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Charles Sheeler papers

Creator:
Sheeler, Charles, 1883-1965  Search this
Names:
Archives of American Art  Search this
Downtown Gallery (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Bacon, Peggy, 1895-1987  Search this
Eidlitz, Dorothy  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Lane, William H.  Search this
Newhall, Beaumont, 1908-1993  Search this
Newhall, Nancy Wynne.  Search this
Rourke, Constance, 1885-1941  Search this
Sheeler, Musya, 1908-1981  Search this
Waters, George  Search this
Weston, Edward, 1886-1958  Search this
Williams, William Carlos, 1883-1963  Search this
Photographer:
Sheeler, Musya  Search this
White, Minor  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Date:
circa 1840s-1966
bulk 1923-1965
Summary:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. Notable photographs include Sheeler with Edward Weston, Edward Steichen, and John Marin.
Scope and Content Note:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.
Arrangement:
The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Series 1: Biographical Materials, 1875, 1928-1965 (Boxes 1, 5, OV10; 0.6 linear feet)

Series 2: Correspondence, 1937-1966 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1930s-1965 (Boxes 1-2 ; 0.4 linear feet)

Series 4: Scrapbooks, 1930s-1960s (Boxes 2, 6; 0.4 linear feet)

Series 5: Printed Material, 1923-1966 (Boxes 2-4, 7; 1.5 linear feet)

Series 6: Photographs, circa 1840s-1963 (Box 4, OV11; 0.4 linear feet)

Series 7: Artwork, circa 1930s-1960s (Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)
Biographical Note:
Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.
Related Material:
The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.
Separated Material:
Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.
Provenance:
Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Charles Sheeler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to copyright laws.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Industrial designers -- New York (State) -- New York  Search this
Genre/Form:
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Citation:
Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheechar
See more items in:
Charles Sheeler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sheechar
Online Media:

Oral history interview with Paul Caponigro

Interviewee:
Caponigro, Paul, 1932-  Search this
Interviewer:
Larsen, Susan C.  Search this
Names:
Adams, Ansel, 1902-1984  Search this
Bufano, Beniamino, 1898-1970  Search this
Bunnell, Peter C.  Search this
Chappell, Walter, 1925-  Search this
Chiarenza, Carl  Search this
Clergue, Lucien.  Search this
Clift, William  Search this
Cosindas, Marie, 1925-  Search this
Cunningham, Imogen, 1883-1976  Search this
Graves, Morris, 1910-  Search this
Lange, Dorothea  Search this
Newhall, Beaumont, 1908-1993  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Ranney, Edward.  Search this
Russek, Janet  Search this
Scheinbaum, David, 1951-  Search this
Singer, Robert T.  Search this
Strand, Paul, 1890-1976  Search this
Szarkowski, John  Search this
Tice, George A.  Search this
Uelsmann, Jerry, 1934-  Search this
Westin, Bert  Search this
White, Minor  Search this
Extent:
87 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1999 July 30-August 12
Scope and Contents:
An interview of Paul Caponigro conducted 1999 July 30-August 12, by Susan C. Larsen, for the Archives of American Art, at Caponigro's home, in Cushing, Maine.
Caponigro describes his childhood, military career, and travels through the southwest and northern California, his association with Minor White, exhibitions, publications, employment, and marriage to wife Eleanor.
Caponigro discusses the significance of his Stonehenge series of photographs; others' interpretations of his work; further exhibitions; and the role that his family's move to Santa Fe, New Mexico, has played in the evolution of his work.
Further discussion of the photographic scene in Santa Fe and its connection to American modernist photographers such as Paul Strand and Ansel Adams; travels; Guggenheim grant; the 1991 fall from a rocky ledge that was a physical and spiritual watershed in his life; and his new home in Cushing, Maine.
He recalls George Tice, Ansel Adams, Minor White, Bert Westin, Imogen Cunningham, Dorothea Lange, Oliver Gagliani, Beniamino Bufano, Morris Graves, Walter Chappell, Jerry Uelsmann, Carl Chiarenza, William Clift, Marie Cosindas, Peter Bunnell, John Szarkowski, Robert Singer, Beaumont Newhall, Georgia O'Keeffe, Ed Ranney, David Scheinbaum, Janet Russek, Lucien Clergue, and many others.
Biographical / Historical:
Paul Caponigro (1932- ) is a photographer and teacher from New England and New Mexico.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 5 hr., 19 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.
Topic:
Photography, Artistic  Search this
Photographers -- Maine -- Cushing -- Interviews.  Search this
Photographers -- New Mexico -- Santa Fe -- Interviews.  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.caponi99
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-caponi99

