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Oral history interview with Reuben Nakian, 1981 June 9-17

Interviewee:
Nakian, Reuben, 1897-  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Subject:
Brancusi, Constantin  Search this
Duchamp, Marcel  Search this
Dudensing, F. Valentine  Search this
French, Daniel Chester  Search this
Halpert, Edith Gregor  Search this
Hague, Raoul  Search this
Lachaise, Gaston  Search this
Manship, Paul  Search this
Neumann, J. B. (Jsrael Ber)  Search this
Zorach, William  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Reuben Nakian, 1981 June 9-17. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Sculpture -- Technique  Search this
Sculptors -- Connecticut -- Stamford -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11707
(DSI-AAA_SIRISBib)212940
AAA_collcode_nakian81
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212940
Online Media:

Oral history interview with Rhys Caparn

Interviewee:
Caparn, Rhys, 1909-1997  Search this
Interviewer:
Wolf, Tom  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
American Abstract Artists  Search this
Federation of Modern Painters and Sculptors  Search this
Mark Rothko and His Times Oral History Project  Search this
Archipenko, Alexander, 1887-1964  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
46 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1983 November 23
Scope and Contents:
An interview of Rhys Caparn conducted 1983 November 23, by Tom Wolf, for the Archives of American Art's Mark Rothko and His Times oral history project.
Caparn describes her youth in New York and art study in France. She recalls her teacher Alexander Archipenko and the activities of the American Abstract Artists and the Federation of Modern Painters and Sculptors (of which she was president for a term). Caparn talks a lot about her own work. She does not recall much about Mark Rothko, who was only a distant acquaintance.
Biographical / Historical:
Rhys Caparn (1909-1997) was a sculptor from Connecticut.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 29 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Occupation:
Sculptors -- Connecticut  Search this
Topic:
Abstract expressionism  Search this
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.caparn83
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aaf6764b-ff5e-41d9-9e2a-682e646c2ea2
EDAN-URL:
ead_collection:sova-aaa-caparn83
Online Media:

Oral history interview with Reuben Nakian

Interviewee:
Nakian, Reuben, 1897-1986  Search this
Interviewer:
Berman, Avis  Search this
Names:
Brancusi, Constantin, 1876-1957  Search this
Duchamp, Marcel, 1887-1968  Search this
Dudensing, F. Valentine, 1892-1967  Search this
French, Daniel Chester, 1850-1931  Search this
Hague, Raoul, 1905-1993  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Lachaise, Gaston, 1882-1935  Search this
Manship, Paul, 1885-1966  Search this
Neumann, J. B. (Jsrael Ber)  Search this
Zorach, William, 1887-1966  Search this
Extent:
105 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 June 9-17
Scope and Contents:
An interview of Reuben Nakian conducted 1981 June 9-17, by Avis Berman, for the Archives of American Art.
Nakian speaks of his childhood, growing up in New York City; his early interest in art; early ventures in sculpture; working for Paul Manship; meeting Daniel Chester French; teaching; early influences; his European travels; techniques and materials; the relationship of artists and suffering; his portrait busts of other artists; dealers he has been affiliated with, including Edith Halpert and Valentine Dudensing; animal sculptures; his Babe Ruth sculpture; critical and public reaction to his work. He recalls Constantin Brancusi, Marcel Duchamp, Raoul Hague, William Zorach, Gaston Lachaise, and J. B. Neumann. The third voice heard on the tape is that of Nakian's assistant, Don Ross, who helps prompt Nakian to recall certain incidents.
Biographical / Historical:
Reuben Nakian (1897-1986) was a sculptor from Stamford, Conn.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hrs., 15 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:
Art, American  Search this
Sculpture -- Technique  Search this
Sculptors -- Connecticut -- Stamford -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.nakian81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6131926-aad1-44f4-bf6c-4c3c54498909
EDAN-URL:
ead_collection:sova-aaa-nakian81
Online Media:

Oral history interview with Tommy Simpson

Interviewee:
Simpson, Tommy  Search this
Interviewer:
Cooke, Edward S., 1954-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Boston University. Program in Artisanry -- Faculty  Search this
Cranbrook Academy of Art -- Students  Search this
Museum of Arts and Design (New York, N.Y.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Northern Illinois University -- Students  Search this
University of Hartford -- Faculty  Search this
Castle, Wendell, 1932-2018  Search this
Maloof, Sam  Search this
Maruyama, Wendy, 1952-  Search this
McKie, Judy Kensley, 1944-  Search this
Newman, Richard, (Artist)  Search this
Sepeshy, Zoltan, 1898-1974  Search this
Smith, Paul J., 1931-  Search this
Zucca, Edward  Search this
Extent:
6 Items (Sound recording: 6 sound files (3 hr., 54 min.), digital, wav)
89 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
China -- Description and Travel
Europe -- description and travel
Date:
2004 May 6-July 2
Scope and Contents:
An interview of Tommy Simpson conducted 2004 May 6-July 2, by Edward S. Cooke, Jr., for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Simpson speaks of growing up in rural Illinois; making things as a child; discovering his interest in art at Northern Illinois University; getting an MFA in painting at Cranbrook Academy of Art; using the wood shop at Cranbrook; exhibiting at various galleries in New York City and moving to Connecticut; showing work in the "Fantasy Furniture" exhibit at the Museum of Arts & Design; visiting Europe; the New York studio furniture market in the 1960s; writing the book, "Fantasy Furniture"; exhibiting in "Objects USA;" working as artist in residence at the Fairtree Gallery; teaching at the University of Hartford; his work ethic and productivity; living and working in Greenwich, Connecticut; the constraints of being classified as a furniture maker; teaching briefly at the Program In Artisanry and other schools; the increased public interest in fine woodworking in the 1980s; changes in the craft market; writing the book, "Two Looks to Home"; the influence of events on his work; his current interest in making whole interiors; working on commission; the current public interest in craft; expressing themes in his work; his working process in his studio; the future of fine woodworking; the difficulties of working with galleries; designing rugs; and visiting China. Simpson also recalls Zoltan Sepeshy, Wendell Castle, Paul Smith, Sam Maloof, Edward Zucca, Wendy Maruyama, Richard Newman, Judy McKie, and others.
Biographical / Historical:
Tommy Simpson (1939- ) is a furniture maker and sculptor from Washington Depot, Connecticut. Edward S. Cooke, Jr. is a professor from Newtonville, Massachusetts.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 54 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:
Cabinetmakers  Search this
Sculptors -- Connecticut  Search this
Topic:
Decorative arts  Search this
Furniture making -- Study and teaching  Search this
Painting -- Study and teaching  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.simpso04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95d21c644-be78-4a66-83ff-e67f648199b8
EDAN-URL:
ead_collection:sova-aaa-simpso04
Online Media:

Solon H. Borglum and Borglum family papers, 1864-2002

Creator:
Borglum, Solon Hannibal, 1868-1922  Search this
Subject:
Davies, Monica Borglum  Search this
Davies, A. Mervyn (Alfred Mervyn)  Search this
Borglum, Gutzon  Search this
Borglum, Emma Vignal  Search this
Type:
Sketches
Citation:
Solon H. Borglum and Borglum family papers, 1864-2002. Archives of American Art, Smithsonian Institution.
Topic:
Sculpture, American -- United States  Search this
Sculptors -- Connecticut -- Wilton  Search this
Sculpture -- Study and teaching  Search this
World War, 1914-1918  Search this
Theme:
Diaries  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6772
(DSI-AAA_SIRISBib)208898
AAA_collcode_borgsolo
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208898
Online Media:

Rhys Caparn papers, 1938-1972

Creator:
Caparn, Rhys, 1909-1997  Search this
Subject:
Deren, Maya  Search this
Federation of Modern Painters and Sculptors  Search this
Citation:
Rhys Caparn papers, 1938-1972. Archives of American Art, Smithsonian Institution.
Topic:
Sculpture, American  Search this
Women artists  Search this
Women sculptors  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7466
(DSI-AAA_SIRISBib)209624
AAA_collcode_caparhys
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209624

John S. Monagan papers relating to Naum Gabo, 1969-1982

Creator:
Monagan, John S., 1911-  Search this
Subject:
Gabo, Naum  Search this
Citation:
John S. Monagan papers relating to Naum Gabo, 1969-1982. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- Connecticut -- Middlebury -- Photographs  Search this
Sculpture, Modern -- 20th century -- United States -- Photographs  Search this
Theme:
Art Movements and Schools  Search this
Record number:
(DSI-AAA_CollID)10631
(DSI-AAA_SIRISBib)214190
AAA_collcode_monajohn
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214190

