Migration to Metropolitan Washington: Making a New Place Home
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The second in a multi-year series, the Migration to Metropolitan Washington program offered a deeper look into the history and culture of the city that revealed more than just "official" Washington. Beyond the monuments to which millions pilgrimage each year exists a little recognized residential city undergoing a process of tremendous change and redefinition due to the impact of the migration of populations from all over the world. Washington in 1988 was the home of immigrants from more than sixty countries. Approximately twelve percent of the more than 3.5 million people in the metropolitan area were foreign born. Since the 1970s their number in the metropolitan area had tripled and since 1980 doubled. Traditional culture played an important role in making Washington home for people who have migrated to the city. Despite traumatic circumstances, if people bring little else with them, at least they carry their culture. They select, modify, adapt, reinterpret, revitalize, and drop aspects of their cultural traditions as they adjust to their new environment. In addition they adopt new traditions, synthesize and blend old with newer ones, and create new mechanisms for supporting and expressing who they see themselves to be.
As an urban setting Washington provides opportunities for people to interact with others with whom they might never have mingled and to behave in ways that they never could have in the home setting. This creates stimulae for the development of new forms of expression and distinctive local traditions arising out of the blends. The 1988 Festival program addressed these issues and many more. In telling their stories and demonstrating their traditions, immigrants to Washington allowed Festival visitors to understand the cultural aspects of migration and how they have attempted and in some cases succeeded in making a new place in the metropolitan area.
Phyllis M. May-Machunda was Curator of the program, with Camila Bryce-Laporte as Program Coordinator and Ann Dancy as Assistant Program Coordinator.
Migration to Metropolitan Washington: Making a New Place Home was made possible in part by the generous support of the Music Performance Trust Funds, a non-profit organization created by U.S. recording companies to fund live and free performances (Martin A. Paulson, Trustee), and by the D.C. Community Humanities Council.
Fieldworkers, consultants, and advisors:
Fieldworkers
Enrique Avilés, Camila Bryce-Laporte, Kathy Bullock, Olivia Cadaval, Charles Camp, Mau Thai Chen, Vennie Deas-Moore, Belay Embaye, Von Martin, Phyllis May-Machunda, Horacio Quintanilla, Daniel Sheehy, Addisu Tolesa
Consultants
Richard Kennedy, Marjorie Hunt
Advisory Board
Roy Bryce-Laporte, Olivia Cadaval, Laura Chin, Elizabeth Clark-Lewis, Belay Embaye, Von Martin, Lissan Negusie, Bernice Johnson Reagon, Sylvia Rosales, Joe Wilson
Ad Hoc Committee
Lucy Cohen, Esther Ho, Brett Williams
Presenters:
Enrique Avilés, Barry Bergey, Kathy Bullock, Olivia Cadaval, Charlie Camp, Lee Ellen Friedland, Richard Kennedy, Susan Levitas, Von Martin, Jackie Peters, Leslie Prosterman, Daniel Sheehy, Addisu Tolesa, Carolyn Wang
Participants:
Crafts
Viola Canady, 1922-, Daughters of Dorcas, quilt-makers, Washington, D.C.
Al Carter, urban muralist, Washington, D.C.
David Chung, 1959-, urban muralist, Washington, D.C.
George B. Liu, calligrapher, Washington, D.C.
Z.P. Lu, embroiderer, migration storyteller, Arlington, Virginia
Helen Sze McCarthy, brush painter, Silver Spring, Maryland
Ex tempo -- Ex tempoHollis Patrick "Flash" Lashley, vocalist, percussionist, Silver Spring, MarylandEmlyn "John" Roseman, 1945-, guitar player, Rockville, MarylandKendrick "Blackbird" Sheen, 1949-, vocalist, Washington, D.C.
