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Embroidery Design: Man's

Manufacturer:
Fabrique de Saint Ruf  Search this
Artist:
Mademoiselle Montalent  Search this
Mademoiselle Anteleme  Search this
Medium:
Gouache, over graphite Support: white laid paper
Type:
embroidery & stitching
Drawing
Object Name:
Drawing
Place:
France
Made in:
France
Date:
ca. 1785
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-75
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-75

Design for a Stained Glass Window: Grammatica

Artist:
Hans Kaspar Lang the Elder, Swiss, 1571 – 1645  Search this
Medium:
Pen and brown ink, brown wash
Type:
glasswares
Drawing
Object Name:
Drawing
Date:
1606
Credit Line:
Purchased for the Museum by the Advisory Council
Accession Number:
1911-28-129
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1911-28-129

Crevices in Minnewaski, N.Y.

Medium:
Glass
Object Name:
Slide
Type:
Slide
Date:
20th century
Credit Line:
Gift of Miss Frances Morris
Accession Number:
1945-201-152
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1945-201-152

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961

Creator:
Kent, Rockwell, 1882-1971  Search this
Subject:
Wildenstein, Felix  Search this
Phillips, Duncan  Search this
Hays, Lee  Search this
Untermeyer, Louis  Search this
Zigrosser, Carl  Search this
Robeson, Paul  Search this
DuBois, W.E.B. (William Edward Burghardt)  Search this
Roosevelt, Franklin D. (Franklin Delano)  Search this
Ruggles, Carl  Search this
Stefansson, Vilhjalmur  Search this
Nearing, Helen  Search this
Nearing, Scott  Search this
Pach, Walter  Search this
Rasmussen, Knud  Search this
Reeves, Ruth  Search this
Seeger, Pete  Search this
Daniel, Charles  Search this
Cleland, T. M. (Thomas Maitland)  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Chamberlain, J. E.  Search this
Boyesen, Bayard  Search this
Chase, William Merritt  Search this
Freuchen, Peter  Search this
Gellert, Hugo  Search this
Gottlieb, Harry  Search this
Hartley, Marsden  Search this
FitzGerald, James  Search this
Keller, Charles  Search this
Miller, Kenneth Hayes  Search this
Henri, Robert  Search this
Jones, Dan Burne  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
American Artists' Congress  Search this
Artists' Union (New York, N.Y.)  Search this
Artists League of America  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
Macbeth Gallery  Search this
International Workers Order  Search this
Type:
Poems
Sketches
Business records
Photographs
Drawings
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Painters -- New York (State)  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
World War, 1939-1945 -- Civilian relief  Search this
Labor unions  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Record number:
(DSI-AAA_CollID)9557
(DSI-AAA_SIRISBib)211757
AAA_collcode_kentrock
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211757
Online Media:

Minutes of meeting of Group of 8, 1919 Dec. 31

Creator:
Gussow, Bernard, 1881-1957  Search this
Subject:
Bouché, Louis  Search this
Maurer, Alfred Henry  Search this
Stella, Joseph  Search this
Weber, Max  Search this
Zorach, William  Search this
Exposition d'artistes de l'école Américaine  Search this
Topic:
Art, American -- Exhibitions  Search this
Art, Modern -- 20th century  Search this
Record number:
(DSI-AAA_CollID)10580
(DSI-AAA_SIRISBib)214056
AAA_collcode_gussbern
Theme:
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214056

The Lamp Is Low; The Man I Love

Recording artist:
Lamour, Dorothy  Search this
Maker:
Bluebird  Search this
Physical Description:
shellac (overall material)
Measurements:
overall: 10 in; x 25.4 cm
Object Name:
sound recording
Place made:
United States: New Jersey, Camden
Date made:
1939
Related Publication:
Discography of American Historical Recordings
Credit Line:
Gift of Eula W. Wake in Memory of Harry Wake
ID Number:
1981.0656.081
Accession number:
1981.0656
Maker number:
B-10302
Catalog number:
1981.0656.081
See more items in:
Cultural and Community Life: Entertainment
Music & Musical Instruments
Popular Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-d6b7-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_666356