Rhys Caparn papers

Creator:
Caparn, Rhys, 1909-1997  Search this
Names:
Federation of Modern Painters and Sculptors  Search this
Photographer:
Deren, Maya  Search this
Extent:
1 Linear foot ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1938-1972
Scope and Contents:
Correspondence, photographs; writings; exhibition catalogs and announcements; and clippings.
REELS 680 & 1007: Correspondence, mostly business and professional letters; writings such as "The Animal in Art" and other jottings on art and form; price lists, statements from galleries and sales memos; catalogs and annoucements; clippings; photographs of Caparn's work, and photos of Caparn in her studio, snapshots and a portrait by Maya Deren, 1948, as well as one by Alan Shayne.
UNMICROFILMED: Correspondence, clippings, exhibition material, receipts, photographs and records relating mainly to the Federation of Modern Painters and Sculptors.
Biographical / Historical:
Sculptor; Connecticut.
Related Materials:
Rhys Caparn papers also at Syracuse University.
Provenance:
Donated 1972-1983 by Rhys Caparn.
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:
Sculptors -- Connecticut  Search this
Topic:
Sculpture, American  Search this
Women artists  Search this
Women sculptors  Search this
Function:
Arts organizations -- New York (State)
Identifier:
AAA.caparhys
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95688eb64-7756-45ce-b492-2a659233c2fd
EDAN-URL:
ead_collection:sova-aaa-caparhys

Cleve Gray papers

Creator:
Gray, Cleve  Search this
Names:
Berry-Hill Galleries  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Jacques Seligmann & Co  Search this
Neuberger Museum of Art  Search this
Pratt Institute  Search this
Princeton University  Search this
Rhode Island School of Design  Search this
Barzun, Jacques, 1907-  Search this
Calder, Alexander, 1898-1976  Search this
Davis, Jim, 1901-1974  Search this
Dillenberger, Jane  Search this
Duchamp, Marcel, 1887-1968  Search this
Ernst, Jimmy, 1920-1984  Search this
Gabo, Naum, 1890-1977  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marin, John, 1870-1953  Search this
Pollock, Jackson, 1912-1956  Search this
Richter, Hans, 1888-1976  Search this
Smith, David, 1906-1965  Search this
Villon, Jacques, 1875-1963  Search this
Weber, Nicholas Fox, 1947-  Search this
Extent:
9.2 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Date:
1933-2005
Summary:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.
Scope and Content Note:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Among the biographical material are award and membership certificates, biographical notes, and personal documentation.

The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."

Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."

Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.

Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).

Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."

Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.

The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.

Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.

Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.

Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.
Arrangement:
The collection is organized into 8 series:

Missing Title

Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)

Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)

Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)

Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)

Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)

Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)

Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)

Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)
Biographical Note:
Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.

Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.

Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.

When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."

Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.

He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.

Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.

He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.

The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.

Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.

Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.

Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.

He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.

Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.

During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.

Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.

He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.

Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.

Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.
Separated Material:
Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.
Provenance:
The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordigs 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:
Sculptors -- Connecticut  Search this
Painters -- Connecticut  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Vietnamese Conflict, 1961-1975 -- Protest Movements -- United States  Search this
Designers  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grayclev
See more items in:
Cleve Gray papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92d3d47d0-baa3-4085-80f2-9b5d1730c052
EDAN-URL:
ead_collection:sova-aaa-grayclev
Online Media:

Solon H. Borglum and Borglum family papers

Creator:
Borglum, Solon Hannibal, 1868-1922  Search this
Names:
Borglum, Emma Vignal, 1864-1934  Search this
Borglum, Gutzon, 1867-1941  Search this
Davies, A. Mervyn (Alfred Mervyn)  Search this
Davies, Monica Borglum, 1903-1997  Search this
Extent:
11.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Date:
1864-2002
Summary:
The Solon H. Borglum and Borglum family papers date from 1864 to 2002 and measure 11.5 linear feet. The collection documents Solon Borglum's personal life and his career as a sculptor specializing in Western themes through biographical material, family and general correspondence, writings and notes, research for his biography, financial and business letters, printed material, photographs and artwork.
Scope and Contents:
The Solon H. Borglum and Borglum family papers date from 1864 to 2002 and measure 11.5 linear feet. The collection documents Solon Borglum's personal life and his career as a sculptor specializing in Western themes through biographical material, family and general correspondence, writings and notes, research for his biography, financial and business letters, printed material, photographs and artwork.

Biographical material contains documents providing information on the Borglum Family history as well as Solon's military service and memorial. Also found is a leather portfolio of ephemera kept by Emma Borglum. Family correspondence includes numerous letters between Solon and Emma and various members of their extended family. The letters discuss family events, everyday life, Solon's military service, and family history. General Correspondence pertains to Solon's career as an artist and includes his incoming and outgoing correspondence with galleries, foundries, patrons, fellow artists such as Augustus Saint-Gaudens, and others. Later correspondence from galleries, museums, foundries, historical societies, and other individuals and organizations, is addressed to his daughter Monica Borglum and concerns Solon's artwork and legacy after his death. Writings and notes include material written by Solon Borglum and material written by others. Solon's writings include project proposals as well as essays, lectures, and other notes on the topics of his own works of art, art and form, and his participation in World War I. Also found are Solon's diary, notebooks, and address books kept during the last five years of his life. Writings by others include writings by Emma and others about Solon Borglum, as well as guest books for the Silvermine Group of Artists.