Four Echoes, Gospel -- Four Echoes, GospelEdward David, bass singerDeacon William Evans, vocalist, guitar playerWillie Green, vocalistCharles Johnson, bass guitar playerJames Nelson, lead and tenor vocalistJames Stein, lead and baritone vocalistGlen Taylor, bass and lead guitar player
Fusion, Calypso, Silver Spring, Maryland -- Fusion, Calypso, Silver Spring, MarylandPatrick T. Belle, steel drum playerJune A. Charles, bass playerLennard Jack, steel drummerKenneth C. Joseph, drummerChris A. Toussaint, percussionist
Hobbs and Partners, Bluegrass, Fairfax, Virginia -- Hobbs and Partners, Bluegrass, Fairfax, VirginiaArnold Hobbs, 1931-1996, guitar player
Kings of Harmony Quartet, Gospel -- Kings of Harmony Quartet, GospelDean CavanaughRichard JonesCharles "Bobby" McElven, second tenorLouis Simpkins, bass playerRobert "Bobby" Terry, first tenorRobert "Bobby" Terry Jr., lead guitar playerAlvin L. TuckerClement H. Tucker, lead vocalistJohnnie "Manager" Tucker, guitar player, lead vocalistLouis A Tucker, bass playerMarvin G. Tucker, drummer
Las Estrellitas Paranderos -- Las Estrellitas ParanderosLinton Corbie, 1963-, vocalist, Washington, D.C.Patrice Frances "Patti" Gouveia, 1960-, vocalist, Washington, D.C.
McCullough's Kings of Harmony, Brass band -- McCullough's Kings of Harmony, Brass bandAlexander Bryant, third trombone playerJoe L. Chambers, tenor trombone playerHenry Cleveland, third trombone playerSamuel "Sam" Cole, run horn playerJames E. Freeman, bass drummerJosh Hampton, bass horn playerJoseph Heyward, snare drummerIvan Jackson, bass playerNorvus "Little Butch" Miller, 1948-1994, trombone playerMelvin Reid, baritone horn playerHannibal Russell, run leader playerHezekiah Shepherd, run horn playerPerry Smith, third trombone playerVirgil Smith, second trombone playerMyrick or Ivan Steward, bass horn playerHerbert Whitner, 1940-, lead vocalist
Ross School Kids -- Ross School KidsLenwood "Gato" Bentley, 1954-, director, Washington, D.C.
Singing Angels, Gospel -- Singing Angels, GospelSally Allen, soprano vocalistVincent Belfield, synthesizer playerDean Cary, organ playerMason Gaines, bass playerLisa Hillary, drummerBeverly Miller, lead vocalistMargaret "Tony" Ross, alto vocalistTerch Siegler, second alto vocalistRobert "Manager" WalkerRobin Walker, lead vocalistVincent Walker, lead guitar player
Sons of Grace, gospel, Washington, D.C. -- Sons of Grace, gospel, Washington, D.C.Gerald Cummins, bass guitar playerLee C. "Flint" HalseyErnest J. Mitchell, guitar playerJames E. PinkneyDavid WadeHerbert "Herb" Whitner, 1940-, manager, vocalist
Trinidad and Tobago Steel Band -- Trinidad and Tobago Steel BandMichael Carrera, steel drummerVernon A. "Jay" Cross, 1971-, drummerHubert "Mumbles" Griffith, 1958-, piano playerFranklin Martin "Ticky manager" Harding, 1941-, steel drummerLloyd Arnim "Hawkady" Haynes, 1939-, steel drummerPatricia Holloway, steel drummerStetson King, steel drummerMichael "Mikey" King, Sr., 1948-, steel drummerLinda Myers-Phifer, 1953-, steel drummerNick O'Reilly, steel drummerPatricia Phillips, steel drummerKeith "Captain" Preddie, 1938-, steel drummerRobert Roy "Bullet or Junior" Thwaites, 1950-, steel drummerRudolph Worren Walker, 1943-, steel drummer
United Indian Merrymakers -- United Indian MerrymakersAnirudh Boodram, 1957-, manager, musician, Beltsville, MarylandShariff Juman, percussionist, Alexandria, VirginiaGocool "Carl Gocool" Monaysar, 1925-, harmonium player, Arlington, Virginia
Washington Singing Convention, Gospel, Washington, D.C. -- Washington Singing Convention, Gospel, Washington, D.C.Airstine BarbourOla Mae LeachEva Gaston Rearden Redding, 1913-2001William Redding, 1912-1997
Wong Boxing Association, -- -- kung fu, tai chi, lion dance, Washington, D.C. -- Wong Boxing Association,kung fu, tai chi, lion dance, Washington, D.C.Terheran James "Tie" BrighthauptCheng-Wu HuangLi-Ling LiChikk Yin Tam Wanyi TanRaymond Wong, 1959-
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
2 letters to Andrew Ryan McGill from Gutherz regarding in particular Gutherz' seven "Spectrum of Light" mural panels in the Library of Congress; a nineteen-page analysis, written by Daniel Richardson, of the seven panels; a 41-page typescript, "The Life of Carl Gutherz"; descriptions written by Gutherz of some of his art works, and accompanying sketches; clippings; a chronolgy; and miscellaneous writings.