Hal Glicksman papers relating to California artists, 1936-2010, bulk 1960-1974

Creator:
Glicksman, Hal, 1937-  Search this
Subject:
Hefferton, Phillip C. (Phillip Conrad)  Search this
Herms, George  Search this
Talbert, Ben  Search this
Berman, Wallace  Search this
Cameron, Marjorie  Search this
Temple of Man (Venice, Calif.)  Search this
Type:
Sound recordings
Video recordings
Topic:
Conceptual art  Search this
Minimal art  Search this
Record number:
(DSI-AAA_CollID)17539
(DSI-AAA_SIRISBib)392291
AAA_collcode_glichal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_392291

Between the Devil and the Deep Blue Sea; Ol' Man Mose

Recording artist:
Eddy Duchin and his Orchestra  Search this
Maker:
Brunswick  Search this
Physical Description:
shellac (overall material)
Measurements:
overall: 10 in; x 25.4 cm
Object Name:
sound recording
Place made:
United States
Date made:
1938
Related Publication:
Rust, Brian. Jazz Records 1897-1942, Vol. 1
Credit Line:
Gift of Eula W. Wake in Memory of Harry Wake
ID Number:
1981.0656.007
Accession number:
1981.0656
Maker number:
8155
Catalog number:
1981.0656.007
See more items in:
Cultural and Community Life: Entertainment
Music & Musical Instruments
Popular Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-d6b3-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_666352

More Than Anything Else; It's So Nice To Have a Man Around the House

Recording artist:
Shore, Dinah  Search this
Harry Zimmerman Orchestra  Search this
Maker:
Columbia  Search this
Physical Description:
shellac (overall material)
Measurements:
overall: 10 in; x 25.4 cm
Object Name:
sound recording
Place made:
United States
Date made:
1950
Credit Line:
Gift of Eula W. Wake in Memory of Harry Wake
ID Number:
1981.0656.043
Maker number:
38689
Accession number:
1981.0656
Catalog number:
1981.0656.043
See more items in:
Cultural and Community Life: Entertainment
Music & Musical Instruments
Popular Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-f8b2-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_674194

I'm the Girl Who Married the Man on the Flying Trapeze; Put Your Shoes On, Lucy

Recording artist:
Kay, Beatrice  Search this
Maker:
Columbia  Search this
Physical Description:
shellac (overall material)
Measurements:
overall: 10 in; x 25.4 cm
Object Name:
sound recording
Place made:
United States
Date made:
1949
Related Publication:
Barr, Steven C.. Almost Complete 78 RPM Record Dating Catalog (II)
Credit Line:
Gift of Eula W. Wake in Memory of Harry Wake
ID Number:
1981.0656.038
Maker number:
38493
Accession number:
1981.0656
Catalog number:
1981.0656.038
See more items in:
Cultural and Community Life: Entertainment
Music & Musical Instruments
Popular Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-db05-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_674579

The Man I Love; I Got Rhythm

Recording artist:
Benny Goodman and his Orchestra  Search this
Maker:
Columbia  Search this
Physical Description:
shellac (overall material)
Measurements:
overall: 12 in; 30.48 cm
Object Name:
sound recording
Place made:
United States
Date made:
1945
1940
Related Publication:
Rust, Brian. Jazz Records 1897-1942, Vol. 1
Jazz Records 1942-1967, Vol. 4a: Ell - Goo
Credit Line:
Gift of Robert J. Walter
ID Number:
1981.0566.197
Maker number:
55038
Accession number:
1981.0566
Catalog number:
1981.0566.197
See more items in:
Cultural and Community Life: Entertainment
Music & Musical Instruments
Popular Entertainment
Sound Recordings
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a5-0036-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_672963
Online Media:

Woodruff's Mercury Barometer

Maker:
Wilder, Charles  Search this
Measurements:
overall: 37 in x 4 5/8 in x 1 7/8 in; 93.98 cm x 11.7475 cm x 4.7625 cm
Object Name:
barometer, mercury
Place made:
United States: New Hampshire, Peterborough
Date made:
1861-1870
Credit Line:
Mrs. Hallie Stephens Caine
ID Number:
PH.314608
Accession number:
87851
Catalog number:
314608
See more items in:
Medicine and Science: Physical Sciences
Measuring & Mapping
Barometers
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ad-8d48-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1419566

Letter to Dr. Dudley Tenney

Illustrator:
Frederick Stuart Church, American, 1842–1924  Search this
Collector:
Dr. Dudley Tenney, New York City  Search this
Medium:
Pen and brown ink on paper
Type:
ephemera
Ephemera
Object Name:
Ephemera
Made in:
USA
Date:
1895
Credit Line:
Bequest of Erskine Hewitt
Accession Number:
1938-57-1070-39
Restrictions & Rights:
CC0
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq47a229f3c-9d6a-44dc-bb26-e0494edb20ce
EDAN-URL:
edanmdm:chndm_1938-57-1070-39
Online Media:

Early Days of Successful Men

Illustrator:
Frederick Stuart Church, American, 1842–1924  Search this
Collector:
Dr. Dudley Tenney, New York City  Search this
Medium:
Printed in black ink on paper
Type:
albums (bound) & books
Ephemera
Object Name:
Ephemera
Made in:
USA
Date:
1895
Credit Line:
Bequest of Erskine Hewitt
Accession Number:
1938-57-1070-4
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq4307aa966-fed8-4806-afd5-6d2da16082fd
EDAN-URL:
edanmdm:chndm_1938-57-1070-4
Online Media:

A Pirate of the Air, The Officers Menagerie, Free Lunch, Illustrations for Scribner's Monthly (XVIII, No. 5, September 1879, p. 645)

Illustrator:
Frederick Stuart Church, American, 1842–1924  Search this
Publisher:
Scribner's Monthly  Search this
Collector:
Dr. Dudley Tenney, New York City  Search this
Medium:
Printed in black ink on paper
Type:
ephemera
Ephemera
Object Name:
Ephemera
Made in:
USA
Date:
September 1879
Credit Line:
Bequest of Erskine Hewitt
Accession Number:
1938-57-1070-51
Restrictions & Rights:
CC0
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq42bb21cee-7fe7-4bc8-b22d-4313f7161eea
EDAN-URL:
edanmdm:chndm_1938-57-1070-51
Online Media:

The Old School-House, Illustration for Scribner's Monthly (XVIII, No. 5, September 1879, p. 651)

Illustrator:
Frederick Stuart Church, American, 1842–1924  Search this
Print Maker:
J. F. Jungling  Search this
Publisher:
Scribner's Monthly  Search this
Collector:
Dr. Dudley Tenney, New York City  Search this
Medium:
Printed in black ink on paper
Type:
ephemera
Ephemera
Object Name:
Ephemera
Made in:
USA
Date:
September 1879
Credit Line:
Bequest of Erskine Hewitt
Accession Number:
1938-57-1070-54
Restrictions & Rights:
CC0
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq40b21d5fe-9bb8-4be1-8e84-07b26196d8f9
EDAN-URL:
edanmdm:chndm_1938-57-1070-54
Online Media:

Page of a drawing book; Elderly man in classical attire

Attributed to:
Jan van der Straet, called Stradanus, Flemish, 1523–1605  Search this
Medium:
Brush, bistre on paper
Type:
figures
Drawing
Object Name:
Drawing
Made in:
Netherlands
Date:
ca. 1590
Credit Line:
Museum purchase through gift of various donors
Accession Number:
1901-39-2685
Restrictions & Rights:
CC0
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq423dc2c3f-d9bf-4122-a80f-727d87d568ab
EDAN-URL:
edanmdm:chndm_1901-39-2685

Lily Shuff papers

Creator:
Shuff, Lily, 1906-  Search this
Names:
National Society of Painters in Casein  Search this
New York Society of Women Artists  Search this
Capp, Al, 1909-1979  Search this
Fabri, Ralph, 1894-1975  Search this
Extent:
2.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1941-1975
Summary:
The Lily Shuff papers date from 1941-1975 and measure 2.5 linear feet. Lily Shuff's work as a painter, participation in exhibitions, and contributions to professional arts organizations are documented in scrapbooks, printed material, biographical materials, correspondence, and photographs.
Scope and Contents:
The Lily Shuff papers date from 1941-1975 and measure 2.5 linear feet. Lily Shuff's work as a painter, participation in exhibitions, and contributions to professional arts organizations are documented in scrapbooks, biographical materials, correspondence, and photographs.

Biographical materials include Lily Shuff's awards from the Brooklyn Society of Artists, the American Society of Contemporary Artists, and the National Society of Painters in Casein; as well as biographical statements and resumes.

Letters include those written by Lily Shuff as Publicity Chair of the New York Society of Women Artists and associated mailing lists. Miscellaneous letters to Lily Shuff are found from friends and colleagues. Printed materials include clippings and exhibition files, and more materials of this nature are found within the scrapbooks. The photographs series primarily contains black and white photographs of Lily Shuff's casein and oil paintings.

