Search Results

Creator:

Wores, Theodore, 1858-1939  Search this

Names:

Bohemian Club (San Francisco, Calif.)  Search this

Duveneck, Frank, 1848-1919  Search this

Gray, Percy, 1869-1952  Search this

Keith, William, 1838-1911  Search this

Peck, Orrin, 1860-1921  Search this

Peters, Charles Rollo, 1862-1928  Search this

Russel, Alexander, Mrs  Search this

Sandona, Matteo, b. 1883  Search this

Shenson, A. Jess  Search this

Tilden, Douglas, 1860-1935  Search this

Extent:

296 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1881-1967

Scope and Contents:

Letters received, 1884-1967, concern Wores' art work, the Bohemian Club, the work of sculptor Douglas Tilden, and other matters. William Keith writes of his own work and choice of subject matter. Other correspondents include Orrin Peck, Frank Duveneck, Charles Rollo Peters, Mrs. Alexander Russel, Matteo Sandona, and Percy Gray. In addition, there are two scrapbooks, 1881-1938; a typescript of CALIFORNIA ART RESEARCH, 1937-Abstract from WPA Project 2874, which is a monograph on Wores with penciled corrections by him; and 5 articles from THE CENTURY ILLUSTRATED MAGAZINE, 1889-1899, 4 of them written by Wores, and 1 illustrated by him.

Biographical / Historical:

Landscape painter, portrait painter, illustrator, teacher. Year of birth also cited as 1860. Born in San Francisco, resided many places.

Provenance:

Lent for microfilming April 1974 by A. Jess Shenson, M.D., along with his brother Ben who spent many years researching Wores.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Portrait painters  Search this

Illustrators  Search this

Landscape painters  Search this

Topic:

Painting, Modern -- 19th century -- United States  Search this

Painting, Modern -- 20th century -- United States  Search this

Identifier:

AAA.woretheo

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-woretheo

Creator:

United States. Public Buildings Service. Art-in-Architecture Program.  Search this

Names:

Bruce, Edward, 1879-1943  Search this

Extent:

16 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1933-1960

Scope and Contents:

A letter to Mrs. Bruce from James N. Rosenberg concerning Bruce's papers, 1960; a reprint of an article, "Edward Bruce" by Edwina Spencer, 1933; and photographs, including 4 of Bruce at a children's Christmas party, 5 of a NBC radio broadcast, picturing Bruce, Secretary of the Treasury Harry Morganthau, John Dewey, and others, and one of a drawing of Bruce by Leon Kroll.

Biographical / Historical:

Bruce, a painter, Washington, D.C., directed the Public Works of Art Project, Dec. 1933 - June 1934 and the Section of Painting and Sculpture (later the Section of Fine Arts), a program in the Treasury Department and later reorganized under the Public Buildings Administration of the Federal Works Agency, established to administer the decoration of public buildings.

Provenance:

Donated 1986 by Public Buildings Service, General Sevices Administration.The file had been found in the desk of Karel Yasko, the GSA's Counsellor for Fine Arts and Historic Preservation.

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 -- Washington (D.C.)  Search this

Arts administrators -- Washington (D.C.)  Search this

Topic:

Federal aid to the arts -- United States  Search this

Art and state -- United States  Search this

New Deal, 1933-1939  Search this

Identifier:

AAA.unstpbbs

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-unstpbbs

Creator:

United States. Dept. of the Treasury. Section of Fine Arts  Search this

United States. Dept. of the Treasury. Section of Fine Arts  Search this

Names:

Bruce, Edward, 1879-1943  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Marin, John, 1870-1953  Search this

O'Hara, Eliot, 1890-1969  Search this

Ulreich, Eduard Buk, 1889-  Search this

Extent:

1 Item ((10 p. on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1940

Scope and Contents:

An exhibition catalog of 200 American watercolors with a foreword by Edward Bruce and a listing of each artist and the title of his work. The paintings were chosen by a jury including Charles Burchfield, John Marin, Eliot O'Hara, and Buk Ulreich. They were then bought by the U.S. government and hung in the Carville, Louisiana, Marine Hospital.

Biographical / Historical:

Established 1934 under the Treasury Department as the Section of Painting and Sculpture. Name changed to Section of Fine Arts in 1938. In 1939, the Federal Works Agency was established and set up the Public Buildings Administration, which combined the Treasury Department's Public Buildings Branch and the Branch of Public Buildings of the National Park Service. The Section's function was to decorate new federal buildings. Unlike the other New Deal art agencies, it was not a relief project, but awarded contracts through a juried system of competition.

Provenance:

Provenance unknown.

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.

Topic:

New Deal, 1933-1939  Search this

Federal aid to the arts  Search this

Art and state  Search this

Federal aid to public welfare  Search this

Watercolor painting  Search this

Identifier:

AAA.unstdetr

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-unstdetr

Creator:

Siporin, Mitchell, 1910-1976  Search this

Names:

Federal Art Project  Search this

Cahill, Holger, 1887-1960  Search this

Cheney, Sheldon, 1886-  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Millman, Edward, 1907-1964  Search this

Nordness, Lee  Search this

Rowan, Edward Beatty, 1898-1946  Search this

Extent:

5.3 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Date:

1913-1990

Scope and Contents:

Biographical information, correspondence, photographs, writings, research and subject files, works of art, motion picture film, interview transcripts, financial material, printed material and miscellany relating to Mitchell Siporin.

Personal photographs of Siporin, stage sets and art work by him.

Circa 1000 letters relating to his painting, his teaching, his service as a war artist during World War II and the Federal Art Project, including letters from Sheldon Cheney, Edith Halpert, Edward Rowan, Holger Cahill, Edward Millman, Max Abramowitz, Lee Nordness, and others; biographical material; notes and lectures; art history research files; sketches; price lists for his art works; expense accounts and tax records; blueprints and architectural plans; photographs, including WWII photographs and photographs of his art work; reproductions of his art work; exhibition catalogs; and clippings.

Letters from Siporin to his brother and sister-in-law, Seymour and Mary Sipporin, as well as letters to Siporin from Jack Levine and Carl Holty. Writings, including scripts for lectures, journal articles, an unfinished novel by Siporin, a journal describing his experience in North Africa during WWII as a war photographer and painter, notes taken during sabbaticals, and a eulogy written by Siporin for Henry Varnum Poor. Photographs of Siporin with friends and family, including Yasuo Kuniyoshi, Peter Pollack, Edward Millman, and Philip Guston and a portrait of Siporin by Arnold Newman, as well as Siporin's artwork. Subject files, including the Woodstock Art Conference, American Artists' Congress, the American Federation of Arts, WWII, the Army at War exhibit, Siporin's involvement in the WPA, as well material on Siporin's Haymarket drawings used for a 1934 issue of Left Front magazine. Works of art including two studies for St. Louis, Missouri, Post Office murals, and a sketch of Siporin by S.P. Kaufman.

A VHS video and DVD copy, transferred from 16mm motion picture film, showing Siporin at work on his St. Louis frescoes (b&w, 3 min., no sound). Interview transcripts of an interview with Siporin conducted by Geofrrey Swift as well as an interview with Siporin conducted by Melvyn Bragg for the BBC. Financial records, including sales contracts. Printed material, including exhibition catalogs and programs, and newspaper clippings as well as an exhibition poster from Babcock Galleries. Also included is a small amount of material relating to Jennie Siporin, Mitchell Siporin's mother.

