One letter from David Aronson, 1996 and one letter of recommendation, 1996; a poem by Rosenthal, "Disillusion," written in 1936 and printed ca. 1938, in reaction to his dismissal as an art teacher at Medford Senior High, apparently because he was Jewish; a clipping from the Boston Globe ,1941, on his art classes; and five photographs of Rosenthal and family and of art classes taught by Rosenthal and others, including Alma Lebrecht, Reed Kay, Bernard Chaet, and Jack Kramer. The materials relate primarily to his teaching career at the Museum of Fine Arts, Boston and the Boston school system.
Biographical / Historical:
Sculptor, ceramist, art educator; Boston, Mass. Rosenthal attended the Museum of Fine Arts, Boston school while in high school, and later taught there. He received a Master's degree in Education from Boston University in 1936, and taught in the Boston school system from 1936-1976, rising from key teacher of high school students to supervisor of art for the entire system in 1966. Many of his students went on to become notable artists.
An interview of Ralph Rosenthal conducted 1997 February 10-April 7, by Robert F. Brown, for the Archives of American Art, at Rosenthal's home, in Brookline, Mass.
Rosenthal discusses his childhood in the South End of Boston; first art training at age of 10 under Bill Tate, Dudley Pratt, and Anthony DiBona; attending the Boston public schools' Saturday art classes at the Museum of Fine Arts, Boston, headed by Alma LeBrecht, Blanche Brink, and Alice Morse, 1924-29; his years at the School of the MFA (1929-35) and the dominant influence there of Philip Hale; his further training in education at Boston University (Ed.M., 1936); his early teaching career; receiving a Carnegie Fellowship in 1938 to study at the Fogg Museum, Harvard University; studying ceramics at Alfred University in 1940; and his founding with Herbert Kahn in 1941 of ROKA, a ceramics supply company.
Teaching in the Boston public schools, 1936-1976, rising from teacher of sculpture to supervisor of art for the entire system in 1966; his work in sculpture, painting, drawing, and ceramics; and former students at the various places he has taught.
Biographical / Historical:
Ralph Rosenthal (1912-2003) was a sculptor from Boston, Mass.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 27 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:
Art teachers -- Massachusetts -- Boston -- Interviews Search this
The Renaissance Guild Sculptor Documentary Project's video documentary of eight Berkshire sculptors along with supporting material pertaining to the artists. Sculptors include Andrew DeVries, Otello Guarducci, Frederick Hund, Alexander Stoller, John Stritch, Gregory Stone, Elbert Weinberg, and Carolyn Wirth.
The documentary was edited from individual interviews conducted between February and May 1995. Each was directed by Amanda McCormick. The interviewer for all but the Wirth and Stoller segments is Hillary Dyer; Maia Cannon interviewed Wirth, and William and Lucy Jackson interviewed Brier Stoller, Alexander Stoller's widow. The interviewee pertaining to Weinberg is Joel Karp, trustee of the Weinberg Foundation.
Biographical / Historical:
The Renaissance Guild was formed in 1994 by Gail Ryan, William Jackson and Frederick Hund in order to begin documentation of the professional lives of recognized sculptors of the Berkshire region. It is formed under the aegis of the Berkshire Taconic Community Foundation, Inc., a non-profit philanthropic and financial management organization.
Publication, Distribution, Etc. (Imprint):
Great Barrington, Mass. : Renaissance Guild, c1995.
Provenance:
Donated 1996 by Frederick Hund, one of the collaborators on the documentary and also one of the sculptors documented.
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 -- Massachusetts -- Great Barrington Search this
Interview of Marianna Pineda, conducted by Robert Brown for the Archives of American Art, Smithsonian Institution, in Brookline, Massachusetts, on June 14 and May 26, 1977.