Peter Pollack papers

Creator:
Pollack, Peter, 1909-1978  Search this
Names:
Archives of American Art  Search this
Federal Art Project (Ill.)  Search this
South Side Community Art Center  Search this
United States. Works Progress Administration  Search this
Abrams, Harry N.  Search this
Adams, Ansel, 1902-1984  Search this
Brassaï, 1899-  Search this
Cole, Sylvan  Search this
Davis, Charles H. (Charles Harold), 1856-1933  Search this
De Diego, Julio, 1900-  Search this
Florsheim, Richard A., 1916-1979  Search this
Gernsheim, Helmut, 1913-  Search this
Halsman, Philippe  Search this
Harissiadis, Dimitrios  Search this
Karsh , Yousuf, 1908-2002  Search this
Mayer, Grace M.  Search this
Newhall, Beaumont, 1908-1993  Search this
Extent:
6.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1939-1979
Scope and Contents:
Correspondence; photographs; writings and lecture notes; and printed material; and a scrapbook.
Circa 300 personal letters, 1945-1970, to Pollack from painter Richard Florsheim.
Files of correspondence and clippings pertaining to Pollack's career as a curator and photography historian. Most of the files concern Pollack's book "The Picture History of Photography." Other files concern Pollack's work on publications for Harry N. Abrams, Inc., the Worcester Art Museum and the Art Institute of Chicago. Also included are writings and lecture notes; a few letters and clippings from scrapbooks; and miscellany. Correspondents include: Ansel Adams, Gyuia Halasz Brassai, Sylvan Cole, Julio De Diego, Helmut Gernsheim, Philippe Halsman, Dimitrios Harissiadis, Yousuf Karsh, Grace M. Mayer, and Beaumont Newhall.
Personal correspondence, 1954-1976, with Richard Florsheim discussing various career choices and projects, exhibition openings, Florsheim's art dealers, and book projects Florsheim was involved in; project files, 1948-1962, regarding Pollack's position as the New York City-based Public Relations Consultant for the Archives of American Art, the Cincinnati Art Museum, the Guggenheim, and other institutions. Included are letters, news releases, catalogs, announcements and some photographs and clippings of such projects as the International Biennial of Prints and the AAA European art tour trip.
Also included is a scrapbook, 1939-1943, concerning exhibitions and activities of the South Side Community Art Center, Chicago, sponsored by the Illinois Art Project of the WPA-FAP and supervised by Pollack, 1938-1942. The center's purpose was to advance African American art and artists. Included are by-laws; letters from Alain Locke, and Richmond Barthe; photographs of Pollack, Jules Carlen, Horace Pippin, Eldzier Cortor, Canada Lee, Julio de Diego, Jesus Torres, and Eleanor Roosevelt at the dedication of the center, 1941; a typescript of a lecture by Daniel Catton Rich "The Art Museum and the Community Art Center," delivered at the Museum Director's conference, Detroit Institute of Arts, May 1940, newspaper clippings, exhibition announcements and catalogs and other printed material.
Biographical / Historical:
Peter Pollack (1909-1978) was a photographer, curator, historian, and writer in New York, N.Y.
Provenance:
Material on reels 822 and 4886-4887 donated 1974-1977 by Pollack, except for the scrapbook which was donated by Jane de Hart, an art historian at the University of North Carolina at Chapel Hill, who received it from Pollack for her research on African American artists and WPA projects. Material on reels 2385-2390 was lent for microfilming in 1981 by Creilly Pollack, Pollack's widow.
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:
Museum curators  Search this
Photographers -- New York (State) -- New York  Search this
Topic:
Photography  Search this
African American artists  Search this
Function:
Art centers -- Illinois -- Chicago
Identifier:
AAA.pollpete
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pollpete

