"A position paper directed to revitalizing a fine modern tradition" by painter and author Ed Garman measures 0.01 linear feet and is dated 1993. The collection consists of a single copy of Garman's essay in which he creates a model for the search for the ideal in modern art.
Scope and Contents:
"A position paper directed to revitalizing a fine modern tradition" by Ed Garman measures 0.01 linear feet and is dated 1993. The collection consists of a single copy of Garman's essay in which he creates a model for the search for the ideal in modern art. Garman examines the work and ideas of artists Robert Delaunay, Wassily Kandinsky, Frantisek Kupka, Kasimir Malevich, and Piet Mondrian as examples of artist-prophets who achieved the ideal in painting and who transcended the merely physical in art. Without mentioning the Transcendental Painting Group, Garman establishes the group's position on art and links it to the ideals of these past modernists.
Biographical / Historical:
Painter and author Ed Garman (1914-2004) was active in New Mexico and California and was one of the chief spokespersons for the Transcendental Painting Group (1938-1942).
Based in New Mexico, the group's manifesto stated it's purpose "to carry painting beyond the appearance of the physical world, through new concepts of space, color, light and design, to imaginative realms that are idealistic and spiritual." Members sought to push the boundaries of art beyond the traditional and representative, towards the abstract and non-objective.
As well as being the group's chief spokesperson, Garman was also the archivist and chronicler for the Transcendental Painting Group and wrote a historical art study of member Raymond Jonson's work. He wrote the essay "A position paper directed to revitalizing a fine modern tradition" at the age of 79, stating it was the result of his "attempts to understand art in relation to life and grow as an outward looking, spiritual minded humanist."
Related Materials:
The Archives of American Art also holds the Ed Garman autobiography (1998) and an oral history interview with Ed Garman (1998 Mar. 25-30).
Provenance:
Donated by art dealer Martin Diamond in 1993.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
A resume; copies of notes, including lecture notes entitled, "On the Perfection Underlying Life"; a copy of an exhibition catalog, 1977; and 4 exhibition announcements.
Biographical / Historical:
Painter; Taos, New Mexico. Died 2004.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Donated 1984 by the Pace Gallery and subsequently transferred to the NMAA/PG Library after microfilming.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.
Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
Arrangement:
The collection is arranged into 2 series of each artist's papers:
Missing Title
Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)
Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Biographical Note:
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.
Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.
In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.
Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.
In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.
Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
Provenance:
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
An undated scrapbook containing biographical writings about Mian, an exhibition catalog, newspaper clippings, a magazine article, a photocopy of Mian's memorial, and photographs (some photocopies) of Mian and his sculptures, 1920-1979.
Biographical / Historical:
Sculptor, painter; Santa Fe, New Mexico. Born in France. Came to U. S. after WWI. Moved to Santa Fe in 1954.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project. Donated 1984 by Mary S. Mian, widow of Aristide Mian.
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.
Correspondence, mostly of a business nature, with galleries and dealers; photographs of Haddock from infancy on, and of his paintings; writings and notes, mostly technical; sketches in pencil and charcoal; Haddock's palette; business records, such as price lists of art works; printed material; and typed transcripts of interviews of Haddock and his wife done in 1979 by an unidentified interviewer.
Biographical / Historical:
Painter; Santa Fe, New Mexico.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Donated 1984 by Ira M. Haddock, widow of Haddock. Photocopies were discarded after microfilming.
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 Ernesto Mayans Gallery. 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.
The papers of illustrator and painter Barbara Latham date from circa 1900 to 1972 and measure 3.4 linear feet. The collection documents Latham's career through biographical material, correspondence, writings and notes, printed material, photographs, and artwork. Artwork includes sketches and original Christmas cards, six sketchbooks, pencil and pen sketches, and prints. Works by others include four oil paintings by Henry Leigh-Ross and drawings by Howard Cook.
Scope and Contents:
The papers of illustrator and painter Barbara Latham date from circa 1900 to 1972 and measure 3.4 linear feet. The collection documents Latham's career through biographical material, correspondence, writings and notes, printed material, photographs, and artwork. Artwork includes sketches and original Christmas cards, six sketchbooks, pencil and pen sketches, and prints. Works by others include four oil paintings by Henry Leigh-Ross and drawings by Howard Cook.