Biographical / Historical:
Mural painter; Washington, D.C. Born in Schoeftland, Switzerland, and came to America in 1851. He is best known for his ceiling decoration in the Representatives Reading Room, Library of Congress.
Provenance:
The lender, Joseph Czestochowski, then curator of the Brooks Memorial Art Gallery, was evidently researching Gutherz [the Brooks Memorial Art Gallery has a considerable number of Gutherz' works in its collection] and lent the Archives photocopies of material he judged to be significant.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of muralist and sculptor, Pietro Lazzari, measure 12.84 linear feet and date from 1878 to 1998. The papers document Lazzari's life and career through biographical material, correspondence, business records, notes, writings, artwork, photographs, and printed material.
Scope and Content Note:
The papers of muralist and sculptor, Pietro Lazzari, measure 12.84 linear feet and date from 1878 to 1998. The collection documents Lazzari's life and career through biographical material, correspondence, business records, notes, writings, artwork, photographs, and printed material.
Biographical material includes biographical sketches and various identification documents. Correspondence comprises letters exchanged between Lazzari, family members, and colleagues and includes about a hundred letters concerning post office murals in several states.
Notebooks contain drawings and annotated diagrams in addition to notes on artwork and designs for inventions. Writings are both by and about Lazzari and include autobiographical material. Artwork includes sketchbooks, loose sketches, prints, and paintings.
Almost a quarter of the collection consists of photographs which include images of Lazzari, his family and colleagues, and gallery installations. Also found are photographs of several notable individuals.
Arrangement:
The collection is arranged as ten series according to material type. For each series, material within folders is arranged chronologically. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1880-1980 (box 1; 4 folders)
Series 2: Correspondence, 1895-1998, undated (boxes 1-2; 1.7 linear ft.)
Series 3: Personal Business Records, 1925-1993, undated (box 2; 0.4 linear ft.)
Series 4: Notes, 1915-1979, undated (boxes 3, 13, OV 14; 1 linear ft.)
Series 5: Writings, 1910-1979, undated (box 4, 13; 0.4 linear ft.)
Series 6: Artwork, 1918-1979, undated (boxes 4-5, 13, OV 14; 0.9 linear ft.)
Series 7: Printed Material, 1905-1994, undated (boxes 5-8, 13, OV 14; 3.8 linear ft.)
Series 8: Photographs, 1878-1980, undated (boxes 8-13, MGP 1, MGP 4; 3.8 linear ft.)
Series 9: Motion Picture Film, undated (FC 15; 1 film can)
Series 10: Artifact, undated (box 12; 1 folder)
Biographical Note:
Pietro Lazzari was born in Rome, on May 15, 1898. At the age of 15, he was apprenticed to Roman sculptor, Jerace. Four years on the Italian front in World War I interrupted his studies, until he could return to the Ornamental School of Rome, where he received a Master Artist degree in 1922. Lazzari's first solo exhibition was at the Theatre of the Independents in Rome. He was also employed by newspaper Il Messaggero to illustrate articles with athletes' portraits.
Lazzari visited the United States in 1925, exhibiting in a group show at the New Gallery in the New York the following year. He also married American social worker Elizabeth Paine in 1926. After four more trips between the United States and Italy, he permanently settled in New York City in 1929. In addition to participating in major art exhibitions, he was hired by a New York newspaper to make courtroom sketches at the Lindbergh kidnapping trial. Divorcing his first wife in 1932, Lazzari married Evelyn Cohen in 1934, and became a U.S. citizen in 1936. Between 1936 and 1942, he worked on four post office murals for the U.S. Section of Fine Arts and began experimentation that led to his own method of painting in polychrome concrete.
In 1942, Lazzari moved to Washington, D.C. and participated in the war effort. He also taught painting and sculpture at The American University, and from 1948 to 1950, he headed the Art Department at Dumbarton College. In 1950, he received a Fulbright Fellowship for research in techniques of Etruscan Art.
Lazzari is known for his bronze busts of humanitarians, most notably Pope Paul VI, Adlai Stevenson, and Eleanor Roosevelt. Represented by the Betty Parsons Gallery in New York, he was also very active in the Washngton, D.C. art community, where he was represented by the Caresse Crosby Gallery.
Pietro Lazzari died on May 1, 1979 in Bethesda, Maryland.
Related Material:
Also found in the Archives of American Art is one sound tape reel of a transcribed interview with Pietro Lazzari, conducted by Harlan Phillips in 1964.