Biographical / Historical:

Mitchell Siporin (1910-1976) was a painter and photographer from Newton, Massachusetts.

Provenance:

The collection has been donated in several installments beginning in 1978 when Siporin's widow Miriam lent materials for microfilming (reels 1328 and 1332). She also donated materials at that time and again in 1992, at which time it was also microfilmed (reels 2011-12 and 2061). In 2003, Judith Siporin, Siporin's daughter, donated the materials previously lent on reel 1332 and 16mm motion picture film. In 2005 Mary Siporin, Mitchell Siporin's sister-in law donated papers, and in 2008 Judith donated another installment.

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.

Topic:

Documentary photography  Search this

Painting, Modern -- 20th century -- United States  Search this

Mural painting and decoration -- United States  Search this

World War, 1939-1945 -- Art and the war  Search this

War in art  Search this

Genre/Form:

Video recordings

Identifier:

AAA.sipomitc

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-sipomitc

Interviewee:

Richter, Mischa, 1910-2001  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Museum of Fine Arts, Boston. School  Search this

Yale University. School of Fine Arts  Search this

Barnet, Will, 1911-2012  Search this

Bloom, Hyman, 1913-  Search this

Levine, Jack, 1915-2010  Search this

Reinhardt, Ad, 1913-1967  Search this

Steig, William, 1907-  Search this

Zimmerman, Harold K., 1905-1941  Search this

Extent:

3 Items (sound cassettes 2 hr., 43 min.), analog.)

54 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1994 September 27-28

Scope and Contents:

An interview with Mischa Richter conducted 1994 September 27-28, by Robert F. Brown, for the Archives of American Art.

Richter tells of his life as the only child of a prosperous Jewish family in Kharkov, Ukraine, where he showed early precocity in drawing. He remembers the Russian Revolution, being taken to Poland in 1921, and then in 1922 to New York and Boston. He discusses his education in Boston, including drawing lessons with Harold Zimmerman at which he got to know Hyman Bloom and Jack Levine; and classes at the Museum School in Boston from 1929 to 1930.

He speaks of his long-time friendship with Will Barnet, attending Yale School of Fine Arts, 1930-1934, and painting a WPA mural for the Boston Boys Club in 1935. He remembers meeting Will Steig, deciding to become a cartoonist, and selling enough drawings to leave the WPA to work as art editor for "The New Masses," where he became close friends with Ad Reinhardt. He discusses becoming a contract cartoonist in 1940 for "The New Yorker;" his avoidance of art dealers, because they demand steady production yet have no known goals, unlike a magazine; his abhorrence of taking himself, or others, too seriously; the perils of early success and the pettiness of many matters in the art community of Provincetown, Mass.; and the nature of his paintings.

Biographical / Historical:

Mischa Richter (1910-2001) was a painter and cartoonist from New York, N.Y. and Provincetown, Mass. Richter was born in the Ukraine. He came to the United States in 1922, attending special art classes for gifted students at the Museum of Fine Arts, Boston, and subsequently graduating from the Yale School of Fine Arts in 1934. After working on the WPA art project as a mural painter in New York, he turned to cartooning, doing editorial and humorous cartoons for the daily newspaper, PM, and then becoming art editor for the New Masses. In 1941 he began his longtime affiliation with the New Yorker, as well as producing daily panels, "Strictly Richter" and "Bugs Baer" for King Features. In the 1970s and 1980s, Richter did numerous drawings for the OpEd page of the New York Times. Died March 23, 2001, at age 90.

General:

Sound quality is poor.

Originally recorded on 3 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 43 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Cartoonists -- Massachusetts -- Provincetown -- Interviews  Search this

Topic:

Cartooning  Search this

Jewish artists  Search this

Painters -- Massachusetts -- Provincetown -- Interviews  Search this

Magazine illustration  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.richte94

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-richte94

Creator:

Richter, Mischa, 1910-2001  Search this

Names:

Barnet, Will, 1911-2012  Search this

Marantz, Irving, 1912-1972  Search this

Reinhardt, Ad, 1913-1967  Search this

Steig, William, 1907-  Search this

Extent:

0.4 Linear feet

0.3 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Date:

1915-1994

Scope and Contents:

Biographical data; certificates and awards; letters, including one notifying Richter of his appointment to the Executive Council of the National Cartoonists Society; an original greeting card from Irving Marantz; photographs of Richter and his work; notes on cartooning; exhibition material; and clippings and other printed material.

ADDITION: Biographical information; an autobiograpical memoir, 36 p., 1994; letters, 1930-1987; a pencil sketch from a plaster cast of sculpture, 1928, and a pencil sketch for a mural, 1935; photographs of Richter and others; clippings, ca. 1935-1984; exhibition material, ca. 1958-1967; and printed material, undated and 1940-1982. Among Richter's correspondents are cartoonists Milton Caniff and William Steig, and artists Ad Reinhardt and Will Barnet.

Biographical / Historical:

Cartoonist, painter; New York, N.Y. and Provincetown, Mass. Richter was born in the Ukraine. He came to the United States in 1922, attending special art classes for gifted students at the Museum of Fine Arts, Boston, and subsequently graduating from the Yale School of Fine Arts in 1934. After working on the WPA art project as a mural painter in New York, he turned to cartooning, doing editorial and humorous cartoons for the daily newspaper, PM, and then becoming art editor for the New Masses. In 1941 he began his longtime affiliation with the New Yorker, as well as producing daily panels, "Strictly Richter" and "Bugs Baer" for King Features. In the 1970s and 1980s, Richter did numerous drawings for the OpEd page of the New York Times. Died March 23, 2001, at age 90.

Provenance:

Donated 1993-1996 by Mischa Richter. Additions are expected.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Cartoonists  Search this

Topic:

Cartooning  Search this

Political cartoons  Search this

Greeting cards  Search this

Identifier:

AAA.richmisc

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-richmisc

Creator:

Philadelphia Museum of Art  Search this

Names:

Milch Galleries  Search this

Abbe, Robert  Search this

Arms, John Taylor, 1887-1953  Search this

Bartlett, Paul, 1881-1965  Search this

Beal, Gifford, 1879-1956  Search this

Beaux, Cecilia, 1855-1942  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Cadmus, Paul, 1904-1999  Search this

Chagall, Marc, 1887-1985  Search this

Cortissoz, Royal, 1869-1948  Search this

Cox, Kenyon, 1856-1919  Search this

Curran, Charles C. (Charles Courtney), 1861-1942  Search this

De Creeft, José, 1884-1982  Search this

Dehn, Adolf, 1895-1968  Search this

Dewing, Thomas Wilmer, 1851-1938  Search this

Eakins, Susan Macdowell  Search this

Eakins, Thomas, 1844-1916  Search this

Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this

Evergood, Philip, 1901-1973  Search this

Force, Juliana, 1876-1948  Search this

Graham, John, 1887-1961  Search this

Haskell, Ernest, 1876-1925  Search this

Hassam, Childe, 1859-1935  Search this

Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this

Lipchitz, Jacques, 1891-1973  Search this

Marsh, Reginald, 1898-1954  Search this

McCarter, Henry, 1866-1942  Search this

Mechlin, Leila, 1874-1949  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Mullikin, Mary Augusta, 1874-1964  Search this

Pennell, Joseph, 1857-1926  Search this

Roberts, George B., Mrs  Search this

Sartain, William, 1843-1924  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Sloan, John, 1871-1951  Search this

Valentin, Curt, 1902-1954  Search this

Walker, Hudson D. (Hudson Dean), 1907-1976  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

4 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Place:

China -- Description and Travel

Date:

1866-1968

Scope and Contents:

Correspondence, printed material, writings, and other personal papers collected by Carl Zigrosser and Leila Mechlin and later added to by others, all relating to American art.