Biographical material is scattered and also includes sales records of Latham's prints. Correspondence is with family, friends, and colleagues. Correspondents include Howard Cook, Allen Latham, Amalia M. de Schulthess, and the Vancil Foster Christmas Cards company. Writings by Latham are short stories. Book files are for publications illustrated by Latham and may include drafts and proofs.
Arrangement:
The collection is arranged as 6 series.
Series 1: Biographical Material, 1928-1970 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1902-1972 (Box 1, 5; 0.5 linear feet)
Series 3: Writings and Notes, 1934-1965 (Box 1; 0.2 linear feet)
Series 4: Printed Material, 1925-1972 (Boxes 1-2, 6; 0.5 linear feet)
Series 5: Photographs, circa 1900-circa 1960s (Box 2; 3 folders)
Series 6: Artwork and Sketchbooks, 1907-1963 (Boxes 2-4, 6-7; 2.0 linear feet)
Biographical / Historical:
Barbara Latham (1896-1989) was an illustrator and painter active in Taos, New Mexico. She illustrated many children's books and designed Christmas cards from the 1920s to 1940s.
Barbara Latham was born in Walpole, Massachusetts to Allen and Caroline Walker Latham. Her parents were naturalists and she was influenced by the natural surroundings of the farmhouse in which she was raised. Latham received a scholarship to study art at eight years old at the Norwich Free Academy. She continued her education at Pratt Institute and the Art Students League during their regular and summer sessions.
Latham married fellow painter Howard Cook. They settled in Taos and Sante Fe, New Mexico. She painted the natural landscape of New Mexico and designed Christmas cards for the Norcross Company. She was well known for her work as a children's book illustrator and her paintings may be found in museums around the United States.
Barbara Latham died in Sante Fe, New Mexico in 1989.
Related Materials:
Barbara Latham's papers relating to her work as a children's book illustrator are located in the Kerlan Collection at the University of Minnesota, Minneapolis.
Provenance:
Barbara Latham donated her papers to the Archives of American Art in 1972-1973.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Correspondence with Harriet Latham Robinson is access restricted: written permission is required.
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.
Barbara Latham papers, circa 1900-1972. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
The papers of Bill Barrett measure 8.9 linear feet and 2.70 GB and date from 1930-2013, with the bulk of the material dating from 1950-2013. The collection consists of biographical material, lectures, exhibition files, scrapbooks, printed and digital material, artwork, sketchbooks, and photographic materials that document Bill Barrett's career as a sculptor and painter.
Scope and Contents:
The papers of Bill Barrett measure 8.9 linear feet and 2.70 GB and date from 1930-2013, with the bulk of the material dating from 1950-2013. The collection consists of biographical material, lectures and a talk, exhibition files, scrapbooks, printed and digital material, artwork, sketchbooks, and photographic materials that document Bill Barrett's career as a sculptor and painter.
Biographical material documents Barrett's awards from Audubon Artists and the Hakone Open Air Museum. Also included is an interview with Bill Barrett. Lectures and a talk consist of recordings on five videocassettes. Four lectures by Barrett were presented in conjunction with exhibition installations featuring his work. There is also a talk about public art given to a local community board in Sarasota, Florida. Exhibition files record openings of installations at galleries and the homes of private collectors via nine video cassettes and one digital recording. Nineteen scrapbooks document Barrett's solo and group exhibitions, public and private commissions as well as teaching positions and speaking engagements from circa 1970-2013.
Printed material includes some laminated display cards advertising Barrett's sculptures, a few reproductions of sculptures, and a monograph on the artist's work. Artwork by Bill Barrett consists of five pencil sketches of sculptures and five drawings that were used as preliminary studies for Barrett's paintings. Thirteen sketchbooks mostly contain preliminary studies for Barrett's sculptures; a few of the sketchbooks are annotated. Photographic materials include slides of artwork from 1959-1979 and a portfolio of digital prints of Bill Barrett's sculptures and paintings.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, 1987-1994 (Boxes 1, 11; 0.1 linear ft.)