Oral history interview with Beaumont Newhall, 1965 Jan. 23

Interviewee:
Newhall, Beaumont, 1908-1993  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Subject:
Blatas, Arbit  Search this
Steichen, Edward  Search this
Talbot, William Henry Fox  Search this
United States  Search this
George Eastman House  Search this
Federal art project (Mass.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Photography  Search this
Arts administrators -- New York (State) -- Rochester -- Interviews  Search this
Art historians -- New York (State) -- Rochester -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13299
(DSI-AAA_SIRISBib)213687
AAA_collcode_newhal65
Theme:
Photography
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213687

Beaumont Newhall and Gordon Hendricks lectures, 1962 May 30

Creator:
Newhall, Beaumont, 1908-1993  Search this
Hendricks, Gordon  Search this
Type:
Sound recordings
Topic:
Photography -- History  Search this
Motion pictures -- History  Search this
Record number:
(DSI-AAA_CollID)10635
(DSI-AAA_SIRISBib)214208
AAA_collcode_newhbeau
Theme:
Art Theory and Historiography
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214208

Oral history interview with Beaumont Newhall

Interviewee:
Newhall, Beaumont, 1908-1993  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal art project (Mass.)  Search this
George Eastman House  Search this
New Deal and the Arts Oral History Project  Search this
United States. Farm Security Administration. Historical Section  Search this
Blatas, Arbit  Search this
Steichen, Edward, 1879-1973  Search this
Talbot, William Henry Fox, 1800-1877  Search this
Extent:
23 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 Jan. 23
Scope and Contents:
An interview of Beaumont Newhall conducted 1965 Jan. 23, by Joseph Trovato, for the Archives of American Art. Newhall speaks of his education and first jobs in museums; his administration of the WPA Federal Art Project in Massachusetts; Berenice Abbott's photographs of New York; and the Farm Security Administration's photography project. He speaks of early photography and William Henry Fox Talbot; photography and the Armory Show; the 1937 photography exhibition at the Museum of Modern Art and Edward Steichen; and the George Eastman House. Newhall comments on museums accepting photography as art; the amateur photographer versus the artistic photographer; and his view of photography as a discoverer and a "partaker" of nature.
Biographical / Historical:
Beaumont Newhall (1908-1993) was an art administrator and art historian from Rochester, N.Y.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 21 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 available on the Archives of American Art website.
Topic:
Federal aid to the arts  Search this
Photography  Search this
Arts administrators -- New York (State) -- Rochester -- Interviews  Search this
Art historians -- New York (State) -- Rochester -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.newhal65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newhal65