REELS P10-P11 and P14: Letters to Leila Mechlin, Henry Schnakenberg and Hudson Walker. Correspondents include Robert Abbe, John Taylor Arms, Cecelia Beaux, Paul Bartlett, Gifford Beal, Paul Cadmus, Charles Curran, Royal Cortissoz, Kenyon Cox, Philip Evergood, John David Graham, Reginald Marsh, Joseph Pennell, John Sloan and many others. Some letters include printed material and photographs. Mechlin material includes writings, photographs and letters from Mary Augusta Mullikin describing her life and travels in China, 1933. Also included are letters from Adolph Dehn and Jose de Creeft to Juliana Force; from Ernest Haskell and Kenneth Hayes Miller to Carl Zigrosser; miscellaneous letters from Marc Chagall, Thomas Wilmer Dewing, Louis Eilshemius and Childe Hassam; an autobiography of William Sartain; and material on Thomas Eakins, including letters, a list of expenses, 1867, and motion study material,including writings, sketches and photographs taken with a camera invented by Eakins.

REEL 4547: Charles Burchfield letters; Susan and Thomas Eakins material; Jacques Lipchitz correspondence; Henry McCarter letters; and Carl Zigrosser correspondence. The Burchfield letters consist of 41 items, 1929-1947, from Burchfield regarding exhibitions, sales, and his paintings. The Eakins material includes letters from Susan Eakins to the Milch Galleries, 1933-1935, regarding the sale of Thomas Eakins' work, receipts from the Milch Galleries, Thomas' expense book, ca. 1866, for daily living in Paris and Switzerland and an autographed account of expenses while at school in Paris, April 12, 1867, a photograph of Susan Eakins by Carl van Vechten, a photograph of Eakins, and 71 engraved portraits from the collection of Thomas Eakins.

The Lipchitz correspondence is with R. Sturgis Ingersoll regarding Lipchitz's commission for the sculpture "Prometheus." Also included are 8 letters from Curt Valentin to Ingersoll regarding Lipchitz. The McCarter material includes 66 letters, 1933-1942, some containing sketches, from McCarter to Mrs. George B. Roberts regarding paintings, frames, exhibitions, and offering painting advice. The Zigrosser correspondence is regarding the purchase of prints from the regional projects of the WPA for the Philadelphia Museum of Art, and later included in the exhibition "Between Two Wars" at the Whitney Museum of American Art. Included are invoices and inventories of the prints from the various offices.

Provenance:

Material on reels P10-P11 and P14 lent for microfilming, 1954, by the Philadelphia Museum of Art. Additional material on reel 4547 was microfilmed in 1991 as part of AAA's Philadelphia Arts Documentation Project. The idea for the archives originated with Carl Zigrosser, who donated material, solicited it from others (mainly Henry Schnakenberg, Leila Mechlin and Hudson Walker), or pulled it from the files of the Philadelphia Museum of Art. The Museum continues to add to the collection. It is not connected to the Archives of American Art at the Smithsonian Institution.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Rights:

Authorization to publish, quote or reproduce requires written permission from Philadelphia Museum of Art Archives. Contact Reference Services for more information.

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:

Artists -- United States  Search this

Topic:

Art, American  Search this

Artists' writings  Search this

Motion study -- Photographs  Search this

Identifier:

AAA.philmuss

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-philmuss

Creator:

Philadelphia Museum of Art  Search this

Names:

Pennsylvania Museum of Art. School of Industrial Art  Search this

Philadelphia Museum of Art. School of Industrial Art  Search this

Public Works of Art Project  Search this

United States. Works Progress Administration  Search this

Barber, Edwin Atlee, 1851-1916  Search this

Bruce, Edward, 1879-1943  Search this

Cahill, Holger, 1887-1960  Search this

Curran, Mary  Search this

Dorr, Dalton, 1846-1901  Search this

Kimball, Fiske, 1888-1955  Search this

Pepper, William Platt, d. 1907  Search this

Watson, Forbes, 1880-1960  Search this

Extent:

15 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

1874-1954

Scope and Contents:

Selected records, including scrapbooks, 1874-1954; letterbooks of the Dalton Dorr administration, 1876-1904; Board of Trustees letterbooks regarding the Pottery and Porcelain exhibitions, 1888-1890; and Fiske Kimball correspondence relating to the PWAP and the WPA, 1933-1942.

REELS P14-P16 and 4557-4758: Scrapbooks, 1874-1954, containing clippings relating to the museum.

REEL P16, frames 350-375: "Bulletin of the Pennsylvania Museum and School of Industrial Art" (No. 1-8, Jan. 1903-Oct. 1904).

REELS 1395-1396: Correspondence and other papers of Director Fiske Kimball, 1933-1942, relating to various federal and state relief projects, particularly the Public Works of Art Project (PWAP), of which he was chairman of Region 3 (Del, Penn., N.J.), and the WPA, which financed several projects at the Museum. Much of the correspondence relates to the selection of artists to be given employment under the PWAP, and to the controversy surrounding the administration of the program by Mary Curran, including complaints from artists and groups. Frequent correspondents include Forbes Watson, Edward Bruce, and Holger Cahill.

REELS 4549-4557: Letterbooks of Acting Director Dalton Dorr, 1876-1904 (incoming) and 1876-1901 (outgoing), and of curator Edwin Atlee Barber, 1893-1901, and President William Platt Pepper, 1893-1901. Correspondence pertains to acquisitions, the collection, staff, Memorial Hall repairs, and the overall establishment of the museum and school. Also included are letterbooks of the Board of Trustees, 1888-1890, relating to the 1888-1889 Pottery and Porcelain exhibitions at the museum, containing correspondence with firms and individuals regarding submissions and prizes.

Biographical / Historical:

Art museum; Philadelphia, Pennsylvania. Est. 1876 as the Pennsylvania Museum and School of Industrial Art. In 1929 the name changed to the Pennsylvania Museum of Art, and in 1938 to the Philadelphia Museum of Art and School of Industrial Art. Dalton Dorr served as director, 1876-1904. Fiske Kimball was director 1925-1954.

Provenance:

Material on reels P14-P16 lent for microfilming by the Pennsylvania Museum of Art, 1955. The Fiske Kimball material on reels 1395-1396 was filmed at the Museum in 1963; the remainder on reels 4549-4558 was microfilmed in 1993 as part of AAA's Philadelphia Arts Documentation Project.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Rights:

Authorization to publish, quote or reproduce requires written permission from Philadelphia Museum of Art Archives. Contact Reference Services for more information.

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:

Federal aid to the arts -- United States  Search this

Function:

Art museums -- Pennsylvania -- Philadelphia

Art Schools -- Pennsylvania -- Philadelphia

Identifier:

AAA.philmuse

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-philmuse

Interviewee:

Lundeberg, Helen, 1908-1999  Search this

Interviewer:

Butterfield, Jan  Search this

Names:

United States. Work Projects Administration  Search this

Feitelson, Lorser, 1898-1978  Search this

Langsner, Jules, 1911-1967  Search this

Murphy, Lawrence M., 1872-1948  Search this

Extent:

82 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1980 July 19-Aug. 29

Scope and Contents:

An interview of Helen Lundeberg conducted 1980 July 19-Aug. 29, by Jan Butterfield, for the Archives of American Art.