Series five contains documents compiled by Monica Borglum Davies and her husband A. Mervyn Davies for a biography Solon Borglum. Included are their research files and notes as well as heavily edited drafts of book sections and draft manuscripts and notes. Financial and business records document Solon's professional career and legacy, including project contracts and financial proposals, account books, ledgers, receipts, and items regarding the Solon H. Borglum Sculpture and Education Fund. Printed material contains items about Solon Borglum's career and artwork compiled by his daughter, Monica Davies, and includes exhibition catalogs, exhibition announcements, brochures, programs, clippings, reports, and other publications. Also included is the textbook Sound Construction.

This collection also contains numerous photographs, including Solon's personal and family photographs, and photographs of his artwork. Family and personal photographs consist of photos of Solon taken throughout his career, including his time in military service, photos of his family and friends, various studios and residences including Rocky Ranch, and of him and and Emma at the Crow Creek Reservation. Artwork is comprised of sketches Solon made for his sculptural works and for Sound Construction. Also found are sketches by Emma and Gutzon Borglum, including a sketch of Solon, and artwork by others such as artist Robert Fulton Logan.
Arrangement:
The collection is arranged into 9 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1866, 1895-1922, undated (Box 1, 13; 10 folders)

Series 2: Family Correspondence, 1885-1972, undated (Box 1; 0.4 linear feet)

Series 3: General Correspondence, 1871-1989, undated (Box 1-2; 1.0 linear foot)

Series 4: Writings and Notes, 1871-1983, undated (Box 2-3; 1.0 linear foot)

Series 5: Solon Borglum Biography, 1870-1975, undated (Box 3-8; 5.3 linear feet)

Series 6: Financial and Business Records, 1898-1998, undated (Box 8, 13; 0.2 linear feet)

Series 7: Printed Material, 1879-2002, undated (Box 9, 13-14; 1.1 linear feet)

Series 8: Photographs, 1864-1986 (Box 9-13, MGP 1, MGP 3, OV 15-16; 2.0 linear feet)

Series 9: Artwork, 1890-1921, undated (Box 12-13; 0.3 linear feet)
Biographical Note:
Solon Hannibal Borglum was born in Ogden, Utah in 1868. His father Jens (James) Borglum and wife Ida emigrated to America in 1864, as Mormon converts. James took a second wife Christina who was the mother of Solon and his older brother John Gutzon de la Mothe. Christina left the family after just a few years, when James left the Mormon Church. James and Ida raised the large family, which included Solon, Gutzon, Miller, Arnold, August, Anna, Harriet, Theodora and Frank. Solon spent most of his childhood in Fremont, Nebraska, and in 1893 he became a ranch hand in Southern California. At this time he also developed an interest in art which he shared with his brother Gutzon, who was studying painting in Los Angeles.

From 1885 to 1893 Solon ran a ranch on his father's land in central Nebraska, but also took painting lessons from artist J. Laurie Wallace. After spending a short time at his brother's studio in Sierra Madre, and living as an artist in Santa Ana, he studied at the Cincinnati Art Academy under Louis T. Rebisso from 1895 to 1897. Solon then went to Paris where he met sculptor Augustus Saint-Gaudens who persuaded him to study sculpture at the Academie Julian. He studied there under Denys Puech and won numerous awards for works exhibited both in France and the United States. In 1898 Solon married Emma Vignal in Paris. They spent four months at the Crow Creek Reservation in South Dakota, an experience that greatly influenced his work. In 1901 Solon was elected to the National Sculpture Society, later becoming its vice president, and set up a studio in New York. Despite his success, such as winning the gold medal at the Art Palace at the 1904 World's Fair, confusions began between him and his brother Gutzon who decided to also become a sculptor. In 1906 he moved with his wife and children, Paul and Monica, to a farm in Connecticut called "Rocky Ranch." Artist Paul Manship became his student helper and lived with the family. Solon received commissions to do many monuments and memorials, but also continued to exhibit his work and participate in the local Silvermine Group of Artists.