Oral history interview with Robert Adams

Interviewee:
Adams, Robert, 1937-  Search this
Interviewer:
Jurovics, Toby, 1965-  Search this
Names:
Denver Art Museum  Search this
John Simon Guggenheim Memorial Foundation. Fellows in Photography  Search this
MacArthur Fellows Program  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Baltz, Lewis, 1945-2014  Search this
Castelli, Leo  Search this
Gowin, Emmet, 1941-  Search this
Hoffman, Michael  Search this
Newhall, Beaumont, 1908-1993  Search this
O'Sullivan, Timothy H., 1840-1882  Search this
Szarkowski, John  Search this
Wood, Myron  Search this
Extent:
43 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 July 20
Scope and Contents:
An interview of Robert Adams conducted 2010 July 20, by Toby Jurovics, for the Archives of American Art, at Adams' home, in Astoria, Oregon.
Robert Adams speaks of compensating his early struggles with polio with activity outdoors; his close relationship with his father through outdoor expeditions; visiting the Denver Art Museum as a teenager; years of study and experimentation with photography on his own and under the direction of Myron Wood; the financial struggle of transitioning from an English professor to a full-time photographer; the outcome of his work under the Guggenheim and MacArthur Foundation Fellowships; his first sale of photographs to the Museum of Modern Art; the role of spirituality and morality in art; environmental and societal concerns such as deforestation, climate change, and overpopulation that inform much of his work; the foreboding change in landscape he has observed in the American West since the 1970s; his concern that future generations of landscape photographers may not share the same connection with the land as he has experienced; the need to change society's domineering view of the wilderness; the working relationship he shares with his wife, Kerstin; the process of publishing his photographs and the importance of quality materials and printing in these publications; the sequence of the books he has published as a reflection of his life experiences. Adams also recalls Michael Hoffman, John Szarkowski, Myron Wood, Lewis Baltz, Leo Castelli, Beaumont Newhall, Emmet Gowin, Ansel Adams, Timothy O'Sullivan, and others.
Biographical / Historical:
Robert Adams (1937- ) is a photographer in Astoria, Oregon. Toby Jurovics (1965- ) is curator of photography at the Smithsonian American Art Museum in Washington, D.C.
General:
Originally recorded on 3 memory cards. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 57 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.
Restrictions:
Audio: ACCESS RESTRICTED; use requires written permission. Contact Archives Reference Services for information.
Use of the audio of this interview, with permission, requires an appointment and is limited to the Archives of American Art reading rooms.
Topic:
Global environmental change  Search this
Landscape photography  Search this
Photographers -- Oregon -- Interviews  Search this
Photography -- Study and teaching  Search this
Poliomyelitis -- Patients -- Rehabilitation  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.adams10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-adams10

Paul Vanderbilt papers

Creator:
Vanderbilt, Paul  Search this
Names:
Graphic History Society of America  Search this
Library of Congress. Prints and Photographs Division  Search this
Philadelphia Museum of Art  Search this
State Historical Society of Wisconsin. Division of Archives and Manuscripts  Search this
Union Library Catalogue of the Philadelphia Metropolitan Area  Search this
United States. Farm Security Administration. Historical Section  Search this
Allen, Mary North  Search this
Blake, William  Search this
Conniff, Gregory, 1944-  Search this
Crane, Barbara, d1928-  Search this
Guthrie, Woody, 1912-1967  Search this
Haywood, Carl  Search this
Holzhueter, Jack  Search this
Lange, Dorothea  Search this
Lesy, Michael, 1945-  Search this
Newhall, Beaumont, 1908-1993  Search this
Pilling, Arnold R.  Search this
Plunkett, Jane  Search this
Shera, Jesse Hauk, 1903-1982  Search this
Stryker, Roy Emerson, 1893-1975  Search this
Talbot, George  Search this
Vanderbilt, Julia  Search this
Extent:
25.2 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Interviews
Photographs
Sound recordings
Date:
1854-1992
bulk 1945-1992
Summary:
The papers of librarian, curator, and photographer Paul Vanderbilt (1905-1992) measure 25.2 linear feet and date from 1854 to 1992 with the bulk of the material dating from 1945 to 1992. The papers are comprised of biographical materials, personal and business correspondence, interviews, writings and notes, fourteen diaries and two diary fragments, reference and project files, photographic materials, sound recordings, and professional files.
Scope and Contents:
The papers of librarian, curator, and photographer Paul Vanderbilt (1905-1992) measure 25.2 linear feet and date from 1854 to 1992 with the bulk of the material dating from 1945 to 1992. The papers are comprised of biographical materials, personal and business correspondence, interviews, writings and notes, fourteen diaries and two diary fragments, reference and project files, photographic materials, sound recordings, and professional files.