Lundeberg speaks of problems encountered by women artists; her youth and early interest in painting; her education; studying with Lawrence Murphy and Lorser Feitelson; painting murals for the WPA Federal Art Project; her series of small paintings; the California arts environment; her relationship with Feitelson and their influences on each other; and her working habits. She recalls the critic Jules Langsner.

Biographical / Historical:

Helen Lundeberg (1908-1999) was a painter from Los Angeles, Calif.

General:

Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 3 hrs., 50 min.

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 others.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Painters -- California -- Los Angeles -- Interviews  Search this

Art -- Philosophy  Search this

Painting -- Technique  Search this

Mural painting and decoration  Search this

Women artists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.lundeb80

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-lundeb80

Artist:

Louis, Morris, 1912-1962  Search this

Names:

André Emmerich Gallery  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Robert Pierce/Films, Inc.  Search this

Bocour, Leonard, 1910-1993  Search this

Brenner, Marcella, 1912-2007  Search this

Faatz, Anita J. (Anita Josephine)  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Noland, Kenneth, 1924-2010  Search this

Truitt, Anne, 1921-2004  Search this

Extent:

17.8 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Sound recordings

Interviews

Photographs

Date:

circa 1910s-2007

bulk 1965-2000

Summary:

The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.

Scope and Contents:

The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.

Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family.

The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales.

Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.

Arrangement:

This collection is arranged as 2 series.

Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3)

Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)

Biographical / Historical:

Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School.

Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939.

In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career.

In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris.

Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death.

Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.

Related Materials:

Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.

Provenance:

The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any 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.

Occupation:

Painters -- United States  Search this

Topic:

Transcripts  Search this

Washington Color School (Group of artists)  Search this

Law and art -- United States  Search this

Color-field painting  Search this

Art -- Study and teaching  Search this

Art, Modern -- 20th century  Search this

Abstract expressionism  Search this

Genre/Form:

Video recordings

Sound recordings

Interviews

Photographs

Citation:

Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.

Sponsor:

Partial funding for the processing of this collection was provided by the Marcella Brenner Revocable Trust.

Identifier:

AAA.louimorr

See more items in:

Morris Louis and Morris Louis Estate papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-louimorr

Collection Creator:

Junkin, Hattie Meyers, 1896-1985  Search this

Container:

Box 4, Folder 8

Type:

Archival materials

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

See more items in:

Hattie Meyers Junkin Papers

Hattie Meyers Junkin Papers / Series 2: Soaring and Gliding

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-xxxx-0171-ref121

Collection Creator:

Junkin, Hattie Meyers, 1896-1985  Search this

Container:

Box 4, Folder 11

Type:

Archival materials

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

See more items in:

Hattie Meyers Junkin Papers

Hattie Meyers Junkin Papers / Series 2: Soaring and Gliding

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-xxxx-0171-ref124

Collection Creator:

Junkin, Hattie Meyers, 1896-1985  Search this

Container:

Box 5, Folder 5

Type:

Archival materials

Text

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

See more items in:

Hattie Meyers Junkin Papers

Hattie Meyers Junkin Papers / Series 3: General materials of Hattie Meyers Junkin

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-xxxx-0171-ref141

Creator:

Stirling, Matthew Williams, 1896-1975  Search this

Stirling, Marion  Search this

Names:

National Geographic Society (U.S.)  Search this

Smithsonian Institution. Bureau of American Ethnology  Search this

Extent:

37.94 Linear feet (84 boxes, 3 map folders)

Culture:

Olmec (archaeological culture)  Search this

Type:

Collection descriptions

Archival materials

Field notes

Photographs

Correspondence

Place:

Papua New Guinea

Mexico

Ecuador

Costa Rica

Panama

Date:

1876-2004, undated

bulk 1921-1975

Summary:

The Matthew Williams Stirling and Marion Stirling Pugh papers, 1876-2004 (bulk 1921-1975), document the professional and personal lives of Matthew Stirling, Smithsonian archaeologist and Chief of the Bureau of American Ethnology (1928-1957), and his wife and constant collaborator, Marion Stirling Pugh. The bulk of the material is professional in nature and includes material from Matthew's early career in the 1920s, the careers of Matthew and Marion together from when they married in 1933 to Matthew's death in 1975, and Marion's life and work from 1975 until her death in 2001.

The majority of the documentation relates to the investigation of the Olmec culture in Mexico by the Stirlings, including the discoveries of eight colossal Olmec heads. In addition, the collection documents their work in Panama, Ecuador, and Costa Rica, looking for connections between Mesoamerica and South America. Materials include field notes, journals, correspondence, photographs, writings, clippings, ephemera, articles, and scrapbooks.

Scope and Contents:

The Matthew Williams Stirling and Marion Stirling Pugh papers, 1876-2004 (bulk 1921-1975), document the professional and personal lives of Matthew Stirling, Smithsonian archaeologist, and Chief of the Bureau of American Ethnology (1928-1957), and his wife and constant collaborator, Marion Stirling Pugh. The bulk of the material is professional in nature and includes material from Matthew's early career in the 1920s, the careers of Matthew and Marion together from when they married in 1933 to Matthew's death in 1975, and Marion's life and work from 1975 until her death in 2001. The majority of the documentation relates to the investigation of the Olmec culture in Mexico by the Stirlings, including the discoveries of eight colossal Olmec heads. In addition, the collection documents their work in Panama, Ecuador, and Costa Rica, looking for connections between Mesoamerica and South America. Materials include field notes, journals, correspondence, photographs, writings, clippings, ephemera, articles, and scrapbooks.

Series 1. Field work, 1921-1998 (bulk 1921-1975) and undated, documents the archaeological expeditions undertaken by Matthew and Marion Stirling over a span of 40 years. This includes expeditions Matthew undertook prior to his marriage and collaboration with Marion to Papua New Guinea, Ecuador, and Florida, and extensive documentation of expeditions they embarked on together to Mexico, Panama, Ecuador, and Costa Rica.

Series 2. Other travels, 1946-1972 is comprised of materials documenting trips the Stirlings took that, for the most part, did not include field work. This includes trips for both business and personal travel, however it was common for the two to overlap.

Series 3. Administrative files, 1924-1980 and undated is partly comprised of materials the Stirlings compiled and organized into an alphabetical filing structure and also of materials that are administrative in nature and did not directly relate to other categories outlined in this finding aid.

Series 4 Writings and lectures, 1925-1990 and undated, consists of articles, papers, drafts, and notes primarily written by Matthew Stirling, with some materials co-written by Marion, and documentation relating to presentations the Stirlings gave regarding their field work and other professional matters. Also included is material relating to films that were made about the Stirling's work.

Series 5. Personal and family materials, 1880-1996 and undated, consists of documents, photographs, and ephemera that are personal in nature. This includes items relating to Matthew Stirling's young life and family history, photographs, correspondence, and clippings relating to his extended family, and photographs of and correspondence from Matt and Marion's children.

Series 6. Anthropological journals, 1876-1959, consists of collections of anthropological journals collected and categorized for reference and research purposes.