Series 2: Lectures and Talk, 1978-1987, 2000-2003 (Box 1; 0.3 linear ft.)
Series 3: Exhibition Files, 1978-2012 (Boxes 1-2; 0.8 linear ft., ER01; 1.08 GB)
Series 4: Scrapbooks, circa 1930-2013 (Boxes 2-7; 6.1 linear ft., ER02; 0.872 GB)
Series 5: Printed Material, circa 1990-2011 (Boxes 7-8, 11; 0.2 linear ft., ER03; 0.746 GB)
Series 6: Artwork, 1971, 1995-2002 (Boxes 8, 11; 0.2 linear ft.)
Series 7: Sketchbooks, circa 1950s-1995 (Boxes 8-9; 1.0 linear ft.)
Series 8: Photographic Materials, 1959-1979, circa 2012-2013 (Box 10; 0.2 linear ft.)
Biographical / Historical:
Bill Barrett (1934-) is a sculptor and painter in New York and New Mexico.
Harry Stanford Barrett IV, known as Bill Barrett was born in Los Angeles, California in 1934. His father, Stan Barrett was a painter and teacher; his mother, Theodora Barrett was a homemaker. Bill Barrett attended the University of Michigan from 1958-1960 receiving a Bachelor of Science in Design, a Master in Science, and a Master of Fine Arts in Sculpture. By the late 1950's, Barrett had gained recognition for his welded sculptural works. His work was included in group shows at the Indiana Art Center and the Detroit Institute of Arts; his sculptures were acquired by museums and universities for their collections. During this period, Barrett held teaching positions at the Cleveland Institute of Art (1963-1964), the University of Michigan (1960-1968), and City College of New York (1970).
Bill Barrett had his first exhibition in New York at the Jason Gallery in 1967. By the 1970's, Barrett had set up a studio in New York City's Tribeca neighborhood and his fabricated aluminum sculptures were featured in the 1970 Whitney Biennial as well as in group exhibitions at the 10 Downtown, Andre Emmerich Gallery, and the Benson Gallery. In the 1980s, Bill Barrett's style evolved from abstract, geometric shapes to more fluid, expressive designs. Also, the Shidoni Foundry in New Mexico was overseeing the fabrication of Barrett's larger sculptural works. He was invited by Debora Hicks, daughter of the Foundry's owner, Tom Hicks to show his work at the Shidoni Sculpture Gardens, and since then, he has been a regular exhibitor at Shidoni. In 1992, Bill Barrett and Debora Hicks married, setting up a home and studio in New Mexico. Influenced by the landscape of New Mexico, Bill Barrett returned to painting and he has had several exhibitions that featured both his paintings and sculptures. In recent years, Barrett also designs jewelry.
Bill Barrett has participated in over 100 exhibitions held at galleries, museums, and other arts venues in the United States, Europe, and Japan. He has received numerous commissions to design both indoor and outdoor sculptures from individuals, corporations, academic institutions, local and state governments. Barrett has served as the President of the Sculptors Guild and he is a member of the Century Club and the National Arts Club. He has been awarded the Audubon Artists Gold Medal of Honor in Sculpture, the Chaim Gross Foundation Award for Audubon Artists, the Hakone Open Air Museum Award in Tokyo, and the Reynolds Memorial Award for Sculpture.
Bill Barrett has two sons and a daughter from a previous marriage. He and Debora Hicks Barrett divide their time between New York and New Mexico.
Provenance:
The collection was donated in 2014 by Bill Barrett.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Walker, Hudson D. (Hudson Dean), 1907-1976 Search this
Extent:
3.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1909-1989
Scope and Contents:
Biographical material, correspondence, business records, writings and notes, printed material, scrapbooks, and photographs document Nordfeldt's career as a painter and instructor, and his widow's involvement after his death in exhibitions, biographies, and sales of his work.