From 1916 to 1917 Solon taught at the Beaux-Arts Institute of Design in New York and also developed ideas for an art textbook called Sound Construction, which he worked on with his student assistant Mildred Archer Nash. In 1918, he enlisted in the YMCA for overseas war work, attached to the Third and Fifth French Army. While there he was also the Director of Sculpture at the specially organized American Expeditionary Forces Art Training Center. When he returned home, he decided to establish the School of American Sculpture in New York City. He ran the school with great success, and gave many lectures on art and his experiences overseas until his sudden death after an appendectomy in January of 1922. His legacy was carried on by his wife Emma until her death in 1934, at which point his daughter Monica and her husband, A. Mervyn Davies, oversaw the exhibition of his artwork, and in 1974 published his biography Solon H. Borglum: "A Man Who Stands Alone".
Related Material:
The Archives also holds several collections related to the Borglum family, including the Gutzon Borglum collection, available on microfilm only, reel 3056. This collection includes correspondence, printed material, and photographs. Originals reside at the San Antonio Museum of Art. Also found are the Gutzon Borglum letters to John A. Stewart (available on microfilm reel D8, frames 359-362) and the Harriet Collins Allen papers relating to Solon Borglum. The Library of Congress also holds papers of Solon Hannibal Borglum and is the primary repository of the papers of Gutzon Borglum.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N69-98 and 1054) including a scrapbook of new clippings, other printed material, writings, and correspondence, much of which was included in subsequent donations. Loaned materials not donated at a later date are not described in the container listing of this finding aid.
Provenance:
Most of the materials in the collection were originally loaned by the Borglum family between 1969-1975 and microfilmed. Much of the same material was later donated in several accretions between circa 1991-2004 by various family members David Borglum, Harriet M. Borglum, Alfred Davies, Harold Davies, Monica B. Davies, Linda Borglum Fry, and Gwynneth Kelly. In 1979 approximately 200 photographs were transferred from the Smithsonian American Art Museum Library to AAA, which had received them from Monica Borglum Davies.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Sculpture, American -- United States  Search this
Sculptors -- Connecticut -- Wilton  Search this
Sculpture -- Study and teaching  Search this
World War, 1914-1918  Search this
Genre/Form:
Sketches
Citation:
Solon H. Borglum and Borglum family papers, 1864-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.borgsolo
See more items in:
Solon H. Borglum and Borglum family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a3936547-90aa-4651-bf89-c403a6694a4c
EDAN-URL:
ead_collection:sova-aaa-borgsolo
Online Media:

Heinz Warneke papers

Creator:
Warneke, Heinz (Heinrich), 1895-1983  Search this
Names:
Corcoran School of Art (Washington, D.C.) -- Faculty  Search this
United States. Work Projects Administration  Search this
Archer, Edmund, 1904-  Search this
Diederich, William Hunt, 1884-1953  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Hopper, Inslee  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
6.25 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1928-1987
Scope and Contents:
Biographical material, financial material, correspondence, notes, writings, art work, photographs, printed material, and project files document the career of sculptor and educator, Heinz Warneke. Also included are some writings, art work, photographs, and printed material related to his wife, Jessie Warneke.
Biographical materials include autobiographical and biographical sketches about Warneke, and certificates, including his membership card to the Kunstler-Bund-Bremen, 1922-1923; personal financial materials, ca. 1931-1937, include household records for his East Haddam, Connecticut home, "The Mowings."
Correspondence, 1930-1987, with his wife, Jessie, friends, colleagues, clients, gallery owners, museum and art school administrators, various art guilds and societies, and foundries. Among the correspondents are Edmund (Ned) Archer, William Hunt Diederich, Walker Hancock, Dick and Julia Helms, Inslee A. Hopper, Rena T. Magee, Jessalee Sickman, Henry Vam Wolf, and Carl Zigrosser. The correspondence discusses exhibitions and sales of Warneke's sculptures, the Corcoran School of Art, and invitations to various White House and Embassy functions in Washington, D.C. Also included are illustrated letters from Henry Kriess and Jessie Warneke.
Notes are by Heinz Warneke, ca. 1928-1979, and others and include 5 address books, 2 notebooks, one regarding the Warneke School of Sculpture, ca. 1935-1937, scattered notes regarding Warneke's sculpture classes at the Corcoran School of Art, ca. 1950-1963, his formulas and processes for sculpting, and price lists for his art works. Notes by ohters include a guest book from the exhibition, "Heinz Warneke Looks Back," 1967 and research notes by Mary Mullen Cunningham, undated. Writings, ca. 1923-1977, by Heinz Warneke and others, include lectures, forewords to exhibition catalogs, and a statement of "Opinion regarding the Philosophy of the Corcoran School of Art and the Direction it should take."
Art works, ca. 1929-1932, include 2 sketchbooks, studies of figures, animals, and plant life, watercolors, several chalk sketches for a work possibly depiction life at "The Mowings," by Warneke, several sketches by Jessie Warneke, an etching, and three engravings by others. Photographs, ca. 1918-1983, are of Heinz, family and friends including Edmund Archer, Inslee Hopper, Roderick Seidenberg, Carl Zigrosser, his pet dogs, his homes and studios in Connecticut, New York, and Washington, D.C., students, travels, art works by Heinz and Jessie, exhibition installations, and source material.
Printed material include exhibition announcements and catalogs and clippings, and other materials for Heinz, Jessie, and others, ca. 1923-1981. There is a file regarding Warneke's participation on the jury for the Thomas Jefferson Memorial Committee, 1939-1940, and circa 136 project files for completed and proposed sculpture works for public and private commissions which include various works for the National Cathedral, Washington, D.C., an African cow elephant and calf for the Philadelphia Zoo, the Nittany Lion for Pennsylvania State University, and several Works Project Authority (WPA), and other federal projects, ca., 1911-1971.
Biographical / Historical:
Heinz Warneke (1895-1983) was a sculptor, animal sculptor and educator in East Haddam, Connecticut. Born and trained in Germany, Warneke worked on sculpture projects for WPA and was the head of the sculpture department at the Corcoran School of Art from the early 1940's to 1970.
Related Materials:
Heinz Warneke papers also at Syracuse University.
Provenance:
Donated 1977 by Warneke, and in 1983-1984, and 1994 by his stepdaughter and executrix of his estate, Priscilla Norton. The 1994 installment had been used by Micky Cunningham in her book, "Heinz Warneke, 1895-1983: A Sculptor First and Last" (University of Delaware Press, 1994). Additional photograph of Warneke by his stepson Edward Hall transferred 2013 from SAAM via George Gurney, Curator. Gurney received the photograph from Priscilla Norton.
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:
Animal sculptors -- Connecticut -- East Haddam  Search this
Sculptors -- Connecticut -- East Haddam  Search this
Topic:
Sculpture -- Study and teaching  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Genre/Form:
Drawings
Sketchbooks
Identifier:
AAA.warnhein
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90536c46a-164a-4b1b-9986-1477624f9337
EDAN-URL:
ead_collection:sova-aaa-warnhein