Series 7. Marion Stirling Pugh, 1924-2004 (bulk 1948-2002) and undated, consists of materials relating to endeavors Marion undertook without Matthew, primarily relating to her participation in the Society of Women Geographers from 1948-2000 and her life after Matthew died in 1975 until her death in 2001.

Arrangement:

This collection is arranged in 7 series: 1) Field work, 1921-1998 (bulk 1921-1975), undated; 2) Other travels, 1946-1972; 3) Administrative files, 1924-1980, undated; 4) Writings and lectures, 1925-1990, undated; 5) Personal and family materials, 1880-1996, undated; 6) Anthropological journals, 1876-1959; 7) Marion Stirling Pugh, 1924-2004 (bulk 1948-2002), undated.

Biographical note:

MATTHEW WILLIAMS STIRLING:

Matthew Williams Stirling, archaeologist and Director of the Bureau of American Ethnology (1928-1957), was born on August 28, 1896 in Salinas, California. After serving as an Ensign in the Navy from 1917-1919, he graduated with a B.A. in Anthropology in 1920 from the University of California, Berkeley studying under T.T. Waterman, Alfred L. Kroeber, and E.W. Gifford. From 1920-1921 he worked as a teaching fellow at the university, where he taught William Duncan Strong. Stirling's first tenure at the Smithsonian (then the U.S. National Museum (USNM)) was from 1921-1924, first as a museum aide, then as an Assistant Curator of Ethnology. While in the position he took night classes at George Washington University and received his M.A. in 1922. He received an honorary Sc.D. from Tampa University in 1943. In 1924, Stirling resigned his position at the museum and embarked on a journey to South American with his friend Perry Patton. From 1925-1927 he embarked on the Smithsonian sponsored American-Dutch Expedition to Papua New Guinea to explore the previously unknown interior region of Dutch New Guinea. Stirling was appointed Chief of the Bureau of American Ethnology at the Smithsonian Institution in 1928 and married Marion Illig in 1933. They worked together for the next 40 years studying Olmec culture and the connection to greater Mesoamerica and South America. They had two children (Matthew W. Stirling Jr. in 1938 and Ariana Stirling in 1942). Stirling retired as Director of the B.A.E. on December 31, 1957. He died January 23, 1975 in Washington, D.C.

Sources consulted:

Collins, Henry B. "Matthew Williams Stirling, 1896-1975." American Anthropologist, New Series, 78, no. 4 (1976): 886-88.

Coe, Michael D. "Matthew Williams Stirling, 1896-1975." American Antiquity 41, no. 1 (1976): 67-73.

MARION STIRLING PUGH:

Marion Stirling Pugh (nee Illig) was born in Middletown, New York on May 12, 1911. She graduated from Rider College in 1930 and came to Washington D.C. in 1931 where she took a job as a secretary to the Chief of the Bureau of American Ethnology, Matthew Stirling. She attended night school at George Washington University from 1931-1933 where she studied anthropology, geology, and Russian. Marion and Matthew were married on December 11, 1933 and promptly embarked on a honeymoon expedition to Florida where Matthew was in charge of Works Progress Administration (WPA) projects. They worked together for the next 40 years studying Olmec culture and the connection to greater Mesoamerica and South America. They had two children (Matthew W. Stirling Jr. in 1938 and Ariana Stirling in 1942).

Marion was an active member of the Society of Women Geographers and was elected to the executive board in 1954. She served as president of the society from 1960-1963 and 1969-1972. She had a long-time association with the Textile Museum in Washington D.C. and in the 1970s established what would become the Latin American Research Fund to secure Latin American ethnographic textiles for the museum.

After Matthew's death in 1975, Marion married General John Ramsey Pugh in 1977. Pugh died in 1994. Marion continued to travel the world, including making a trip to Antarctica in her 80s, until her death on April 24, 2001 in Tucson, Arizona.

Sources consulted:

"Marion Stirling Pugh, 89." The Washington Post. May 11, 2001. https://www.washingtonpost.com/archive/local/2001/05/11/marion-stirling-pugh-89/01329ba8-f32b-4d66-83fb-9f3c311aaefb/?utm_term=.ab20f25e060b (accessed May 16, 2019).

Conroy, Sarah Booth. "Archaeologist Marion Pugh, Digging Up Memories." The Washington Post. July 8, 1996. https://www.washingtonpost.com/archive/lifestyle/1996/07/08/archaeologist-marion-pugh-digging-up-memories/09f465e7-5900-455e-bcd5-b81828a502d5/?utm_term=.703ff0e84313 (accessed May 16, 2019).

Matthew Williams Stirling and Marion Stirling Pugh Chronology

1896 August 28 -- Matthew Williams Stirling born in Salinas, California to Ariana and John Williams Stirling

1911 May 12 -- Marion Illig born in Middletown, New York

1914-1920 -- Matthew Stirling attended the University of California, Berkeley, receiving his B.A. in Anthropology in 1920. He studied under A.L. Kroeber, T.T. Waterman, and E.W. Gifford.

1917-1919 -- Matthew Stirling served as an ensign in the U.S. Navy during World War I

1920 -- Matthew Stirling's travels to Europe with his parents

1920-1921 -- Matthew Stirling worked as teaching fellow at the University of California, Berkeley and taught William Duncan Strong

1921-1924 -- Matthew Stirling worked at the United States National Museum (USNM), first as a Museum Aide and then as an Assistant Curator of Ethnology

1922 -- Matthew Stirling received Master of Arts degree from George Washington University, studying under Truman Michelson Matthew Stirling went on a trip to the cave country of France and Spain with friend Perry J. Patton

1923 Winter -- Matthew Stirling sent by J. Walter Fewkes to excavate at Weedon (or Weeden) Island, Florida

1924 Spring -- Matthew Stirling resigned from his Smithsonian USNM post

1924 Summer -- Matthew Stirling conducted excavations in Mobridge, South Dakota

1924 July -- Matthew Stirling went on a trip to South America with friend, Perry J. Patton

1924 Winter -- Matthew Stirling continued excavations in Weedon Island, FL

1924-1925 -- Matthew Stirling sold real estate on Weedon Island, Florida to fund the expedition to Papua New Guinea in the winters of 1924 and 1925

1925-1927 -- Matthew Stirling organized and led the American-Dutch Expedition (or Smithsonian Institution-Dutch Colonial Government expedition) to Papua New Guinea

1928 -- Matthew Stirling named Chief of the Bureau of American Ethnology (BAE) at the Smithsonian Institution

1929 March-April -- Matthew Stirling surveyed mounds in Tampa Bay and Calusa areas of Florida

1930s -- Matthew Stirling conducted various archaeological excavations in Georgia and Florida under the Works Progress Administration (WPA)

1930 -- Marion Illig received a Bachelor of Science degree from Rider College From February through April, Mathew Stirling conducted more work on Tampa Bay mounds in Florida In July, Matthew Stirling went to Marfa, Texas to examine pictographs in caves and also went to Deeth, Nevada

1931 September-1932 March -- Matthew Stirling a member of the Latin American Expedition to South and Central America. He studied the Tule/Kuna Indians in Panama and the Jivaro in Ecuador

1931-1933 -- Marion Illig moved to Washington D.C. to attend George Washington University and worked at the BAE as a secretary for Matthew Stirling