Pineda speaks of her childhood in Chicago; travels to Europe with her mother; early encounters with sculpture and architecture at the Chicago World's Fair; studying at the Otis Art Institute, Cranbrook, and Columbia University; meeting and marrying her husband Harold Tovish; living and working in Paris, Minneapolis, and Italy; how having children affected her work; teaching at Newton College and Boston University; showing at the Swetzoff Gallery in Boston; sculpting in wood, plaster, wax, and bronze; work with the Boston Visual Artists' Union; and various of her works, including the Oracle series, the Bed series, An Effigy for the Young Lovers, Sleepwalker, and The Dance of Sleep or Death. Pineda also recalls Carl Milles, Ossip Zadkine, William Zorach, David Smith, Simon Moselsio, Oronzio Maldarelli, and others.
Biographical / Historical:
Marianna Pineda (1925-1996) was a sculptor and educator from Boston, Massachusetts. Pineda studied at Cranbrook Academy with Carl Milles, Bennington College with Simon Moselsio, University of California, Berkley, with Raymond Puccinelli, Columbia University with Oronzio Maldarelli, and in Paris with Ossip Zadkine. She met her future husband while studying at Columbia, fellow sculptor Harold Tovish. Pineda exhibited her work in group exhibitions held at Brooklyn Museum, New York, Museum of Modern Art, New York, and the Carnegie Institute, Pennsylvania, and had solo shows at the Honolulu Academy of Art, Hawaii, Walker Art Center, Minnesota, George Washington University, Washington, D.C., and Swetzoff Gallery, Boston. Her public commissions include a 6-foot bronze sculpture, The Spirit of Lili'oukalani, located in Honolulu, Hawaii. Pineda's sculptures are found in the permanent collections of the Boston Public Library, Walker Art Center, Fogg Art Museum, Munson-Williams-Proctor Institute, and others. Pineda was an instructor at Newton College of the Sacred Heart and Boston College, and was an adjunct professor of sculpture at Boston University.
General:
Originally recorded on 1 tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 7 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.
Topic:
Sculptors -- Massachusetts -- Boston -- Interviews Search this
An interview of Tom Patti conducted 2010 January 18 and 19, by William Warmus, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Patti's residence, in Miami Beach, Florida.
Patti talks about growing up in Pittsfield, Massachusetts, in a working-class neighborhood, and playing in and around the General Electric Corp. landfill, the major employer in the area; losing vision in one eye after a childhood accident; he recalls running with a tough crowd during high school and making homemade tattoos for his friends; his probation officer during high school, who encouraged his interest in art; meeting Norman Rockwell, who encouraged him to attend Pratt Institute in Brooklyn, New York; majoring in industrial design at Pratt, where he worked with Rowena Reed Kostellow; the idealism and social consciousness of the 1960s; exposure to the ideas of visionary architects such as Moshe Safdie and Buckminster Fuller; the New York art/social scene in the 1960s, including Max's Kansas City; meeting Marilyn Holtz, whom he later married; a trip to Colombia to discuss shelter development, and exposure to severe poverty; a resulting focus on people-centered shelter ideas; graduate work at Pratt, and the value of his studies in an academic environment; working with inflatable shelters, experimenting with different materials, including using glass; returning to the Berkshires in Massachusetts, working odd jobs, running a small glass school for children; becoming aware of the studio glass movement and attending a glassblowing workshop at Penland School of Crafts in Penland, North Carolina, in 1971; continued work with glass, including Vitrolite and other scavenged materials; growing public recognition in the 1970s; an internship at Haystack Mountain School of Crafts, Deer Isle, Manie, where he met Steve Feren, with whom he worked for several years; acquisition of work by the Corning Museum of Glass, Corning, New York, in 1976; first one-man gallery show in 1977; purchase of work by the Museum of Modern Art, New York, New York; series Solar Riser and the importance of a meditative/spiritual component of his work; setting up a studio in Plainfield, Massachusetts; first museum exhibition at the George Walter Vincent Smith Art Museum in Springfield, Massachusetts; speaking at the World Crafts Council conference in Vienna in the late 1970s; continued travel and recognition in Europe in the 1980s; "Genic Doran Divider-Sentinel," (1982-84), commissioned sculpture for General Electric in Pittsfield, which led to his focus on laminated materials; early 1990s studio expansion to work on a larger scale; commission work with Cesar Pelli for Owens Corning Fiberglas in 1993; one-person show at Serge Lechazynski's gallery in Biot, France; travels in Europe and Israel; serving on the board of the Norman Rockwell Museum in Stockbridge, Massachusetts; consulting work with the glass and materials industry; "Spectral-Luma Ellipse" (2000); "Spatial Boundary" (2001), commissioned by Ann and Graham Gund; continued smaller-scale work; designing the window for Sienna Gallery in Lenox, Massachusetts, owned by his daughter; recent commissions including "Morton Square" in 2004, the Roosevelt Avenue Intermodal Station (2004), both in New York City, and "Miami Rain" (2009), Miami, Florida; and the importance of transparency, opacity, and translucency in his work. He also recalls Joseph Parriott, Sybil Moholy-Nagy, Rudolf Arnheim, Art Wood, Thomas Buechner, Doug Heller, Penelope Hunter-Stiebel, Laurie Wagman and Irvin Borowsky, and Malcolm Rogers.