Lily Shuff's scrapbooks make up the bulk of the collection. The scrapbooks chronologically document her travelling exhibitions and artistic career from 1941 to 1975. In her scrapbooks, she assembled exhibition announcements and catalogs, exhibition indexes, newspaper and magazine clippings, printed material pertaining to professional affiliations, photographs, and letters. Letters within the scrapbooks include letters and telegrams from family and friends in support of her exhibitions and awards, including correspondence with Ralph Fabri, founder and president of the National Society of Painters in Casein; letters from institutions to which she donated or sold her work; and letters from those who admired her work, including comic artist Al Capp. Letters related to her participation in, role on the jury of, or awards for exhibitions are also present. Newspaper and magazine clippings which review her work or exhibitions are predominant. Many exhibitions documented in the scrapbooks were organized by the National Association of Women in the Arts, but Lily Shuff's numerous one man shows and participation with other associations are also included. Photographs within the scrapbooks depict the artist, her work, and exhibitions.
Arrangement:
The collection is arranged as 5 series.

Series 1: Biographical Material, circa 1945-1973 (Box 1; 3 folders)

Series 2: Letters, 1957-1974 (Box 1; 2 folders)

Series 3: Printed materials, 1947-1974 (Box 1; 7 folders)

Series 4: Photographs, 1948-circa 1960 (Box 1; 2 folders)

Series 5: Scrapbooks, 1941-1975 (Box 2-8; 2.1 linear feet)
Biographical / Historical:
Painter Lily Shuff (1906-) lived and worked in New York City. She was educated at Hunter College and Columbia University, and studied at the Art Students League. She exhibited her work internationally and throughout the United States, but was especially active in New York City. Lily Shuff worked primarily in casein, watercolor, and oil, and painted abstract figurative and non-representational work. She had her first solo show at Argent Galleries in New York City in 1947.

Lily Shuff exhibited with and took on leadership roles in many professional associations. She was an active member of the New York Society of Women Artists, the National Society of Painters in Casein (which later became the National Society of Painters in Casein & Acrylic), and the National Association for Women. Lily Shuff also exhibited with the Brooklyn Arts Society and the Audubon Artists.
Provenance:
Lily Shuff donated her papers in 1975.
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.
Rights:
The Lily Shuff papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study and scholarship. The collection is subject to all copyright laws.
Topic:
Women artists  Search this
Painting, Modern -- 20th century -- History -- New York (State)New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Lily Shuff papers, 1941-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shuflily
See more items in:
Lily Shuff papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shuflily

Photographs

Collection Creator:
Quincy, Edmund, 1903-1997  Search this
Extent:
0.3 Linear feet (Box 1)
Type:
Archival materials
Date:
circa 1892-circa 1940s
Scope and Contents:
There are black and white photographs of paintings by Quincy and two photographs of exhibition installations. Photographs of people appear to be of Quincy as a young child, Quincy with his father, and as a man in his 20s and 30s. There also are photographs of his mother, Josephine Biamonte Bordighera, other family members, and friends.
Collection Restrictions:
Use of original materials requires an appointment.
Collection Rights:
The Edmund Quincy papers are owned by the Archives of American Art, Smithsonian Institiution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Edmund Quincy papers, 1891-1955, bulk, 1935-1955. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.quinedmu, Series 7
See more items in:
Edmund Quincy papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-quinedmu-ref26

Alexander Archipenko papers

Creator:
Archipenko, Alexander, 1887-1964  Search this
Names:
Archipenko Art School (Woodstock, N.Y.)  Search this
Archipenko, Angelica  Search this
Archipenko, Frances  Search this
Spies, Walter  Search this
Extent:
19.5 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Sound recordings
Scrapbooks
Photographs
Date:
1904-1986
bulk 1930-1964
Summary:
The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.
Scope and Content Note:
The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.

Correspondence concerns both personal and professional matters. Among Archipenko's personal correspondents are relatives and friends in the Ukraine, his wife Angelica during her extended stays in Mexico and California, and other women. Professional correspondence is with dealers, curators, scholars, collectors, colleges and universities concerning exhibitions, sales and commissions, loans, and teaching and lecture engagements.

Archipenko wrote and lectured extensively about his philosophy of art, art in nature, and theories concerning creativity and the universe. His papers include manuscripts, drafts, notes and supporting materials for his book published in 1960, Archipenko: Fifty Creative Years, 1908-1958. Similar documentation of unpublished writings, as well as notes, outlines, and some transcripts of lectures and talks are also in the series.

