Cornish art colonies whose inhabitants included George de Forest Brush, Augustus Saint-Gaudens, and Abbott Handerson Thayer. Of special interest is a manuscript for Faulkner's posthumously published memoir Sketches From an Artist's Life, and an unpublished manuscript titled A Neighborhood of Artists about the history and culture of the Connecticut River Valley.
Four sketchbooks by Faulkner contain drawings of landscapes, city scenes, architecture, people, nature, and studies of artwork by others. Also found are two loose sketches.
Five diaries document Faulkner's 1922-1924 trip through Europe, Africa, and Asia including stops in France, Italy, Egypt, and Turkey. Diaries record Faulkner's thoughts on architecture, tourist sites, and travel amenities. Found is one diary from 1956 that discusses social events, the Saint-Gaudens Memorial, the MacDowell Colony of artists, and various artists including Gifford Beal, Maxfield Parrish, Paul Manship, and Eric Gugler.
The bulk of printed material consists of clippings which document published writings by Faulkner, obituaries and published rememberances of Faulkner, local events in Keene, New Hampshire, and reproductions of Faulkner's artwork. Also found are exhibition catalogs of other artists, an announcement of Faulklner's death from the American Academy of Arts and Letters, and a publication illustrated with reproductions of Faulkner's murals for the National Archives.
Photographs include formal and informal images of Faulkner throughout his life, and photographs of his family and friends, his studio, and reproductions of his artwork. Also included are two photograph albums, one of which contains photographs of Faulkner during his youth and one that contains photographs primarily from the 1930s of Faulkner's Keene, New Hampshire house, himself, and his friends and family.
The collection also includes a scrapbook prepared for Faulkner's seventieth birthday containing photographs, cards, telegrams, and placecards with hand drawn illustrations which show the "taste and characteristics" of Faulkner.
Series 2: Correspondence, 1900-1973 (Box 1; 0.5 linear feet)
Series 3: Writings, 1912-1966 (Boxes 1-2; 1.0 linear foot)
Series 4: Sketchbooks and Sketches, circa 1910s-1930s (Boxes 2-3; 8 folders)
Series 5: Diaries, 1922-1956 (Box 2; 6 folders)
Series 6: Printed Materials, circa 1858-1966 (Boxes 2-3; 8 folders)
Series 7: Photographs, 1892-1960s (Boxes 2-3; 15 folders)
Series 8: Scrapbook, 1951 (Box 3; 2 folders)
Biographical Note:
Francis Barrett Faulkner was born on July 12, 1881 in Keene, New Hampshire. He attended Phillips Exeter Academy and went on to study at Harvard College. Around this same time, Faulkner began an apprenticeship with his cousin and painter Abbott Handerson Thayer and painter George de Forest Brush. He also met sculptors James Earle Fraser and Augustus Saint-Gaudens, both of whom became Faulkner's lifelong friends.
In 1901, Faulkner traveled to Italy for the first time with Thayer and his family. He returned to New York in 1902 and studied at the Art Students League and Chase School. He also completed illustration work for Century magazine.
In 1907, Faulkner won the Rome Prize Fellowship from the American Academy in Rome. shortly thereafter, he left to study in Italy for three years, studying with George de Forest Brush and befriending sculptor Paul Manship. Upon his return in 1910, he started working on his first mural, commissioned by the wife of railroad executive E.H. Harriman. Having found his niche, Faulkner continued taking mural commissions until his career was interrupted by World War I and his service in the camouflage section of the army. Shortly after the war, he completed a mural for the marine headquarters in Quantico, Virginia.
Between 1923-1924, Faulkner worked in collaboration with Eric Gugler and Paul Manship to create the American Academy in Rome war memorial. Also following the war, Faulkner completed murals for the Eastman School of Music in 1922, the Rockefeller Center in 1932, and the National Archives in 1936. That same year, Faulkner bought and refurbished a house named "The Bounty" in Keene, New Hampshire, and built a studio nearby. In 1930, he was elected as a trustee of the American Academy in Rome.
During the 1940s, Faulkner created murals for numerous public buildings and sites around New Hampshire including the Senate Chambers in Concord, the Elliot Community Hospital, Keene National Bank, and the Cheshire County Savings Bank in Keene. During his final decades, Faulkner wrote an unpublished manuscript on the history of art in the Connecticut River Valley entitled A Neighborhood of Artists, and his posthumously published memoirs, Sketches of an Artist's Life. Faulkner died in 1966, in Keene, New Hampshire.