Biographical / Historical:
Tom Patti (1943- ) is a glass artist, sculptor, and designer in Pittsfield, Massachusetts and Miami Beach, Florida.
General:
Originally recorded on 6 memory cards. Duration is 4 hr., 47 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.
A 2-page biographical sketch of Matzkin, 25 photographs of his paintings, ca. 1919-1968, 7 photographs of Matzkin, 2 clippings, and xerox copies of 2 letters. One of the letters, November 20, l965, is from Richard (Cardinal) Cushing thanking him for a reproduction of "Moses at Mt. Sinai," and the other is letter of appreciation, July 24, l956, from a client, Mel Linton.
Biographical / Historical:
Self-taught mural and portrait painter and sculptor, Boston, Mass. Born in Russia.
Provenance:
Donated by Lillian Matzkin Zimbler, Matzkin's daughter.
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.
Biographical material, personal and professional correspondence, scrapbooks, photographs, and printed material relating to Henry Augustus Lukeman's career as a sculptor.
Biographical material includes Lukeman's obituary in the New York Times. Personal letters are from from Daniel Chester French to Lukeman, 1904-1931. Professional correspondence concerns commissions and is with various individuals and organizations, including F.D. Millet (director of decoration for the World's Columbian Exposition), James Brown Lord (for the New Court House of the Appellate Division of the Supreme Court), and the United Daughters of the Confederacy. Other correspondence concerns memberships and honors from the the Fine Arts Federation of New York, the National Institute of Social Sciences, the Sheriff of the County of Kings, and Conference House Association.
Two scrapbooks compiled by Lukeman include photographs of the interior of Lukeman's townhouse at 160 W. 86th St. New York, N.Y. and the exterior of his studio in Stockbridge, Mass. Additional photographs are of Lukeman's sculptures, including two photographs of the Stone Mountain (Georgia) bas relief project while in progress. Printed material includes newspaper clippings regarding Lukeman's works of art and commission projects, including his seals and coins.
Biographical / Historical:
Henry Augustus Lukeman (1871-1935) was a sculptor in New York, N.Y. and Stockbridge, Mass. who specialized in public and historic monuments.
Provenance:
Donated 2009 and 2010 by Gertrude Marie Bidwell Leuchs, Henry Augustus Lukeman's niece, and Catherine Leuchs Bohrman, Lukeman's great-niece.
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.
5.7 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
[187-]-1979
Scope and Contents:
Biographical material, correspondence, writings, art works, legal and financial records, scrapbook, photographic and printing material, and printed matter.