Provenance:
The Pietro Lazzari papers were donated to the Archives of American Art in 1989 by Evelyn C. Lazzari, widow of Pietro Lazzari, and in 1998 by her estate.
Restrictions:
The collection is open for research. Use 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.
Topic:
Portrait sculpture, American -- Washington (D.C.) Search this
The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.
Scope and Contents:
The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.
Biographical material includes family birth, death, and marriage certificates, and passports for Cox and his wife Ethel, whom he married in 1927; professional membership cards, awards and certificates; records related to sales of furnishings from the Cox family home in Essex, Massachusetts; and an untranscribed interview of Cox by Tony Janak of NBC TV.
Cox's family correspondence is primarily with his mother, Louise Cox. Also found is correspondence with Cox's sister, Caroline Cox Lansing, and his brother Leonard Cox and Leonard's wife, Sylvia, and letters from Ethel Cox to her mother. Additional correspondence relating to the disposition of Kenyon Cox''s artwork and archives to various institutions, can also be found here.
General correspondence documents Cox's career and professional relationships with artists and architects, including John Barrington Bayley, Fabrizio Cassio, Arthur Conrad, Roscoe DeWitt, Stuart Frost, John Harbeson, Francis Keally, Adrian Lamb, Edward Laning, Charles Downing Lay, Deane Keller, Philip Trammell Shutze, and Cliff Young; art institutions and organizations including the Art Commission of the City of New York, the Art Students League, Dumbarton Oaks, the National Society of Mural Painters, and the Smithsonian Institution; federal, state and local government agencies including the American Battle Monuments Commission, the Architect of the Capitol, and the General Grant National Memorial; members of Congress including founder of the United States Capitol Historical Society, Representative Fred Schwengel; and private social clubs in which Cox was active, including the Century Association, the Cosmopolitan Club and the Cosmos Club. Correspondence documents Cox's most well known commissions including work for the George Washington Masonic National Memorial and the United States Capitol, as well as work for many private clients including banks and residences.
Also found are typescripts, manuscripts and notes for Cox's lectures, as well as Ethel Cox's diary from 1923-1936 and her diary excerpt from 1955. Ten folders of research files, consisting primarily of clippings, comprise Cox's source material. Additional printed material provides scattered documentation of Cox's career through announcements and catalogs, and magazine and newspaper articles written by him or about his work. Also found is one folder of clippings about Kenyon Cox.
Four sketchbooks and circa twenty-two loose animal, figure, architectural and landscape sketches comprise Cox's artwork, in addition to two 1943 sketches Cox entered into a War Department mural competition. Also found is an 1873 sketchbook of Kenyon Cox, with sketches of people and scenes in Ohio.
Photographs are of Cox from childhood to the 1980s; his family, including parents, siblings, and grandparents; friends including Philip Trammell Shutze and Warner Bishop; family residences; artist models; events; and artwork, including many of Cox's commissions. In addition to photographic prints, slides, and negatives, the series includes vintage formats such as an ambrotype, 8 tintypes, 2 cyanotypes, and a platinum print. Of particular note are circa 16 photos of Kenyon Cox, one taken by Pirie MacDonald and three of him teaching a class at the Art Students League, and a series of circa 1906 photos taken in a garden, of Louise and Kenyon Cox with their children and others. Also found are 10 glass plate negatives of artwork by Cox.
Arrangement:
The collection is arranged as 7 series. Glass plate negatives are housed separately and are closed to researchers.
Missing Title
Series 1: Biographical Material, 1916-1982 (0.33 linear feet; Boxes 1, 12)
Series 2: Correspondence, 1878-1982 (6.74 linear feet; Boxes 1-7, 12)
Series 3: Writings and Notes, 1919-1982 (0.58 linear feet; Boxes 7-8)
Series 4: Research Files, circa 1950s-circa 1970s (0.25 linear feet; Box 8)
Series 5: Printed Material, 1920s-1982 (0.5 linear feet; Boxes 8-9)
Series 6: Sketchbooks and Sketches, 1873-circa 1978 (0.25 linear feet; Box 9, OVs 13-14)
Series 7: Photographs, 1856-circa 1980 (2.25 linear feet; Boxes 9-12, OV 13)
Biographical / Historical:
New York, N.Y. and Washington, D.C. painter and muralist, Allyn Cox (1896-1982), was born in New York City to artists Kenyon and Louise Cox. Cox first trained as his father's assistant, serving as an apprentice to Kenyon Cox during the painting of the murals at the Wisconsin State Capitol, circa 1912. He attended the National Academy of Design from 1910-1915, and the Art Student's League with George Bridgman in 1915. In 1916 he was awarded the Prix de Rome and subsequently studied at the American Academy in Rome for 2 years before returning to New York City to begin a career in mural painting.