Related Material:
Found in the Nancy Douglas Bowditch papers at the Archives of American Art is correspondence, photographs, and printed materials related to Barry Faulkner. The Library of Congress, Manuscript Division also holds a small collection of Barry Faulkner's papers. Additional correspondence from Faulkner is found in the papers of Witter Bynner at the University of New Mexico and at Harvard University.
Provenance:
The collection was donated by Francis Faulkner, Barry Faulkner's nephew, in 1974. An addition to the collection was donated by Jocelyn Faulkner Bolle in 2014.
Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Williams, J. Scott (John Scott), b. 1877 Search this
Extent:
13.1 Linear feet
Type:
Collection descriptions
Archival materials
Lantern slides
Photographs
Scrapbooks
Date:
1895 - circa 2007
Summary:
The records of the National Society of Mural Painters measure 13.1 linear feet and date from 1895 to circa 2007. The activities of the society are documented through administrative files, membership files, correspondence, committee files, exhibition and competition files, artist files, financial and legal records, printed material, a scrapbook, and photographic materials.
Scope and Contents:
The records of the National Society of Mural Painters measure 13.1 linear feet and date from 1895 to circa 2007. The activities of the society are documented through administrative files, membership files, correspondence, committee files, exhibition and competition files, artist files, financial and legal records, printed material, a scrapbook, and photographic materials.
Administrative files include meeting minutes and agendas, historical information, and newsletter drafts, and the organization's constitution and by-laws. Membership files contain correspondence with members about their applications and acceptance or denial of membership, member voting ballots, and lists of members. General correspondence is with artists, members, organizations, universities, and federal commissions, and documents a wide varity of NSMP activities; additional correspondence is scattered throughout other series. Correspondence is with Charles Baskerville, Arthur Covey, Allyn Cox, Dean Fausett, Ruth Fortel, Edward Lanning, Everett Molinari, Jack Stewart, and Helen Tredwell, as well as with the American Federation of Arts, the Commission of Fine Arts on War Memorials, Fine Arts Federation, and the U. S. Capitol Historical Society.
Committee files document the work of various NSMP standing and ad hoc committees. Exhibition and competition files include correspondence, photographs, catalogs, itineraries, and printed materials for the NSMP's 1976 U.S. Bicentennial celebration projects, including the "Freedom Murals," "Caravan of Freedom," and "Momentous Events in American History." Additional files document the Red Cross Canteen Project, Federal Art Project, the Municipal Art Society exhibition in 1940, New York City subway murals, and other competitions and public art mural projects.
Artist files primarily date from the 1960s through the 1990s and often include biographies, resumes, correspondence, and photographs of works of art. Financial and legal records include the NSMP treasurer's files, ledgers, and miscellany. Also found in the records are printed materials; a mixed media scrapbook dating from 1923-1935; photographs of meetings, events, exhibitions, and works of art; photo collages of members with examples of their works of art. There are also lantern slides of Francis D. Millet in his studio and with his murals, and of J. Scott Williams with his art work.
Arrangement:
The collection is arranged as 10 series reflecting the original order of the records.
Missing Title
Series 1: Administrative Files, 1895-circa 2007 (2.2 linear feet; Boxes 1-3)
Series 2: Membership Files, 1915-2001 (1.1 linear feet; Boxes 3-4)
Series 3: Correspondence, 1912-2001 (1.0 linear feet; Boxes 4-5)
Series 4: Committee Files, 1909-1960s (0.3 linear feet; Box 5)
Series 5: Exhibition and Competition Files, 1917-1998 (2.0 linear feet; Boxes 5-7)
Series 6: Artist Files, 1915-1990s (1.3 linear feet; Boxes 7-8, 18)
Series 7: Financial and Legal Records, 1895-1996 (1.5 linear feet; Boxes 8-10)
Series 8: Printed Material, 1915-2000 (0.9 linear feet; Boxes 10-11)
Series 9: Scrapbook, 1923-1935 (0.2 linear feet; Box 11)
Series 10: Photographic Material, circa 1900-1997 (2.5 linear feet; Boxes 12-18)
Since its founding, the NSMP has collaborated with the Fine Arts Section of the Treasury Department, the federal WPA Arts Project, and the design boards of several World's Fairs. As a member of Artists for Victory, NSMP coordinated the execution of murals for barracks and camps, as well as many triptych alterpieces.