Biographical materials include seven appointment books, family letters and documents, and an honorary degree from the University of Wisconsin.

Vanderbilt's correspondence is with colleagues, and organizations including Dorothea Lange, Beaumont Newhall, Roy Stryker, and Julia Vanderbilt.

Sound recordings of interviews of Vanderbilt conducted by Mary North Allen, Barbara Crane, Carl Haywood, Jack Holzhueter, and Jane Plunkett. Other recordings are of Vanderbilt discussing his personal and professional life.

Writings by Paul Vanderbilt include drafts of Between the Landscape and its Other, poems, lectures, student papers, and notes on a variety of subjects. Writings by others are found for William Blake, Gregory Conniff, Woody Guthrie, Michael Lesy, Arnold R. Pilling, Jesse H. Shera, and Roy Stryker.

Fourteen of Vanderbilt's personal diaries and two diary fragments date from 1926 to 1990.

Reference files consist of printed materials on art, art historians, book reviews, library and information studies, photography and microphotography techniques, and other themes of interest to Vanderbilt. Project files include material from Vanderbilt's various projects, including a guide to the iconography of Iran, the reclassification of FSA photographs, and the Union Library Catalog of Philadelphia.

Included in professional files are administrative records, correspondence, exhibition files, project files, printed material, and research files created during Vanderbilt's career at the Library of Congress, Graphic History Society, State Historical Society of Wisconsin, Philadelphia Museum of Art, and the Farm Security Administration. Also found are materials for Vanderbilt's work as a consultant for several organizations, lecture documents, and art-related workshops.

Photographs are by and of Paul Vanderbilt, the staff of the Library of Congress, and George Talbot. Negatives include images for the Farm Security Administration. Bibliography cards and photographs of artwork from the Library of Congress can be found on microfilm reels within the collection.

Also found are fourteen unidentified sound recordings.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Materials, 1894-1992 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1933-1992 (1.5 linear feet; Box 1-2)

Series 3: Interviews, 1967-1992 (1.5 linear feet; Box 2-4)

Series 4: Writings and Notes, 1887-1992 (4.0 linear feet; Box 4-8)

Series 5: Diaries, 1926-1990 (0.5 linear feet; Box 8)

Series 6: Reference Files, 1877-1992 (2.5 linear feet; Box 8-10, 26)

Series 7: Project Files, 1935-1990 (3.0 linear feet; Box 10-13)

Series 8: Professional Files, 1854-1991 (11.7 linear feet; Box 13-24)

Series 9: Photographic Materials, 1912-1980s (0.5 linear feet; Box 24)

Series 10: Sound Recordings, circa 1980s (0.5 linear feet; Box 24-25)
Biographical / Historical:
Paul Vanderbilt (1905-1992) was a librarian, curator, and photographer active in Philadelphia, Pennsylvania, Washington, D.C. and Madison, Wisconsin.

Paul Vanderbilt was born in Cambridge, Massachusetts and educated in Germany, Switzerland, and Massachusetts. He attended Amherst College from 1923 to 1925 before transferring to Harvard where he graduated with a BA in art history in 1927. After graduation, Vanderbilt traveled to Europe where he studied at the American School of Librarianship in Paris and the Institut de Psychologie Bibliogique in Lausanne. In 1929, he returned to the United States and became a librarian at the Philadelphia Museum of Art and director of the Union Library Catalog project for the Philadelphia area.

In 1941 Vanderbilt began working under Roy Stryker cataloging the extensive photographic survey collection of the Farm Security Administration and U.S. Office of War Information. The collection is a rich resource of images of American life between 1935 and 1944. In 1943, the FSA photograph collection was transferred to the Library of Congress and Vanderbilt went with it as the curator of the newly formed Prints and Photographs Division, eventually becoming the Division chief of fine arts.