REELS D166-D167: Biographical material includes a biographical sketch by Stanton L. Catlin, several letters from Nordfeldt's first wife Margaret to his second wife, Emily, and his nephew, Leonard Olson, in response to requests for biographical information, and biographical documents; correspondence of Emily and B.J.O., 1909-1959, with museum directors, gallery owners, patrons, artists, friends, universities, and others, mainly regarding the sale and exhibitions of his paintings and his teaching positions; artists' statements; exhibition catalogs; photographs of Nordfeldt; an excerpt from The Man on the Hilltop, by Arthur Davison Ficke; 5 sketchbooks; 3 scrapbooks; and an extensive catalog of Nordfeldt's paintings compiled by Emily, containing photographs and descriptive information.
Among the correspondents are Dewey Albinson, Watson Bidwell, Gina Knee Brook, Victor Candell, Howard N. Cook, Edward L. Davison, Howard Devree, William Dickerson, Constance Forsyth, Harriet Hanley of Harriet Hanley Gallery, Raymond Jonson, William Lester, A. Hyatt Mayor, Georgette Passedoit of the Passedoit Gallery, his student Roberta Shelton, Homer Saint-Gaudens, and Hudson D. Walker. Some of the letters are illustrated.
UNMICROFILMED: Resumes; correspondence, undated, 1923-1979, includes excerpts of letters from Nordfeldt to Constance Forsyth, 1942-1943 and Emily Abbott Nordfeldt, 1944; Emily Abbott Nordfeldt's correspondence with art collectors, art dealers, galleries and museums regarding exhibitions, gifts and sales of Nordfeldt's work; with Nordfeldt's biographers F. Van Deren Coke and J. Douglas Hale; and with the University of Minnesota, University Gallery, 1970-1972 regarding a Nordfeldt exhibition and the Nordfeldt Fund established by Emily; receipts and other business records; 1944-1979; writings and notes by Emily, ca.1930-1950, and others including the preface by Sheldon Cheney for Nordfeldt, the Painter by Coke, 1972;
a transcript of an interview with Raymond Jonson by Coke; printed material, including clippings, 1912-1984, exhibition catalogs, posters and announcements, undated, 1915-1991, notably a catalog of Nordfeldt's etchings shown at the Arthur H. Hahlo & Co. with an introduction by Robert W. Bruere, 1915; reproductions of graphic work for The Outlook and Harper's Monthly Magazine, 1910; miscellaneous printed material; a scrapbook of clippings and printed material, 1971-1980; photographs of Nordfeldt, undated 1910-1955, of the Santa Fe Players' production of "Grumpy," 1921; 3 photo albums of works of art, ca. 1930-1940; 10 seconds of motion picture film; and 2 sketches by Nordfeldt.
Biographical / Historical:
Painter, etcher, block printer, engraver, lithographer, watercolorist, teacher; Santa Fe, N.M. and Lambertville, N.J. Born in Tullstorp, Scania, Sweden, and came to the United States in 1891. Taught at the Minneapolis School of Art and the University of Texas. Moved to Lambertville, N.J. in 1937 from Santa Fe, N.M.
Provenance:
Material on reels D166-D167 lent for microfilming 1963 by Emily Abbott Nordfeldt, Bror's widow. In 1991 her estate donated additional material as well as portions of the previously microfilmed material. Material previously lent but NOT subsequently donated includes portions of the biographical material; several letters; artists' statements; a few personal photographs; the 5 sketchbooks; items from the scrapbooks; and the catalog of paintings. (The collection file contains a list of specific reel and frame numbers.)
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.
The papers of painter Cady Wells measure 4.3 linear feet and date from 1913 to 1968. The collection provides a range of documentation of Wells' life and career, namely as a landscape artist in New Mexico and as a servicemember of the United States Army during World War II. Among these materials are twenty-two personal journals; correspondence with friends, family, and art organizations; preliminary sketches and watercolors; fourteen sketchbooks; photographs; printed material; biographical material; and documents related to his professional affiliations.
Scope and Contents:
The papers of painter Cady Wells measure 4.3 linear feet and date from 1913 to 1968. The collection provides a range of documentation of Wells' life and career, namely as a landscape artist in New Mexico and as a servicemember of the United States Army during World War II. Among these materials are twenty-two personal journals; correspondence with friends, family, and art organizations; preliminary sketches and watercolors; fourteen sketchbooks; photographs; printed material; biographical material; and documents related to his professional affiliations.