NSMP organizes exhibitions and conductes competitions. In celebration of its one hundredth anniversary, a centennial exhibition was held in October 1995 at the Art Students League. Society members work with other organizations, actively sponsoring legislation for the development and commission of public works of art. Still active today, the current president is Jeff Greene.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel NSM1) including 83 photographs of mural paintings and mural studies, and 25 exhibition boards showing sculptures, mosaics, and mural paintings with the artist's name, medium, title, and location listed. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The National Society of Mural Painters lent materials for microfilming in 1963 and donated records in 1965-1966. The National Society of Mural Painters, via President Jeff Greene, gave papers in 2009.
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.
Journals, correspondence, writings, sketchbooks, interview, photographs and printed material document Rubenstein's painting career. A series of files relate to Rubenstein's longtime friendship with his teacher, Rico Lebrun.
The bulk of the collection consists of 60 v. of journals, 1930-June 1993, in which Rubenstein writes and sketches about his ideas for "time paintings," scrolls, films, his travels as a Fulbright scholar with his wife, Erica, his summers spent in Provincetown, Mass., "gallery pounding" in New York City trying to sell his work, inspirational biblical quotes, and various artist friends and colleagues, including Rico Lebrun, Walter Pach, Hans Hofmann, Ben Shahn, Karl Knaths, Olin Dows, Philip Guston, and Lloyd Goodrich.
Correspondence (0.2 ft.) relates to Rubenstein's nomination to the National Academy of Design, 1963, his murals in the Busch-Reisinger Museum and the Fogg Museum at Harvard University, the publication of an article by his wife Erica, regarding their stints as Fulbright scholars in Tokyo, illustrated by Lewis, and correspondence of a general nature from friends, colleagues, and admirers. Among the correspondents are Lynd Ward (Rubenstein's sponsor for the N.A.D. nomination), Derek Bok, president of Harvard, Olin Dows, and Edward Rowan, whose 1940 letter concerns Rubenstein's designs for murals for the Wareham, Mass. Post Office for the Section of Fine Arts.
Files on Rico Lebrun (ca. 0.8 ft.), contain several original and extensive photocopies of letters from Lebrun to Rubenstein, and a few letters from Constance Lebrun after her husband's death; a photograph of Lebrun with Constance and photographs of Lebrun's work, 39 drawings, 1933-1949, including studies for "The Cruxifixion" and "Portia"; a caricature of Diego Rivera working on a mural, and of John Steuart Curry by Lebrun, exhibition catalogs, clippings, and other printed material, and writings on Lebrun.
Art work by Rubenstein includes 9 v. of sketchbooks, 1930-1975, containing ink, pencil and charcoal drawings, and a caricature of Walter Pach.
The interview is a partial transcript (7 p.) of Rubenstein conducted by art historian Stanton L. Catlin, 1993, regarding Jose Clemente Orozco and a mural by him commissioned by the Museum of Modern Art, 1940, on which Rubenstein assisted. Also related to Orozco is a notebook containing technical details about the mural.
Photographs are mainly of Rubenstein's murals and paintings, but include several of him, and an album of snapshots of the Rubensteins and Lebruns in Europe, 1930-1932.
Printed material (1.2 linear ft.), documents exhibitions, awards, and works of art, and consists of exhibition announcements and catalogs, clippings, newsletters, Foreign Service journals, news releases, cartoons by Rubenstein, and postcards of Rubenstein's work. Two scrapbooks of newspaper clippings, 1935-1955, cover exhibitions.
Biographical / Historical:
Painter, printmaker, educator. Professor of painting at Vassar College. Rubenstein trained in frescoe painting with Rico Lebrun in Italy, and retained a lifelong friendship with him. His mural commissions include the Busch-Reisinger Museum and the Fogg Museum at Harvard, the Jewish Center in his hometown of Buffalo, N.Y., and the Wareham, Mass. Post Office for the WPA's Section of Fine Arts in 1940. Rubenstein attended Harvard University. He began his long teaching career at Vassar College in 1939. He began doing "Time Paintings" in late 1940s, executed on long canvases and viewed on special scrolled frames, merging Western and Far Eastern scroll painting styles.
Provenance:
Rubenstein donated the Lebrun drawings 1982-1987, and the remainder in 1993.
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.
The Montoya's recall growing up as Mexican-Americans in a rural town in Colorado; moving to urban areas in California; their early education and development of their political awareness; and their artistic experiences, including their founding of the Royal Chicano Air Force, a group working primarily as muralists.