Biographical materials include a copy of Henry Hudson Kitson's birth certificate; his confirmation certificate; a copy of the death certificate of his father, John Kitson; a photograph of the honorable mention certificate received by Theo Ruggles (Kitson) for "Young Orpheus" from the Societe des Artistes Francais, 1890; a letter of reference for her from sculptor George F. Bissell, 1901; her will; calling cards from those who attended her funeral, 1932; biographical data on Henry Kitson; genealogical data on the Kitson family; an incomplete list of works by the Kitsons compiled by Dorothy Patricia Cavanagh; and a diary by Henry Kitson, 1902-1904, containing brief entries pertaining to his daily life and work.
Personal and professional correspondence includes letters from Theo to Henry from Paris, 1890, including an illustrated letter to "my own darling child" (? Henry Kitson) describing her award ceremonies at the Salon, an illustrated letter to her father, written from Rome, describing the city, a letter from Henry Kitson to Miss Tower, ca. 1899, about putting the Minutemen Memorial in Tower Park, Lexington, Mass., letters from him to his wife, 1903, and to "Babsy" (his daughter, Theo), undated, with sketches for constructing a fence and a stone wall, a letter from Alexander J. Schottes, 1905?, containing descriptions and sketches of the studios of Daniel Chester French, Charles Grafly, Augustus Saint-Gaudens and Louis Saint-Gaudens, copies of letters from Kitson to the secretary of Queen Wilhelmina of Holland requesting photos preparatory to making a bust of the Queen, letters from the War Dept. to the Kitsons about their work at Vicksburg, Miss., and letters to Theo from the Gorham Manufacturing Company. Posthumous correspondence includes letters to the Kitsons' son John, his wife Helen, and her sister, Dorothy P. Cavanagh, from sculptor Lee Lawrie, sculptor Milton Horn and his wife, Estelle.
Writings include a poem by Henry Kitson; a description of a "Visit to a Bronze Foundry" (Gruet, Fils, Paris), author unknown, undated; reminiscences by sculptor Lee Lawrie; and a remembrance of Lawrie by Dorothy P. Cavanagh, 1963.
Art works include a childhood sketch by Theo Kitson of her home in Brookline, Massachusetts; sketches of animals; several sketches by her, possibly for monuments; unidentified sketches, chiefly of possible monument designs, probably by one of the Kitsons; a rendering by an architectural firm of a bas-relief designed by Henry Kitson, 1935; 2 caricatures of Kitson by Hiram Jay; an etching by Robert Kitson, 1891; various sketches of Japanese figures and costumes by Hiroshi Yoshida, 1910; and 2 pastels by T. (?) Walser of "Stonegate" (?), home of the Kitsons in Framingham Centre, Mass. Also iIncluded are 4 steel dies for bas-reliefs.
Legal records 1895-1940, include specifications for the Soldiers' Memorial, Vicksburg, Miss., numerous contracts for works by the Kitsons, copyright receipts and certificates, and deeds for sale of real estate. Financial records, 1882-1946, include invoices for casting for Henry Kitson, his bank statements, 1931-32, and his promissory notes.
A large scrapbook, 1888-1954, annotated by Dorothy P. Cavanagh, contains clippings, genealogical information on the Kitson family, photos of works by the Kitsons, personal photographs, correspondence, including letters from Henry Kitson to his future wife, 1892, and postcards to her and their children, a humorous resolution about the "Regiment of Macaroonies," written by Henry Kitson's friends in Paris, 1888, invitations, agreements for sculpture, copies of speeches given at the University of Minnesota for the Student Soldier Memorial Monument dedication.
Photographs are of the Kitsons, their family, homes, studios, Paris, ca. 1900, and their work, including photos of oxen hauling the granite boulder for the base of the "Volunteer" by Theo Kitson from Quincy, Mass. to Vicksburg, Miss., 1904, and scenes of the dedication of the monument. In addition, there are 7 photos of "Work in Progress" by Ellin and Kitson and Company for the Equitable Building, New York, 1887, a photo of the Astor Memorial, Trinity Church, New York, which the firm also worked on, and 6 undated photographs of works by Samuel Kitson.Also included are glass negatives of the Kitson's work.
Printed materials date from 1884-1979.