1933 December 11 -- Matthew and Marion Stirling married

1933 December-1934 May 5 -- Matthew Stirling supervised Federal Civil Works Administration (or Federal Emergency Relief Administration) projects in Florida, also called Florida Federal Relief (Bradenton, Perico Island, Canaveral Island, and Belle Glade) and BAE excavations in Macon, Georgia

1934 October -- Conducted archaeological work in King, Queen, and Halifax counties in Virginia and Granville City, North Carolina

1935 -- Matthew Stirling acted as the president of the Anthropological Society of Washington Expedition to Guatemala, Honduras, and Yucatan Peninsula to study the Maya and the Quché (or Quiche) Indians from January to February 15, 1935

1935-1936 -- Matthew Stirling acted as the vice president of the American Anthropological Association

1936 -- Matthew Stirling and WPA workers conducted archaeological surveys in southern Florida in July 1936 Matthew and Marion Stirling visited an excavation in Macon, Georgia in Fall 1936 Matthew Stirling supervised archaeological projects in Hillsborough and Dade Counties in Florida

1938 January-March -- Matthew and Marion Stirling take first field trip to Mexico, visiting Tres Zapotes

1938 December 24-1939 April 15 -- First Smithsonian Institution/National Geographic Society Expedition to Mexico with C.W. Weiant. Excavated Tres Zapotes and discovered lower portion of Stela C

1939 -- Matthew Stirling received his first Franklyn L. Burr Award from the National Geographic Society

1939 December 26-1940 April 20 -- Second Smithsonian Institution/National Geographic Society Expedition to Mexico with Dr. Philip Drucker. Excavated Cerro de las Mesas and La Venta

1940 December 29-1941 April 30 -- Third Smithsonian Institution/National Geographic Society Expedition to Mexico with Dr. Philip Drucker. Excavated Cerro de las Mesas and Izapa

1941 -- Matthew and Marion Stirling received the Franklyn L. Burr Award from the National Geographic Society (shared with Richard Hewitt Stewart)

1942 April -- Matthew Stirling visited Dr. Philip Drucker at La Venta

1942 April-June -- Fourth Smithsonian Institution/National Geographic Society Expedition to Mexico. Visited Tuxtla Gutierrez, Zoque, Tzotzil and Chamula Indians, and Palenque

1943 -- Fifth Smithsonian Institution/National Geographic Society Expedition to Mexico with Dr. Waldo R. Wedel. Excavated La Venta Matthew Stirling awarded honorary Doctor of Science from Tampa University

1944 January 28-May -- Sixth Smithsonian Institution/National Geographic Society Expedition to Mexico. Visited Michoacán, Jalisco, Uruapan, Tlaquepaque, and Tarascan Indians from Lake Pátzcuaro and conducted archaeological surveys in Southern Veracruz, Tabasco, and Campeche

1945 January 22-May 31 -- Seventh Smithsonian Institution/National Geographic Society Expedition to Mexico. Excavated La Venta, San Lorenzo, Piedra Parada, and Tapachula

1946 January 26-April -- Eighth Smithsonian Institution/National Geographic Society Expedition to Mexico with Dr. Philip Drucker. Excavated San Lorenzo

1947 -- Matthew Stirling becomes Director of the Bureau of American Ethnology (title changed from "Chief")

1947 December-1948 -- First Smithsonian Institution/ National Geographic Society Expeditions to Panama including Cocle, Balboa, Chitre, Parita (Sixto Pinilla Place), Monagrillo, and El Hatillo

1949 -- Second Smithsonian Institution/ National Geographic Society Expedition to Panama

1951 -- Third Smithsonian Institution/ National Geographic Society Expedition to Panama

1953 -- Fourth Smithsonian Institution/ National Geographic Society Expedition to Panama

1954 -- Marion Stirling elected to the executive board of the Society of Women Geographers

1955 -- "Pan Am" (or Inter-American Highway) Road Trip

1956-1957 -- Smithsonian Institution/ National Geographic Society Expedition to Ecuador. Excavated in the ManabÍ Province

1957 December 31 -- Matthew Stirling retired as Director of the Bureau of American Ethnology

1958 -- Matthew Stirling received his third Franklyn L. Burr Award from the National Geographic Society

1960-1963 -- Marion Stirling acted as president for the Society of Women Geographers for the first time

1960-1975 -- Matthew Stirling's membership in the National Geographic Society Committee on Research and Exploration

1961 -- Trip to Mexico Marion Stirling's trip to Peru Matthew Stirling collaborated with Dr. L.S.B. Leakey through the NGS Committee on Research and Exploration

1963 -- Trip to Nicaragua

1964 -- Expedition to Costa Rica Trip to Asia

1967 -- International Tuna Match, Bahamas

1968 -- Trip to New Guinea Attended the Cultural Olympics in Mexico City

1969 -- Trip to Turkey, Bali, Etc.

1969-1972 -- Marion Stirling acted as president for the Society of Women Geographers for the second time

1972 -- Trip to Peru, Ecuador, Galapagos Islands Farmer finds upper portion of Stela C, confirming Matthew Stirling's original date as 31 B.C.

1972-1973 -- Trip to Yucatan Peninsula, Mexico

1974 -- Marion Stirling established the Mexican Research Fund (now the Latin American Research fund) for the Textile Museum

1975 January 23 -- Matthew Williams Stirling died in Washington D.C.

1977 -- Marion Stirling married Major General John Ramsey Pugh

1985 -- Marion Stirling Pugh received the Distinguished Service Medal from the Peruvian Embassy

1994 -- Death of Major General John Ramsey Pugh Marion Stirling Pugh's trip to Spain, Portugal, and Morocco

1995 -- Marion Stirling Pugh's trip to Antarctica and the Falkland Islands

1996 -- Marion Stirling Pugh's trip to China, and separately to Belize and Honduras

2001 April 24 -- Marion Stirling Pugh died in Tucson, Arizona

Separated Materials:

Film materials were transferred to the Human Studies Film Archive (HSFA).

Provenance:

The bulk of these papers were donated to the National Anthropological Archives in 2016 by Matthew and Marion Stirling's grandchildren, Jessica Gronberg and Jeremy Withers.

Restrictions:

The Matthew Williams Stirling and Marion Stirling Pugh papers are open for research.

The scrapbooks listed in Series 1.7 are restricted due to preservation concerns. Please contact the reference archivist for more information.

Access to the Matthew Williams Stirling and Marion Stirling Pugh papers requires an appointment.

Rights:

Contact the repository for terms of use.

Occupation:

Women archaeologists  Search this

Topic:

Archaeology  Search this

Excavations (Archaeology)  Search this

Genre/Form:

Field notes

Photographs

Correspondence

Citation:

Matthew Williams Stirling and Marion Stirling Pugh papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.2016-24

See more items in:

Matthew Williams Stirling and Marion Stirling Pugh papers

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-2016-24

Collector:

Davidson, Eric H., 1937-  Search this

Musician:

Galyean, Cullen  Search this

Harrison, Bobby  Search this

Jarrell, Tommy, 1901-1985  Search this

Joines, Polly  Search this

Neaves, Glen  Search this

Smith, Glen (Banjo player)  Search this

Spencer, Ed  Search this

Ward, Wade  Search this

Extent:

73 Sound tape reels

Type:

Collection descriptions

Archival materials

Sound tape reels

Audiotapes

Date:

1958-1984

Summary:

This collection contains 73 open reel tapes, made by Eric H. Davidson between 1958-1984, featuring the traditional music of Southern Appalachia.