Cox completed numerous murals and decorative paintings for private residences, businesses, churches, and public buildings. Some of his most famous commissions included murals for the Royal Arch Room and Memorial Hall of the George Washington Masonic National Memorial in Alexandria, Virginia; the Law School at the University of Virginia, Charlottesville; and the William A. Clark Memorial Library at the University of California, Los Angeles; panels for the National City Bank, the Continental Bank, and the Guaranty Trust Company in New York; and glass mosaics and inlaid stone maps for the United States Military Cemetery in Hamm, Luxembourg.
Cox is best known for his work in the United States Capitol, beginning in 1952 when he undertook a congressional commission to restore and complete the murals in in the Capitol rotunda begun by Constantino Brumidi and Filipo Costaggini in 1878. Over the course of the next two decades Cox, now residing in Washington, D.C., restored the Frieze of American History and the Apotheosis of Washington in the Rotunda, and designed murals for three first-floor corridors in the Capitol's House wing, now known as the Cox Corridors. Assisted by Cliff Young, Cox completed painting for two of these corridors before his death. In 1958 Cox also painted a portrait of Henry Clay for the Senate Reception Room and in 1975 completed a mural depicting the 1969 moon landing in the Brumidi Corridor.
Cox taught at the Art Students League in 1940 and 1941, and was active in professional organizations throughout his career. He served as President of the American Artists Professional League and the National Society of Mural Painters, and Vice President of both the Fine Arts Federation and the New York Architectural League. He was a member of the board of the New York Municipal Art Society and served on the the New York City Art Commission.
Cox retired in March 1982 at the age of 86 and died the following September.
Related Materials:
Also found in the Archives of American Art are the Allyn Cox papers relating to U.S. Capitol murals, 1970-1974, donated by the Committee on House Administration, via Cindy Szady in 1981. Papers include a resume; a cost estimate by Cox for designing and executing mural decorations in the U.S. Capitol, 1970; a letter, 1974, from the Office of the Architect of the Capitol to the Capitol Historical Society enclosing photocopies of printed material pertinent to the unveiling and dedication of the Capitol rotunda frieze in 1954; miscellaneous printed material, 1971-1974; and 15 photographs of the murals in the Capitol.
Provenance:
The bulk of the Allyn Cox papers was donated in 1977 and 1983 by the Estate of Allyn Cox, Stephen M. Pulsifer, Exectuor, including material that had been loaned for microfiliming in 1969. Two mural sketches were donated by the Essex County Greenbelt Association in 1984.
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. Glass plate negatives are housed separately and are not served to researchers. 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.
Muralists -- New York (State) -- New York Search this
Genre/Form:
Interviews
Diaries
Sketchbooks
Sketches
Citation:
Allyn Cox papers, 1856-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Phillips, Harlan B. (Harlan Buddington), 1920- 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:
106 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963 Oct. 10-Oct. 17
Scope and Contents:
An interview of Geoffrey Norman conducted by Harlan Phillips on 1963 Oct. 10-Oct. 17 for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Geoffrey Norman (1899- ) is a painter and muralist in Washington, D.C.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 5 hrs., 17 min.
Provenance:
This interview 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 -- Washington (D.C.) -- Interviews Search this
Two letters to Miss Ward, one written while on board a sailing yacht, the Winsome, Aug. 23, in which Millet recommends "Mr. Lippincott who has taken charge of the Academy painting class" as a teacher; the second regarding an exhibition, March 13; and two letters to [George] Ticknor, making plans to meet, March 16 and April 21 (no years). Also included, but not on microfilm, is a photocopy of a page from Harper's magazine, 1917, alluding to Ticknor and Millet.
Biographical / Historical:
Painter, muralist; Washington, D.C. and New York, N.Y. George Ticknor was a history professor and writer at Harvard University. Millet established an artists' colony with close friends John Singer Sargent, Henry James, and Edwin Abbey in the village of Broadway, Worcestershire. He played a major role in the founding of the American Federation of the Arts, was extensively involved in the World Columbian Exposition, worked on the Fine Arts Commission in Washington, D.C., during the terms of presidents Theodore Roosevelt and William Howard Taft. Millet went down with the Titanic, April 15, 1912.
Provenance:
Purchased 1956 with funds provided by Alfred Brayer.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York Search this