During the early 1950s, Vanderbilt also served as the director of the Graphic History Society of America. There he published a quarterly bulletin Eye to Eye and developed a guide to iconography in Iran. In 1954, he became the Curator of Iconographic Collections at the State Historical Society of Wisconsin and worked there until he retired in 1972.

Vanderbilt remained active after retirement. He became an artist-in-residence at the Apeiron Workshops, worked as a photographer for the Seagram courthouse project and the George Eastman House, and was a presenter at multiple conferences. Vanderbilt devoted much of his later life to working on his book titled Between the Landscape and its Other which was published posthumously after Vanderbilt's death in 1992.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Paul Vanderbilt conducted by Richard Doud on November 10, 1964.
Provenance:
The collection was donated in 1981 by Paul Vanderbilt and in 1993 by his estate through John W. Winn, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Paul Vanderbilt papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- United States  Search this
Curators -- United States  Search this
Documentary photography -- United States  Search this
Photography  Search this
Photomicrography  Search this
Graphic arts -- Historiography  Search this
Graphic arts -- Iran  Search this
Librarians  Search this
Photographers  Search this
Genre/Form:
Diaries
Interviews
Photographs
Sound recordings
Citation:
Paul Vanderbilt papers, 1854-1992, bulk 1945-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vandpaul
See more items in:
Paul Vanderbilt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vandpaul
Online Media:

Ralf E. Nickelsen papers

Creator:
Nickelsen, Ralf E. (Ralf Edgar), 1903-1990  Search this
Names:
Federal art project (Mass.)  Search this
United States. Works Progress Administration  Search this
Montminy, Tracy, 1911-1992  Search this
Newhall, Beaumont, 1908-1993  Search this
Extent:
1.3 Linear feet
4 Items (rolled docs)
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1929-1993
Scope and Contents:
Biographical materials, correspondence, business records, writings, art works, photographs, and printed material.
Biographical material includes ID cards and an autobiographical statement. Correspondence, 1935-1964, includes letters sent to Nickelsen as Supervisor for the WPA Massachusetts Federal Art Project; correspondents include Beaumont Newhall and muralist Elizabeth Tracy. Project files regard mural and stained glass commissions, among them the East Boston murals; Nebraska capitol murals; Springfield, Mass. Museum of Fine Arts library murals; Worcester, Mass. Parcel Post Building murals; and stained glass commissions, ca.1938-1942. Files contain correspondence, art work, including large mural cartoons, reference photographs, photographs of works of art, and printed material. Also included are a list of mural ingredients and notes; business records, 1927-1937; photocopies of articles and writings, 1930-1967; art work by Nickelsen including stained glass rendering and mural drawings by Elizabeth Tracy Montminy; exhibition catalogs, clippings, photographs of Nickelsen and his art work, including one of him painting a window for St. Patricks Church, N.Y. in the Charles Connick Studio, Boston, 1950; and of Montminy and her murals.
Biographical / Historical:
Stained glass artist; mural painter; Boston, Mass. Born in Hamburg, Germany. Initially studied at the stained-glass studio of his father, John R. Nickelsen, and later went to the State Art School, Hamburg. He came to the United States in 1922 and attended the Art Students' League, N.Y. and the School of the Museum of Fine Arts, Boston. Participated as an artist and as a supervisor on the WPA Art Project in Boston, and was associated with the stained-glass design firm of Charles J. Connick Associates for many years.
Provenance:
Donated 1991-1999 by Nickelsen's widow, Ingeborg R. Nickelsen.
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:
Muralists -- Massachusetts  Search this
Artisans  Search this
Stained glass artists -- Massachusetts  Search this
Topic:
Artists' preparatory studies  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration -- 20th century -- Massachusetts  Search this
Glass painting and staining -- United States  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.nickralf
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nickralf