Oral history interview with Jeffrey Meris

Interviewee:
Meris, Jeffrey, 1991-  Search this
Interviewer:
Espinosa, Fernanda  Search this
Names:
NXTHVN  Search this
Pandemic Oral History Project  Search this
Extent:
1 Item ((21 min.), digital, mp4)
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
2020 September 2
Scope and Contents:
An interview with Jeffrey Meris conducted 2020 September 2, by Fernanda Espinosa, for the for the Archives of American Art's Pandemic Oral History Project, at Meris' studio in New Haven, Connecticut.­
Biographical / Historical:
Jeffrey Meris (1991 - ) is a sculptor, painter, and installation artist in New Haven, Connecticut. Meris was born in Haiti and grew up in the Bahamas; his work explores immigrant identity, displacement, and racialization. Meris is a 2020 NXTHVN Studio Fellow.
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:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Connecticut -- New Haven  Search this
Sculptors -- Connecticut -- New Haven  Search this
Installation artists -- Connecticut -- New Haven  Search this
Topic:
African American artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Interviews
Video recordings
Identifier:
AAA.meris20
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94ec6d143-973d-4047-ab99-672a1c6e9128
EDAN-URL:
ead_collection:sova-aaa-meris20
Online Media:

John Angel papers

Creator:
Angel, John, 1881-1960  Search this
Extent:
4.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1912-1960
Scope and Contents:
Biographical material; general correspondence; files on sculpture commissions containing correspondence, financial material, notes, blueprints, a few sketches; writings, lectures, and notes by Angel; 30 sketchbooks (28.8 x 21.9 cm. or smaller), undated, 1912-1958, and 64 sketches (26.5 x 35.5 cm. or smaller), undated, in pencil, ink, chalk, and watercolor depicting architectural elements, statues, figure studies, portraits, and landscapes, some signed; clippings; catalogs; photos of Angel, Angel at work, his studio, and works of art; a scrapbook of clippings and printed material.
Biographical / Historical:
Sculptor; Sandy Hook, Connecticut. Born in England. Studied at Royal Academy Art Schools. Executed sculpture for churches in Oxford, Yorkshire, Exeter, and Bridgewater, England and for St. John the Divine, New York City, East Liberty Presbyterian Church, Pittsburgh, Pa. and many statues throughout the United States.
Provenance:
Donated 1981 by Henry S. Angel, son of John Angel.
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:
Sculptors -- Connecticut  Search this
Topic:
Sculpture, American -- United States  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.angeljoh
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93723a605-90c9-4b09-a055-a685d3986c72
EDAN-URL:
ead_collection:sova-aaa-angeljoh