Scope and Contents:

The Eric H. Davidson audio recordings consists of 73 open reel tapes dating from 1958-1984, featuring field recordings made by Davidson and his colleagues (including Caleb Ellicott Finch, Paul Newman, Lyn Davidson, and Jane Rigg) featuring the traditional music of Southern Appalachia. The recordings were collected primarily in Grayson and Carroll counties in Southwestern Virginia, and adjacent counties in North Carolina.

Arrangement:

The Eric H. Davidson audio recordings are arranged in chronological order. Each open reel tape was assigned a unique number by Eric Davidson.

Biographical / Historical:

Eric H. Davidson was born in 1937, in New York City. He was primarily known as a pioneering developmental biologist, who revolutionized the research of and theoretical framework behind "the gene regulatory networks that perform complex biological processes, such as the transformation of a single-celled egg into a complex organism. His work helped to reveal how the DNA sequences inherited in the genome are used to initiate and drive forward the sequence of steps that result in development." (1)

Davidson's work in biology began at the age of 16, when he began conducting research with cell physiologist L. V. Heilbrunn, a family friend, at the Marine Biological Laboratory (MBL) in Woods Hole, Massachusetts. He began as a dish washer at the MBL, but was informed by Heilbrunn that he was also expected to have a research project. This project resulted in a published abstract in the Biological Bulletin on clotting in sand dollars.

Davidson earned his bachelor of arts degree from the University of Pennsylvania in 1958 and his doctorate from Rockefeller University in 1963. After working as a postdoctoral researcher and faculty member at Rockefeller, he moved to Caltech, where he would spend the rest of his career, beginning as a visiting assistant professor. He was named Norman Chandler Professor of Cell Biology in 1982 and remained there until his death.

His interest in old time music arose at nearly the same time as his interest in biology. His father, a well-known abstract painter, and mother were connected to several people who were hired to do research for the Works Progress Administration (WPA) of the late 1930's and 40's. At 14, he began to play the 5-string banjo after being introduced to the instrument through his exposure to recordings of Southern Appalachian music recorded as a part of the WPA, held at the Library of Congress.

In college, he played music in cafes. He also got a hold of the log of WPA recordings that were so influential to him. He began to stick pins in maps wherever the recordings were made, and began to notice that most of the pins were clustered in two counties in Southwestern Virginia--Grayson and Carroll counties--and adjacent counties in North Carolina.

In 1956, he began to take trips down to these areas during breaks from school to record musicians that had learned songs and skills through oral tradition, as opposed to the radio or records. He continued to go every year for many years, until the last person he knew had learned by oral tradition passed away. He formed close relationships with many notable musicians during these trips, including Wade Ward (from whom he learned the clawhammer banjo playing technique), Tommy Jarrell, Paul Joines, Glen Neaves, Vester Jones, Ed Spencer, Glen Smith, Cullen Galyean, and Bobby Harrison. He often recorded with his longtime collaborators Caleb Ellicott Finch, Paul Newman, Lyn Davidson, and Jane Rigg. Many of these recordings were released by Moses Asch as Folkways Records albums, produced by Davidson and his collaborators between 1962-1986.

Davidson was interested in the personal, musical, structural, traditional, and historical aspects of Southern Appalachian music. His fieldwork style was to continue to record a musician until they got tired or he'd run out of tape. Then he'd come back the next day, and the next year, and the year after that, until he had recorded everything that musician knew. This gave his work the characteristic of what he described as, borrowing from his scientific background, a longitudinal study. He was able to observe changes in the musical tradition of the region: the transition of traditional ballad singing from a cappella to string band accompaniment, the incorporation of the guitar into the string band ensemble, and the shift from clawhammer to three-finger banjo picking. In an oral history interview with Davidson conducted by the Ralph Rinzler Folklife and Collections in 2015, Davidson said that in his research, he could see how "ballads combine and recombine like genetic organisms in biology."

Davidson was also an accomplished banjo musician in his own right. He formed the Iron Mountain String Band together with Caleb Finch (fiddle), and Peggy Haine (guitar), releasing an album (FA 2473) on Folkways Records in 1973 consisting of songs and tunes learned from his many recording trips into Grayson and Carroll counties.

Eric Davidson died on September 1, 2015 at the age of 78.

1. "Developmental Biologist Eric H. Davidson Passes Away," Caltech News, September 4, 2015, accessed January 5, 2016, http://www.caltech.edu/news/developmental-biologist-eric-h-davidson-passes-away-47772.

Disclaimer:

Please note that some language in this collection is culturally insensitive or offensive to viewers. It is presented as it exists in the original material for the benefit of research and the historical record. The material reflects the culture and context in which it was created and not the views of the Smithsonian Institution.

Related Materials:

An oral history with Eric H. Davidson was conducted by the Ralph Rinzler Folklife Archives and Collections on April 26, 2015. Both the video and transcript is available for researchers. Contact archives staff for information.

Provenance:

Donated by Eric H. Davidson.

Restrictions:

Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.

Rights:

Copyright restrictions apply. Contact archives staff for information.

Topic:

Fiddle tunes -- Appalachian Region, Southern  Search this

Folk music -- Appalachian Region, Southern  Search this

Banjo music -- Appalachian Region, Southern  Search this

Music -- Appalachian Region, Southern  Search this

Old-time music -- Appalachian Region, Southern  Search this

Genre/Form:

Audiotapes

Citation:

Eric H. Davidson audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Eric H. Davidson audio recordings, 1958-1985. Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.DAVID

See more items in:

Eric H. Davidson audio recordings

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

EDAN-URL:

ead_collection:sova-cfch-david

Interviewee:

Gershoy, Eugenie, 1901?-1983 or 6  Search this

Interviewer:

McChesney, Mary Fuller  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Federal Art Project (New York, N.Y.)  Search this

New Deal and the Arts Oral History Project  Search this

Flannagan, John Bernard, 1895?-1942  Search this

Extent:

1 Sound tape reel (Sound recordings, 5 in.)

29 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tape reels

Pages

Sound recordings

Interviews

Date:

1964 Oct. 15

Scope and Contents:

An interview of Eugenie Gershoy conducted 1964 Oct. 15, by Mary McChesney, for the Archives of American Art's New Deal and the Arts Oral History Project.

Gershoy speaks of her background and education; studying under John Flannagan at the Art Students League; working for the WPA Federal Art Project in New York City; sculptors she associated with; her involvement in protest demonstrations; her feelings about government support for the arts; and her post-FAP career.

Biographical / Historical:

Eugenie Gershoy (1901?-1983 or 6) was a sculptor from New York, N.Y.

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.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Federal aid to the arts  Search this

Art and state  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Women sculptors -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.gersho64

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-gersho64

Interviewee:

Gaw, William A., 1891-1973  Search this

Interviewer:

Ferbraché, Lewis  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Federal Art Project (Calif.)  Search this

New Deal and the Arts Oral History Project  Search this

Griffin, James Martin, b. 1850  Search this

Léger, Fernand, 1881-1955  Search this

Marsh, Reginald, 1898-1954  Search this

Park, David, 1911-1960  Search this

Ryder, Worth, 1884-1960  Search this

Still, Clyfford, 1904-1980  Search this

Extent:

1 Sound tape (Sound recording: 1 sound tape, 7 in.)

48 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tapes

Pages

Sound recordings

Interviews

Date:

1964 Mar. 6

Scope and Contents:

An interview of William A. Gaw conducted 1964 Mar. 6 by Lewis Ferbraché for the Archives of American Art.