Beaumont Newhall and Gordon Hendricks lectures

Creator:
Newhall, Beaumont, 1908-1993  Search this
Hendricks, Gordon  Search this
Extent:
1 sound tape (7 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Sound recordings
Date:
1962 May 30
Scope and Contents:
Talks given by Beaumont Newhall and Gordon Hendricks before an unidentified group at the Shorham [Hotel] in Washington, D.C. Newhall's talk is about daguerreotypes; Hendricks' talk is about the development of motion pictures.
Biographical / Historical:
Newhall is an art administrator and photograph historian; Rochester, N.Y. Died 1993, and Hendricks is an photography historian.
Provenance:
Donated by Romana Javitz.
Restrictions:
Untranscribed; use requires an appointment.
Occupation:
Art historians -- New York (State) -- Rochester  Search this
Topic:
Photography -- History  Search this
Motion pictures -- History  Search this
Genre/Form:
Sound recordings
Identifier:
AAA.newhbeau
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newhbeau

Imogen Cunningham papers

Creator:
Cunningham, Imogen, 1883-1976  Search this
Names:
George Eastman House  Search this
Group f.64  Search this
Henry Art Gallery  Search this
Witkin Gallery  Search this
Aalto, Alvar, 1898-1976  Search this
Adams, Ansel, 1902-1984  Search this
Andreson, Laura  Search this
Bissantz, Edgar, 1901-  Search this
Bourke-White, Margaret, 1904-1971  Search this
Bristol, Horace  Search this
Bullock, Wynn  Search this
Butler, John Davidson, 1890-1974  Search this
Coburn, Alvin Langdon, 1882-1966  Search this
Feininger, Lyonel, 1871-1956  Search this
Graves, Morris, 1910-  Search this
Hellman, Lillian, 1905-1984  Search this
Kanaga, Consuelo, 1894-  Search this
Lange, Dorothea  Search this
Mann, Margery  Search this
Moholy-Nagy, László, 1895-1946  Search this
Newhall, Beaumont, 1908-1993  Search this
Newman, Arnold, 1918-2006  Search this
Noskowiak, Sonya, d. 1975  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Partridge, Roi, 1888-1984  Search this
Schoener, Allon  Search this
Sheeler, Charles, 1883-1965  Search this
Steichen, Edward, 1879-1973  Search this
Steinert, Otto, 1915-  Search this
Strand, Paul, 1890-1976  Search this
Struss, Karl, 1886-  Search this
Toklas, Alice B.  Search this
Van Dyke, Willard  Search this
Weston, Edward, 1886-1958  Search this
White, Minor  Search this
Witkin, Lee D.  Search this
Zorach, William, 1887-1966  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Illustrated letters
Photographs
Date:
1903-1991
Summary:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career.
Scope and Content Note:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection.
Arrangement:
The collection is arranged into ten series according to material type:

Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders)

Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet)

Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders)

Series 4: Notes, 1959-1968 (box 4; 10 folders)

Series 5: Teaching Files, 1964-1971 (box 5; 4 folders)

Series 6: Writings, circa 1910-1976 (box 5; 21 folders)

Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders)

Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet)

Series 9: Photographs, 1916-1976 (box 7; 12 folders)

Series 10: Oversized Material, 1947-1948, 1967, undated
Biographical Note:
Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden.

Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912.

In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms.

Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934.

In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976.
Provenance:
The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Imogen Cunningham papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Photography, Artistic  Search this
Photographers -- California -- San Francisco Bay Area  Search this
Photographers  Search this
Women photographers  Search this
Portrait photography  Search this
Genre/Form:
Interviews
Illustrated letters
Photographs
Citation:
Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cunnimog
See more items in:
Imogen Cunningham papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cunnimog

Beaumont Newhall lecture on the daguerreotype in America

Creator:
Newhall, Beaumont, 1908-1993  Search this
Type:
Sound Recording
Date:
1962
Topic:
Daguerreotypes  Search this
Record number:
(DSI-AAA)15254
See more items in:
Beaumont Newhall and Gordon Hendricks lectures, 1962 May 30
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15254