Biographical / Historical:
Sculptors; Boston, Mass. Henry Hudson Kitson's actual name was Harry Kitson. Theo(dora) Alice Ruggles became his student in 1886 at the age of 15; in 1893 they were married and were notable monumental and portrait sculptors by the turn of the century. They had three children: Theo (also known as Babsy or Babbins), Dorothy and John. Three years after Theo's death, in 1935, Henry married Marie Hobron.
Related Materials:
Additional Kitson letters also located at: New York Historical Society.
Provenance:
The donor, Dorothy P. Cavanagh, was the sister of the Kitsons' daughter-in-law Helen (wife of John), and was writing a biography on the Kitsons up until her death in 1986. The microfilmed material was originally loaned by Cavanagh June 28, 1982 and September 12, 1986, and then donated upon her death by her nephew and executor, Paul Bennet. The unmicrofilmed material was donated by Cavanagh in 1973 and 1976.
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.
An interview of Kahlil Gibran conducted 1972 Mar. 23-Apr. 21, by Robert Brown, for the Archives of American Art.
Biographical / Historical:
Kahlil Gibran (1922-2008) was a sculptor and writer from Boston, Mass. His cousin and namesake wrote "The Prophet".
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 others.
Rights:
Authorization to quote or reproduce for the purposes of publication i complete sentences and verbatim only. Contact Reference Services for more information.
An interview of Richard E. Filipowski conducted 1989 Sept. 25-1990 Mar. 14, by Robert Brown for the Archives of American Art. Filipowski discusses his early childhood in Poland; immigration and childhood in Ontario, Canada; attending the Chicago School of Design (formerly New Bauhaus) under Laszlo Moholy-Nagy; freelance work in Chicago; teaching at the School of Design, at the Harvard University Graduate School of Design, and at MIT; his sculpture; and associations with Walter Gropius, Joseph Hudnut, Robert Preusser, Lawrence Anderson, Gyorgy Kepes, and Pietro Belluschi.
Biographical / Historical:
Richard E. Filipowski (1923-2008) was a sculptor, designer, filmmaker, and educator in Massachusetts.
General:
Originally recorded as 6 cassette tapes. Reformatted in 2010 as 11 digital wav files. Duration is 6 hrs., 48 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 administrators.
Occupation:
Art teachers -- Massachusetts -- Interviews Search this
Topic:
Sculptors -- Massachusetts -- Interviews Search this
Designers -- Massachusetts -- Interviews Search this
Filmmakers -- Massachusetts -- Interviews Search this
Sculpture, Modern -- 20th century -- United States Search this
6.8 Linear feet ((partially microfilmed on 1 reel))
2.1 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1940-1997
Scope and Contents:
Correspondence; project files; lists; biographical material; photographs; and exhibition catalogs and announcements.
REEL 2027: Photographs of Duca at work, his studio, and his works of art.
UNMICROFILMED: Correspondence; project files on the "Gloucester Experiment" and "Channel One" containing correspondence, reports, drawings, notes, printed material, and photographs; lists of collections, price lists, and lists of works of art; exhibition catalogs and announcements; clippings; biographical material; and miscellany. Among the photographs are one of Jack Levine, one of Leonard Bernstein with Irving Fein, and one of Igor Stravinsky and his son, taken by John Brook, ca. 1950.
ADDITION: Biographical material, including vital documents; correspondence; writings; business records; exhibition materials; clippings; printed material; photographs of Duca, sculpture, and paintings; and most significantly, files on Duca's commissions and projects.
Biographical / Historical:
Painter, sculptor; Annisquam, Massachusetts. Duca died Jan. 13, 1997.
Provenance:
Material on reel 2027 lent for microfilming 1980 by Alfred Duca; he donated the unmicrofilmed material in 1980. In 1998, an additional 2.4 ft. was donated 1998 by Veronique Duca, widow of Alfred Duca.
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.
An interview of Arcangelo Cascieri conducted 1972 November 21-1974 January 24, by Robert F. Brown, for the Archives of American Art.