Biographical material consists largely of documents and awards pertaining to Wells' military service in the 1940s. A large collection of correspondence provides a broader perspective of Wells' personal and professional affiliations, including a number of letters from his friend and painter Georgia O'Keeffe. Writings feature twenty-two nearly uninterrupted personal journals from the age of thirteen to his death at age 49, providing candid insight to Wells' upbringing, family and friends, creative pursuits, and life during wartime. A variety of printed material includes exhibition announcements and brochures, art periodicals, and news clippings from his lifetime. A small amount of documents outline his professional affiliations, highlighting his support of both established and emerging art organizations of the 1930s-1950s. Fourteen sketchbooks and a variety of loose preliminary drawings and watercolors trace Wells' development as an artist during his time in New Mexico. Photographs feature images of Wells throughout his life, along with his personal photos of family and friends, including one photo each of Ansel Adams and Georgia O'Keeffe. A scrapbook provides additional printed material pertaining to Wells' exhibitions and the greater Sante Fe arts community.
Arrangement:
This collection is arranged as eight series.
Series 1: Biographical Material, 1940-1945 (4 folders; Box 1)
Series 2: Correspondence, 1913-1968 (14 folders; Box 1)
Series 3: Writings, 1918-1954 (24 folders; Boxes 2-3)
Series 4: Printed Material, circa 1910s-1950s (8 folders; Boxes 3-4)
Series 5: Professional Affiliations, circa 1930s-1950s (1 folder; Box 4)
Series 6: Artworks, circa 1930s-1950s (10 folders; Box 4)
Series 7: Photographs, circa 1920s-1950s (9 folders; Box 4)
Series 8: Scrapbook, circa 1920s=1950s (4 folders; Box 5)
Biographical / Historical:
Cady Wells (1904-1954) was a painter and a patron of the arts, most associated with the Santa Fe, New Mexico, landscape artists of the 1930s and 1940s. Born in Southbridge, Massachusetts, Wells was raised in an affluent family, and pursued music as a concert pianist before discovering his passion for painting. Upon moving to New Mexico in 1932, Wells quickly gained rapport with regional modernist painters Andrew Dasburg and Georgia O'Keeffe. His artistic career was interrupted in the first half of the 1940s while he served in the United States Army during World War II. Returning to New Mexico in the mid-1940s, his innovative command of pattern and color earned him a reputation as a significant landscape painter of the American Southwest. Along with his original contributions, Wells was an avid supporter of his local arts community, assisting in the development of the Spanish Colonial Arts Society and the Museum of New Mexico.
Provenance:
The papers were donated in 1975 by Mason B. Wells, brother of Cady Wells.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Biographical material, sketchbooks, printed material, scrapbooks, photographs, financial material and correspondence.
REEL 3057: An autobiographical essay with notes; biographical information; sketches and sketchbooks; scrapbooks containing clippings and photographs of art work; photographs of von Hassler and his wife; correspondence; financial documents, including price lists, receipts, and a ledger; insurance papers, legal documents, naturalization papers, contracts, and legal actions; clippings, exhibition catalogs and printed material; and material collected by Esther Sheehan Berrenberg, including an exhibition catalog, appraisals, receipts, and photographs of von Hassler's artwork, and a scrapbook containing clippings and letters about von Hassler.
REELS 3057-3058 and 3285: Letters, postcards and greeting cards from Caroline Coudray, W.A. Kline, Esther Sheehan and Mrs. G. S. Westermann and drafts of letters sent; receipts, check stubs and other financial material; sketches and sketchbooks; three lithographic reproductions; and clippings and printed material.
Biographical / Historical:
Painter; Albuquerque, N.M. Born in Bremen, Germany. Studied at the Dusseldorf Academie. Moved to the U.S. prior to World War I and lived in New York City for several years before relocating to New Mexico.
Provenance:
Lent 1984 by Esther Sheehan Berrenberg and Novella King, friends of von Hassler's, and microfilmed as part of the Archives of American Art's Texas 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 Novella King. 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.
Contained in the scrapbooks are: biographical data; letters from Colby Community College, Colby, Kansas, Taos Institute of Creative Orientation, University of Texas at El Paso and others; exhibition announcements, catalogs and invitations; clippings; printed material; and photographs of Stewart and his paintings, sculpture and murals.