Beaumont Newhall on the Museum of Modern Art

Creator:
Newhall, Beaumont, 1908-1993  Search this
Type:
Sound Recording
Date:
1971 October 12
Record number:
(DSI-AAA)16043
See more items in:
Russell Lynes papers, 1930-1986
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16043

Photo eye of the 20s; an exhibition prepared in collaboration with George Eastman House, June 4 to September 8 [1970]

Author:
Museum of Modern Art (New York, N.Y.)  Search this
Newhall, Beaumont 1908-1993  Search this
George Eastman House  Search this
Subject:
Museum of Modern Art (New York, N.Y.)  Search this
Physical description:
1 folded sheet ([6] p.) illus. 24 cm
Type:
Exhibitions
Pictorial works
Date:
1970
1970]
Topic:
Photography, Artistic  Search this
Nineteen twenties  Search this
Call number:
TR653 .M87 1970
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_812613

The history of photography, from 1839 to the present day

Author:
Newhall, Beaumont 1908-1993  Search this
Physical description:
216 p. illus. 29 cm
Type:
Books
Date:
1964
[1964]
Topic:
Photography--History  Search this
Call number:
TR15 .N47 1964
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_669311

Masters of photography; edited and with an introd. by Beaumont and Nancy Newhall

Author:
Newhall, Beaumont 1908-1993  Search this
Newhall, Nancy Wynne  Search this
Physical description:
192 p. (chiefly illus., ports.) 30 cm
Type:
Books
Date:
1958
Topic:
Photography, Artistic  Search this
Photographers  Search this
Call number:
TR650 .N47
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_669314

Twelve days at Santa Cruz : an American city on the coast of northern California / the project as seen, photographed, written, and designed by the workshop Images and Words: the making of a photographic book, University Extension, the University of California at Santa Cruz, conducted by Ansel Adams, Beaumont and Nancy Newhall, June 26-July 8, 1967

Author:
Adams, Ansel 1902-1984  Search this
Newhall, Beaumont 1908-1993  Search this
Newhall, Nancy Wynne  Search this
University of California Extension (Santa Cruz)  Search this
Physical description:
40 p. ill. ; 28 cm
Type:
Books
Pictorial works
Place:
Santa Cruz (Calif.)
Date:
1968
1968]
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_691856

An historical & descriptive account of the various processes of the daguerreotype & the diorama / by Daguerre ; illustrated, and with an introduction by Beaumont Newhall

Title:
Historical and descriptive account of the various processes of the daguerreotype & the diorama
Daguerre
Author:
Daguerre, Louis Jacques Mandé 1787-1851  Search this
Newhall, Beaumont 1908-1993  Search this
Subject:
Daguerre, Louis Jacques Mandé 1787-1851  Search this
Physical description:
282 p. : ill. ; 26 cm
Type:
Books
Date:
1971
1839
C1971
Topic:
Daguerreotype  Search this
Diorama  Search this
Call number:
TR647.D128 N49 1971
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_509062

Beaumont Newhall : colleagues and friends

Title:
Colleagues and friends
Author:
Museum of Fine Arts (Museum of New Mexico)  Search this
Subject:
Newhall, Beaumont 1908-1993  Search this
Newhall, Beaumont 1908-1993 Friends and associates  Search this
Physical description:
60 p. : ill., ports. ; 23 cm
Type:
Exhibitions
Place:
United States
Date:
1993
C1993
Topic:
Photographers  Search this
Photography, Artistic  Search this
Call number:
TR647.N54 M87 1993
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_523317

Proto modern photography / [curated by Beaumont Newhall]

Author:
Newhall, Beaumont 1908-1993-  Search this
Museum of Fine Arts (Museum of New Mexico)  Search this
International Museum of Photography at George Eastman House  Search this
Physical description:
1 v. (unpaged) : ill. ; 33 cm
Type:
Exhibitions
Date:
1992
C1992
Topic:
Photography, Artistic  Search this
Call number:
TR645.S355 M87 1992
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_523330

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