Cascieri speaks of his childhood in Italy; his art education, beginning with his apprenticeship to a wood sculptor; his early sculpture for churches; attending Massachusetts College of Art; early commissions; definitions and standards of beauty; studying at the Boston Architectural Center (BAC); meeting and becoming acquainted with Walter Gropius; becoming the administrator of the BAC; teaching experiences; changes in the BAC over the years; and his artistic philosophy.
Biographical / Historical:
Arcangelo Cascieri (1902-1997) was a sculptor, educator, and administrator at the Boston Architectural Center (BAC) of Boston, Massachusetts.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 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.
Occupation:
Arts administrators -- Massachusetts -- Boston -- Interviews Search this
The scattered papers of sculptor and educator Marilyn Quint-Rose measure 0.2 linear feet and date from 1978 to 1998. Found are biographical materials, correspondence, and printed material.
Scope and Contents:
The scattered papers of sculptor and educator Marilyn Quint-Rose measure 0.2 linear feet and date from 1978 to 198. Found are biographical materials, correspondence, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Marylin Quint-Rose (1927-2022) was a sculptor and educator in New England. She studied at the Museum of Fine Arts, Boston, and settled in Worcester, Massachusetts. Later, Quint-Rose taught at the University of New England in Maine for sixteen years. She conducted art seminars and classes for both children and adults.
Provenance:
Donated 1999 by Marilyn Quint-Rose.
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.
Occupation:
Sculptors -- Massachusetts -- Worcester Search this
An interview of Walker Hancock conducted 1977 July 22-August 25, by Robert Brown, for the Archives of American Art.
Hancock discusses his early education and studying with Charles Grafly at the American Academy in Rome; studying at the Pennsylvania Academy and later teaching there; early work with Lorado Taft; fellow sculptors; and sculptural commissions vs. freelance work.
Biographical / Historical:
Walker Kirtland Hancock (1901-1998) was a sculptor from Gloucester, Massachusettes. Hancock was born in 1901 in St. Louis, Missouri. He studied at Washington University for one year before moving on to the Pennsylvania Academy of the Fine Arts, where he studied under Charles Grafly. He taught at PAFA from 1929 to 1967.
General:
Originally recorded 3 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 6 hr., 5 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Sculptors -- Massachusetts -- Gloucester -- Interviews Search this
An interview of Richard Stankiewicz conducted by Richard Brown Baker in 1963 for the Archives of American Art, regarding the Hansa Gallery.
Biographical / Historical:
Richard Stankiewicz (1922-1983) was a sculptor and educator and Huntington, Massachusetts.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 5 min.
Provenance:
This interview is part of the Archives' 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.
Occupation:
Sculptors -- Massachusetts -- Huntington Search this
The papers of sculptor Bashka Paeff measure 1.5 linear feet and date from 1920 to 1981. The small collection documents her work as an artist in Boston, Massachusettes, through biographical material, two diaries, printed material, and photographs of Bashka Paeff and her artwork. Also found are an autograph book containing signatures and notes from MacDowell Colony members, one clippings scrapbook, and four photograph albums, including one from a trip to Europe in the 1920s.
Scope and Contents:
The papers of sculptor Bashka Paeff measure 1.5 linear feet and date from 1920 to 1981. The small collection documents her work as an artist in Boston, Massachusettes, through biographical material, two diaries, printed material, and photographs of Bashka Paeff and her artwork. Also found are an autograph book containing signatures and notes from MacDowell Colony members, one clippings scrapbook, and four photograph albums, including one from a trip to Europe in the 1920s.
Arrangement:
The collection is arranged as 4 series.