James Earle and Laura Gardin Fraser papers

Creator:
Fraser, James Earle, 1876-1953  Search this
Fraser, Laura Gardin, 1889-1966  Search this
Names:
Goff, Mary  Search this
Extent:
2 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Interviews
Date:
1913-1970
Scope and Contents:
A transcript of an interview with James Earle and Laura Gardin Fraser; biographical data; letters to Laura Fraser; general correspondence; lists of people and their addresses; unpublished manuscripts and notes, including James Fraser's INDIAN PRAIRIE, recording his childhood memories in the Dakota territory of 1880; financial material; printed material, including catalogs, brochures, announcements, scholarship data, newspaper clippings, magazine articles, and reproductions; drawings and sketches; Mary Goff's undated sketchbook; and ca. 900 photographs of the Frasers and their works of art.
Biographical / Historical:
Sculptors; Westport, Connecticut.
Provenance:
Lent 1982 by Mrs. Erving Wolf. It is unclear how she acquired the papers.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Sculptors -- Connecticut -- Westport  Search this
Topic:
Sculpture, American  Search this
Genre/Form:
Interviews
Identifier:
AAA.frasjame
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9df722523-49cd-4362-97d0-885b79108e29
EDAN-URL:
ead_collection:sova-aaa-frasjame

Dolly Curtis [videorecording] : fiber artist / produced by Victor Cromwell

Creator:
Curtis, Dolly Powers, 1942-  Search this
Names:
Curtis, Dolly Powers, 1942-  Search this
Extent:
1 Item (videocassette (30 min.), sd., col., 1/2 in.)
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
c1985
Scope and Contents:
Three programs on Curtis shown on Fairfield, Conn. cable television, 1983 and 1984, including an interview of Curtis in her Easton, Conn. studio by Channel 12 News; a tour with Curtis of her installation at the Connecticut College Art Gallery, New London, including a discussion with David Smalley, chair of the Art Dept.; and visits to Richard Bergmann Architects, New Canaan Library, and University of Connecticut Babbige Library to view Curtis' work.
Biographical / Historical:
Fiber artist; Easton, Conn.
Provenance:
Donated 1985 by Dolly Curtis.
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:
Fiber artists -- Connecticut  Search this
Sculptors -- Connecticut  Search this
Topic:
Decorative arts  Search this
Decoration and ornament, Architectural  Search this
Fiberwork  Search this
Women artists  Search this
Women textile artists  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Video recordings
Identifier:
AAA.curtdoll
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9759c636a-ef54-4cfe-80b1-1612ec84987b
EDAN-URL:
ead_collection:sova-aaa-curtdoll

Paolo S. Abbate papers

Creator:
Abbate, Paolo S., 1884-1973  Search this
Names:
Barnard, George Grey, 1863-1938  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Extent:
4 Microfilm reels (639 items on 4 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Scrapbooks
Date:
1908-1971
Scope and Contents:
The microfilm collection of Paolo S. Abbate papers contains biographical material; correspondence (circa 1908-1971), including letters to and from George Grey Barnard; writings and speeches on art; sketches; scrapbooks (circa 1912-circa 1953) containing writings and clippings (some of which are in Italian), including articles and obituaries on George Grey Barnard, Frederick William MacMonnies, and others; exhibition price lists; photographs of Abbate and of his work; and printed material, including articles by and about Abbate.
Biographical / Historical:
Paolo Salvatore Abbate (1884-1973) was an Italian-born sculptor and minister who lived and worked in Connecticut. Born in Villarosa, Sicily, Abbate moved to the United states in circa 1902. He was a member of the National Sculpture Society, the founder of the Torrington Artists Association, and the co-founder of the Torrington Unico National chapter.
Related Materials:
The University of Minnesota Immigration History Research Center Archives holds the Paolo S. Abbate papers (1919-1973).
Provenance:
Lent for microfilming 1977 by James and Samuel Alaimo, nephews of Abbate.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Sculptors -- Connecticut -- Torrington  Search this
Genre/Form:
Scrapbooks
Citation:
Paolo S. Abbate papers. Owned by James and Samuel Alaimo. Microfilmed by Archives of American Art, Smithsonian Institution.
Identifier:
AAA.abbapaol
See more items in:
Paolo S. Abbate papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw933c5c9f1-9bf5-4386-b0fc-0b4c5603d26d
EDAN-URL:
ead_collection:sova-aaa-abbapaol