Gaw speaks of his art training under James Martin Griffin; attending the Mark Hopkins Institute; his work as a commercial artist, an engineer, and a designer; early exhibitions of his work; working with the WPA-FAP; teaching at Mills College; exhibitions he has juried; and California artists he has associated with. He recalls Fernand Leger, Reginald Marsh, David Park, Worth Ryder, and Clyfford Still.

Biographical / Historical:

Painter, engineer, and designer; Berkeley, California.

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.

Restrictions:

Transcript: Patrons must use microfilm copy.

Occupation:

Designers  Search this

Engineers  Search this

Topic:

Commercial art -- California -- Berkeley  Search this

Federal aid to the arts  Search this

Art -- Exhibitions  Search this

Painters -- California -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.gaw64

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-gaw64

Creator:

Gedeon, Lucinda H.  Search this

Names:

University of California, Los Angeles  Search this

White, Charles, 1918-1979  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1940-1997

bulk 1980-1981

Summary:

The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions; a card file catalogue of works by Charles White; photographs and negatives; printed material; transcripts of interviews; bibliographic information; and writings.

Scope and Contents:

The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions regarding Charles White works in their collections; a card file catalogue of works by White; photographs and negatives of works by White; printed material including exhibition materials and magazine and newspaper clippings; transcripts of interviews with White and other individuals; bibliographic information; and writings about White.

Arrangement:

Due to the small size of this collection, the papers are arranged in one series.

Series 1: Lucinda H. Gedeon Research Material on Charles W. White, 1940-1997, bulk 1980-1981 (Boxes1-2; 1.4 linear feet)

Biographical / Historical:

Lucinda H. Gedeon is a retired art historian in Vero Beach, Florida. Previously the director of the Neuberger Museum at the State University of New York, Purchase, and later of the Vero Beach Museum of Art, Gedeon earned both a master's degree and a doctorate at UCLA. She completed her master's thesis on the work of Charles White.

Charles W. White (1918-1979) was an African American painter. White was born in Chicago and attended the Art Institute of Chicago. He worked as an artist for the Works Progress Administration and later taught first at Dillard University, then at Otis Art Institute from 1965 until his death in 1979.

White exhibited widely and his work is held at a number of institutions. He was elected to the National Academy of design in 1972.

Related Materials:

Also found in the Archives of American Art are the Charles W. White papers, circa 1930-1982, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.

Provenance:

The Lucinda H. Gedeon research materials on Charles W. White were donated to the Archives of American Art by Lucinda H. Gedeon in 2007.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Occupation:

Painters -- California -- Los Angeles  Search this

Art historians -- Florida  Search this

Topic:

African American artists  Search this

Genre/Form:

Interviews

Citation:

Lucinda H. Gedeon research material on Charles W. White, 1940-1997, bulk 1980-1981. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.gedeluci

See more items in:

Lucinda H. Gedeon research material on Charles W. White

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-gedeluci

Creator:

Gershoy, Eugenie, 1901?-1983 or 6  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Federal Art Project (N.Y.)  Search this

Woodstock Artists Association (Woodstock, N.Y.)  Search this

Yaddo (Artist's colony)  Search this

Baker, Mildred, 1905-  Search this

Blanch, Arnold, 1896-1968  Search this

Blanch, Lucile, 1895-1981  Search this

Breeskin, Adelyn Dohme, 1896-1986  Search this

Calder, Alexander Stirling, 1870-1945  Search this

Dehn, Virginia  Search this

Force, Juliana, 1876-1948  Search this

Fruhauf, Aline, 1909-1978  Search this

Gottlieb, Harry, 1895-  Search this

Hart, Agnes, 1912-1979  Search this

Knight, Frederic C., 1898-1979  Search this

Marantz, Irving, 1912-1972  Search this

Millay, Edna St. Vincent, 1892-1950  Search this

Nakian, Reuben, 1897-1986  Search this

Picken, George, 1898-  Search this

Pollet, Joseph C., 1897-1979  Search this

Presser, Josef, 1906-1967  Search this

Refregier, Anton, 1905-  Search this

Scaravaglione, Concetta, 1900-1975  Search this

Soyer, Moses, 1899-1974  Search this

Soyer, Raphael, 1899-1987  Search this

Thomson, Virgil, 1896-  Search this

Varda, Jean  Search this

Extent:

7.2 Linear feet

Type:

Collection descriptions

Archival materials

Prints

Christmas cards

Photographs

Sketchbooks

Sketches

Place:

Woodstock (N.Y.)

Date:

1914-1983

Summary:

The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.

Scope and Content Note:

The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.

Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.

Arrangement:

The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.

Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)

Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)

Series 3: Business Records, 1952-1978 (box 6; 5 folders)

Series 4: Notes, 1967-1970, undated (box 6; 3 folders)

Series 5: Writings, 1970, undated (box 6; 2 folders)

Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)

Series 7: Printed Material, 1932-1983, undated (boxes 7, 9; 19 folders)

Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)

Biographical Note:

Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.

With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.

Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.

In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.

Eugenie Gershoy died in 1986.

Related Material:

Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.

Provenance:

The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.

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.

Topic:

Painters -- New York (State) -- New York  Search this

Federal aid to the arts  Search this

Artists -- New York (State) -- Woodstock  Search this

Artists' studios -- New York (State) -- New York -- Photographs  Search this

Women painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Women sculptors -- New York (State) -- New York  Search this

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Prints

Christmas cards

Photographs

Sketchbooks

Sketches

Citation:

Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.gerseuge

See more items in:

Eugenie Gershoy papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-gerseuge

Interviewee:

Zornes, James Milford, 1908-2008  Search this

Interviewer:

McGlynn, Betty Hoag  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

New Deal and the Arts Oral History Project  Search this

Chamberlain, F. Tolles  Search this

Sheets, Millard, 1907-1989  Search this

Extent:

31 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1965 June 30

Scope and Contents:

An interview of Milford Zornes conducted 1965 June 30, by Betty Hoag, for the Archives of American Art. Zornes speaks of his childhood; never intending to become an artist until junior college in California; teaching art class; a workshop he is holding in his studio at Mt. Carmel, Utah; studying with Millard Sheets and F. Tolles Chamberlain and their influence; the murals he worked on under the Federal Art Project; being drafted into the army and working as an army artist; working an engineering job at Thule Air Base in Greenland; illustrating books; his thoughts on the Federal Art Project and his experiences with it; and how President and Mrs. Roosevelt chose his watercolors to be permanently housed in the White House. He recalls Maynard Dixon, Robert Ortley[?], Millard Sheets, Tom Craig, F. Tolles Chamberlain, Nelbert Chouinard, William Manker, David Scott, Thomas Beggs, Paul Sample, Sisqueiros, Orozco, Hartley Burr Alexander, George Biddle, and others.

Biographical / Historical:

James Milford Zornes (1908-2008) was a muralist, painter, and illustrator from Mt. Carmel, Vermont.

General:

Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 1 hrs., 46 min.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

Transcript is available on the Archives of American Art's website.

Topic:

Federal aid to the arts  Search this

Mural painting and decoration -- United States  Search this

Illustrators -- Vermont -- Mt. Carmel -- Interviews  Search this

Muralists -- Vermont -- Mt. Carmel -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.zornes65

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-zornes65