Series 1: Biographical Material 1922-1981 (0.2 linear feet; Boxes 1, 3)
Series 2: Diaries, 1924-1925 (2 folders; Box 1)
Series 3: Printed Material, 1920-1979 (0.2 linear feet; Box 1)
Series 4: Photographs, circa 1920s-1977 (1.1 linear feet; Boxes 1-3)
Biographical / Historical:
Bashka Paeff (1894-1979) was a sculptor in Boston, Massachusettes. Paeff was born in Minsk, Russia and moved to Boston with her parents when she was a year old. She studied at the School of the Museum of Fine Arts, Boston, with Bela Pratt in 1914. Later she worked at the McDowell Colony and married Boston University professor Samuel M. Waxman. Paeff was known for realistic animal sculptures as well as war memorials, fountains, and portraits. Notable works include the Boy and Bird statue in the Boston Public Gardens, the Lexington Minute Men Memorial, and a statue of President Harding's pet terrier, Laddie Boy, which was cast from pennies collected by newsboys and became part of the Smithsonian Institution collection.
Provenance:
Donated in 2012 by Don Richard Lipsitt, Bashka Paeff's nephew.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Facility.
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.
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.
Scope and Contents:
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.
Biographical material consists of a Bauhaus questionnaire, marriage license, various identification documents, Canadian selective service documents, resumes, and other miscellaneous material.
Correspondence mostly relates to Filipowski's teaching and sculpture, including letters from Herbert M. Agoos, Lawrence B. Anderson, Pietro Belluschi, Stuart Davis, Garrett Eckbo, Walter Gropius, Gyorgy Kepes, Laszlo Moholy-Nagy, and others.
Writings consist of Filipowski's lectures on art, notes, and other material. There is also one sound recording of a lecture.
Teaching files are mostly from the Institute of Design, Harvard University, and Massachusetts Institute of Technology. The series includes syllabi, faculty meeting minutes, notes and drafts for lectures, school catalogs and schedules, and files on student exhibitions and projects, including two films, Do Not Disturb and Hearts and Arrows.
Project files contain correspondence, business records, printed material, sketches and photographs on commissions in architecture, sculpture and furniture design. There are also files on programs which Filipowski assisted in planning and organizing, including the Boston Art Festival and a few exhibitions.
Printed material consists of exhibition catalogs, announcements, and clippings mostly about Filipowski.
Photographs, slides, and negatives are of Filipowski and others, sculpture, furniture designs, and works of art by his students from Harvard and MIT.
Art work includes sketches, sketchbooks, cardboard studies for sculptures, and Christmas card designs.
Arrangement:
This collection is arranged as eight series.
Series 1: Biographical Material, 1941-1974 (Box 1; 7 folders)
Series 2: Correspondence, 1941-1998 (Box 1, OV 6; 0.6 linear feet)
Series 3: Writings, 1951-1969 (Box 1; 0.4 linear feet)
Series 4: Teaching Files, 1943-1970 (Box 2, OV 6; 0.7 linear feet)
Series 5: Project Files, 1944-1976 (Boxes 2-3, OV 6-7; 0.6 linear feet)
Series 6: Printed Material, 1941-1989 (Box 3, OV 7; 0.4 linear feet)
Series 7: Photographic Material, circa 1940-1989 (Boxes 3-4, OV 8; 0.7 linear feet)
Series 8: Artwork, circa 1940-circa 1985 (Boxes 4-5, OV 6, 8; 0.7 linear feet)
Biographical / Historical:
Richard E. Filipowski (1923-2008) was a designer, sculptor, painter, filmmaker and educator mostly based in Massachusetts. Richard Filipowski was born in Poland in 1923 and he and his family moved to Ontario, Canada in 1927. He studied under Laszlo Moholy-Nagy at the Institute of Design (formerly known as the New Bauhaus) from 1942 to 1946 and taught there after graduating, 1946-1950. Filipowski was invited by Walter Gropius to organize and teach Design Fundamentals at Harvard University's Graduate School of Design where he stayed until 1952. He then taught as an Associate Professor of Visual Design in the Department of Architecture at the Massachusetts Institute of Technology, 1953-1989.