Alexander Calder letters and photographs

Creator:
Calder, Alexander, 1898-1976  Search this
Names:
Thomson, George Derwent  Search this
Extent:
2 Volumes ((55 items on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Volumes
Date:
1927-1960
Scope and Contents:
Two albums labeled "Letters" and "Calder," containing 31 letters and 15 postcards from Calder, 1927-1960, to George Thomson, 4 empty envelopes, 2 photographs of the Calder family, a Christmas card with a photograph of the Calder family, and an exhibition announcement for the Pierre Matisse Gallery. Calder, writing to Thomson in London from various locations, discusses his travel plans, work, and his hopes of seeing Thomson. A few of the letters are illustrated.
Biographical / Historical:
Sculptor; Roxbury, Ct. Thompson was a banker, London, England, and a friend of Calder and family.
Provenance:
Donated 1986 by Dr. and Mrs. Arthur Kahn, presumably collectors.
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:
Sculptors -- Connecticut -- Roxbury  Search this
Topic:
Sculpture, American  Search this
Identifier:
AAA.caldallp
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978b89616-697c-4de4-8df3-d134969572d9
EDAN-URL:
ead_collection:sova-aaa-caldallp

John S. Monagan papers relating to Naum Gabo

Creator:
Monagan, John S.  Search this
Names:
Gabo, Naum, 1890-1977  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1969-1982
Scope and Contents:
Correspondence with Miriam Gabo and others regarding Naum Gabo, his sculpture, and exhibitions, 1966-1991; notes by Monagan from a meeting with the Gabos', March 19, 1971; newspaper clippings, (includes obituaries) 1968, 1977; and 33 photographs, all taken by Monagan, includes: 16 b&w photos of Naum, Miriam, and daughter Nina Gabo, Charles and Michael Monagan, and Gabo's sculpture, 1969; and 15 color photos of Gabo's residence, studio, and his works, 1975, 1982.
Biographical / Historical:
Monagan: an attorney, a member of Congress from Connecticut. He was a friend of sculptor Naum Gabo. Gabo was born in in Briansk, Russia in 1890 and died 1977.
Provenance:
Donated 1983 and 1994 by John S. Monagan.
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:
Sculptors -- Connecticut -- Middlebury  Search this
Topic:
Sculptors -- Connecticut -- Middlebury -- Photographs  Search this
Sculpture, Modern -- 20th century -- United States -- Photographs  Search this
Function:
Artists' studios -- Connecticut
Identifier:
AAA.monajohn
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ca864f5f-5673-4649-974f-af63f60c4bf9
EDAN-URL:
ead_collection:sova-aaa-monajohn

Luman Pierre Kelsey papers

Creator:
Kelsey, Luman Pierre, 1906-1961  Search this
Extent:
1 Reel (ca. 70 items (on 1 partial microfilm reel))
Type:
Collection descriptions
Archival materials
Reels
Date:
1940-1961
Scope and Contents:
Letters, photographs, catalogs, clippings, and awards.
Biographical / Historical:
Sculptor, ceramist, photographer; North Canton, Conn. Married painter, printmaker, Dorothea Storey Kelsey.
Provenance:
Lent for microfilming 1961 by Dorothea Storey Kelsey, Kelsey's widow.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Ceramicists -- Connecticut -- North Canton  Search this
Photographers -- Connecticut -- North Canton  Search this
Sculptors -- Connecticut -- North Canton  Search this
Topic:
Photography, Artistic  Search this
Sculpture, Modern -- 20th century -- Connecticut  Search this
Decorative arts  Search this
Identifier:
AAA.kelsluma
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95218f08f-5da1-4bb4-a34a-d1d737701ec5
EDAN-URL:
ead_collection:sova-aaa-kelsluma

William Kent papers

Creator:
Kent, William, 1919-2012  Search this
Extent:
10.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Interviews
Video recordings
Sound recordings
Date:
1919-2012
Scope and Contents:
The papers of sculptor and printmaker William Kent measure 10.7 linear feet and date from 1919-2012. The collection documents Kent's early encounters with the mainstream art world in the 1960s, including the Whitney Museum of American Art where a work of his was shown. Earlier records also include documentation of Kent's participation in World War II, time at Yale, and the first set of Philistine Press books.

Materials include biographical information, interviews primarily on on VHS, CDs, and Mini-DVs, correspondence, writings, exhibition and loan files, personal business records, administrative files, printed material, scrapbooks, photographs and works of art. Also included is a small box with metal items related to military service.
Biographical / Historical:
William Kent (1919-2012), born William Williamson, was a sculptor and printmaker outside Durham, Connecticut.
Provenance:
Donated in 2021 by Edgar Waterman, Trustee of the William Kent Charitable Foundation.
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.

Researchers interested in accessing audiovisual and born digital recordings in this collection must use access copies. Contact References Services for more information.
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:
Sculptors -- Connecticut  Search this
Printmakers -- Connecticut  Search this
Genre/Form:
Scrapbooks
Interviews
Video recordings
Sound recordings
Identifier:
AAA.kentwill
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e7e47eda-f119-44bd-9a5b-170815156e3e
EDAN-URL:
ead_collection:sova-aaa-kentwill

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