Biographical / Historical:
Painter, sculptor; Taos, New Mexico.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1985 by Charles C. Stewart.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
A resume; a typescript of a news release by the Federal Works Agency, Public Buildings Administration, regarding Thwaites' mural LUMBERING and its installation in the post office at Greenville, Michigan; 3 exhibition catalogs; several newspaper and magazine clippings; and ten photographs of Thwaites and his works of art.
Biographical / Historical:
Painter, instructor; Milwaukee, Wisconsin and Santa Fe, New Mexico.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1985 by Charles Winstanley Thwaites.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Correspondence; biographical data; list of works of art; photographs; sketchbook; annotated books; financial material; a diary; sketches; prints; and printed material.
REEL SW 6: Correspondence, including 2 letters from Philip Evergood; biographical data; photographs; list of paintings sold; sketches; prints; catalogs; and clippings.
REELS 3031-3041: Biographical information; a list of works of art; correspondence, 1930-1975; photographs of Tamotzu, his family, friends and works of art; a sketchbook, 1945-1946; annotated books; files on his trips to Japan and his work about Hiroshima, New Mexico and its artists' community, galleries, museums, art associations, collectors and artists Philip Evergood, Louis Ribak, Olive Rush, Eugenie Shonnard, John Sloan and others; financial material; exhibition announcements and catalogs; clippings; printed material; and a diary kept by Tamotzu's wife Louise Kates Tamotzu.
Biographical / Historical:
Chuzo Tamotzu (1888-1975) was a Japanese American painter based in Santa Fe, New Mexico. Tamotzu was born in Japan and came to the United States in 1920. He moved to Santa Fe in 1948.
Provenance:
Reels 3031-3041: Microfilmed as part of the Archives of American Art's Texas project.
Material on reel SW 6 lent for microfilming 1970 by Chuzo Tamotzu and material on reels 3031-3041 lent for microfilming 1983 by Louise Kates Tamotzu, widow of Tamotzu. All material subequently donated to the University of New Mexico, Center for Southwest research.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Correspondence; exhibition catalogs; and photographs. Files of business correspondence include Lawrence Barrett (1977-1990), Bolton Brown, Howard Cook (1978-1985), Theodore Cuno (1978-1984), Adolf Dehn (1967-1988), and Fritz Scholder (1975-1990). Also included are 13 general lithography files.
ADDITION: Correspondence with galleries, universities, and artist June Wayne (1975-1999); printed material; published memoirs; and manuscript drafts of articles and lectures.
Biographical / Historical:
Painter, printmaker, art administrator; Albuquerque, N.M., b. 1918; d. 2002
Provenance:
Donated 1990 and 1993 by Clinton Adams and in 2003 by Mary Adams, Clinton Adams' 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.
An undated resume; magazine and newspaper clippings about Reed's aquatints, paintings and his teaching career at Oklahoma State University, 1951-1983; and an exhibition catalog, A RETROSPECTIVE EXHIBITION OF OILS, CASEINS, DRAWINGS AND AQUATINTS, Museum of Fine Arts, Museum of New Mexico, Sante Fe, 1983.
Biographical / Historical:
Painter, printmaker, art instructor; Taos, New Mexico. Professor and chairman of the art department at Oklahoma State University. Retired and moved to Taos in 1959.
Provenance:
Donated by Reed, 1984, as part of the Archives of American Art's Texas project. Material was transferred to the NMAA-NPG Library after microfilming.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art teachers -- Oklahoma -- Stillwater Search this
Holograph about the poverty, and hardship Gaspard experienced as a consequence of working for the Federal Art Project in New York City during the 1930's and 40's. Accompanied by a typescript of the text.
Biographical / Historical:
Seriographer, painter, designer, craftsmen, illustrator, and writer; New York, N.Y. and Taos, New Mexico. Born 1909. Married to painter Leon Gaspard until his death in 1964. Also known as Dora Deborah Kaminsky Gaspard.
Provenance:
Probably donated by Gaspard possibly at the time she donated the papers of her late husband, Leon Gaspard.
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.