Filipowski also took on numerous commissions for sculptures and artwork. One especially noteworthy commission was a sculpture for an Ark created for the Temple B'Rith Kodesh in Rochester, New York. The sculpture was intricately wrought and welded from bronze and silver alloys and it remained a source of inspiration for other later sculptures and commissions which had a similar style of metal-working. Many of his works were also marked by his Bauhaus training. Filipowski passed away in 2008.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Richard E. Filipowski conducted by Roger Brown on September 25, 1989 through March 14, 1990.
Provenance:
The papers were donated to the Archives of American Art by Richard E. Filipowski in multiple installments from 1989 to 1998.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The papers of Massachusetts painter, sculptor, and educator David Berger measure 3.8 linear feet and date from circa 1939 to 1986. His career as an artist and professor are documented through biographical material, personal business records, scattered correspondence, gallery files, exhibition catalogs, news clippings, and other printed material, as well as nine sketchbooks and photographs depicting Berger, his family, and artwork.
Scope and Content Note:
The papers of Massachusetts painter, sculptor, and educator David Berger measure 3.8 linear feet and date from circa 1939 to 1986. His career as an artist and professor are documented through biographical material, personal business records, scattered correspondence, gallery files, exhibition catalogs, news clippings, and other printed material, as well as nine sketchbooks and photographs depicting Berger, his family, and artwork.
Biographical material consists of Veterans Administration records, interview transcripts, student records, diplomas, and documents from the memorial service held for Berger in 1966. Personal business records include of his employment records, scattered financial documents, and files documenting his submissions for juried art exhibitions. Also found here are inventory and sales records for Berger's artwork and documentation on the construction of Berger's house and studio in the late 1950s, designed by architect Marvin E. Goody.
Correspondence is with art galleries, professional organizations, publishers, Cranbrook Academy of Art, and individuals who purchased works by Berger. These letters primarily concern the sale and exhibition of David Berger's artwork as well as his education and teaching career. Gallery files include correspondence, price lists, artwork sales and loan records, exhibition planning documents, notes, and gallery publications.
Printed material consists of news clippings documenting David Berger's career, catalogs and announcements for exhibitions of works by Berger and others, as well as publications from Massachusetts College of Art and Cranbrook Academy of Art. One children's book includes illustrations by David Berger. Photographs depict Berger at art exhibitions and with his wife and daughters at home and in his studio. Also found are numerous photographs of his artwork. Nine sketchbooks contain various figure studies in pencil, ink, pastel, and charcoal.
Many of these files in this collection were maintained by Berger's wife, Ruth, after his death in 1966 and include her correspondence and notes.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material, circa 1939-1966 (Box 1, 5; 0.3 linear feet)
Series 2: Personal Business Records, 1941-1981 (Box 1, OV 6; 0.6 linear feet)
Series 3: Correspondence, 1945-1986 (Box 1-2; 0.3 linear feet)
Series 4: Gallery Files, 1953-1985 (Box 2; 0.6 linear feet)
Series 5: Printed Material, 1943-1975 (Box 2-3, 5; 1.1 linear feet)
Series 6: Photographs, circa 1949-1960s (Box 3-5; 0.6 linear feet)
Series 7: Sketchbooks, circa 1956-1960s (Box 4-5; 0.3 linear feet)
Biographical Note:
David Berger (1920-1966) was a painter, sculptor, and educator in Boston, Massachusetts. Berger was born in Lawrence, Massachusetts, and earned a B.S. in education from the Massachusetts College of Art in 1946. In 1950 he received a master of fine arts degree from Cranbrook Academy of Art. He was a professor of art at Framingham State College from 1946 to 1957, and a professor of painting and illustration at Massachusetts College of Art from 1957 until his death on November 15, 1966.
Berger had numerous gallery exhibitions and won several awards in juried shows. He was represented in New York by the Cober Gallery, and in 1967 DeCordova Museum held a memorial exhibition of his work. In 1956 he was selected as on of the "100 Outstanding New Talents in U.S.A." by Art in America.
Provenance:
The collection was donated in 2010 by Ellen Berger Rainville, David Berger's daughter.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.