Records concerning the Archipenko Art School are sparse, with only one photograph of students in Berlin, 1921. Surviving records include printed matter, a cashbook, student roster, and scrapbook containing photographs, printed matter, and a typescript copy of a statement by Archipenko, "How I Teach." Most of this material focuses on the New York and Woodstock schools, with only a few items concerning Chicago. In addition, files regarding Archipenko's teaching activities at schools other than his own include course descriptions, student rosters, grades, and printed matter.

Financial records consist of banking records, paid bills, and miscellaneous items. Paid bills include invoices and receipts for art supplies, shipping, and storage. Among the miscellaneous items are price lists, royalties paid by the Museum of Modern Art for Woman Combing Her Hair, and sales records.

Nine scrapbooks contain clippings, exhibition announcements and catalogs, lecture notices, advertisements and brochures of the Archipenko Art School, and a small number of photographs. Printed matter consists primarily of clippings about Archipenko and exhibition catalogs with related announcements and invitations. Miscellaneous items include books about Archipenko, catalogs of museum collections containing works by Archipenko, and reproductions. Of special interest is a brochure about the Multiplex Advertising Machine that bears a similarity to the Archipentura, an "apparatus for displaying Changeable Pictures" Archipenko invented circa 1924 and patented in 1927.

Photographs are of people, Archipenko's travels and miscellaneous places, exhibitions, works of art, events, and miscellaneous subjects. Five photograph albums mainly document travels. Slides and transparencies include black and white lantern slides probably used to illustrate lectures.
Arrangement:
The collection is arranged as 10 series. Lantern slides and glass plates are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Series 1: Biographical Material, 1908-1964 (0.5 linear feet; Box 1, OV 28)

Series 2: Correspondence, 1922-1970 (4.1 linear feet; Boxes 1-5)

Series 3: Subject Files, 1940-1958 (6 folders; Box 5)

Series 4: Writings, 1923-1971 (3.2 linear feet; Boxes 5-8, Film can FC 30)

Series 5: Teaching, 1921-1952 (0.8 linear feet; Box 9, Film cans FC 31-33)

Series 6: Financial Records, 1923-1971 (1.5 linear feet; Box 9-10)

Series 7: Scrapbooks, 1910-1961 (1.2 linear feet; Boxes 22-25)

Series 8: Printed Material, 1913-1987 (3.7 linear feet; Boxes 11-14, 26, OV 29)

Series 9: Miscellaneous, 1916-1966 (0.5 linear feet; Box 14, 16, Film can FC 34)

Series 10: Photographic Material, 1904-1964 (3.6 linear feet; Boxes 14-15, 17-21, 26-27)
Biographical Note:
Alexander Archipenko (1887-1964) was the son of an engineer/inventor and grandson of an icon painter. Among the first modern sculptors of the 20th century to be associated with the Cubist movement, Archipenko was known for his innovative use of concave space. His major contribution was the realization of negative form through use of a hole to create a contrast of solid and void. His sculpto-paintings united form and color; begun in 1912, these polychromed constructions are among the earliest mixed-media works known, and sometimes incorporated objects. Eventually, his Cubist-inspired work evolved into the simplified, abstract shapes for which he is best known. Although known primarily as a sculptor, Archipenko produced paintings, drawings, and prints as well.

At age 15, Archipenko began studying art at the University of Kiev in his native city; he was expelled three years later for criticizing the teachers. He then went to Moscow where he worked on his own and exhibited in several group shows; his first solo exhibition was held in the Ukraine in 1906.

Archipenko made Paris his home from 1908 until the outbreak of World War I. Soon after his arrival, he enrolled in the Ecole des Beaux-Arts; this association lasted but two weeks, and marked the end of Archipenko's formal training. He continued to study art by spending large amounts of time visiting art museums and painting on his own. During this period, he began exhibiting in the Salon des Independents with the Cubists, and as a member of the "Section d'Or" participated in that group's exhibitions. His first one-man exhibition in Germany was held at the Folkwant Museum (1912) and his work was featured in the Armory Show (1913).

In 1912, at the age of 25, Archipenko established his first art school in Paris. He spent the war years working quietly outside of Nice, and soon afterwards circulated an extensive exhibition of his works throughout Europe. In 1921, Archipenko settled in Berlin, opened an art school there, and married sculptor Angelica Bruno-Schmitz, who was known professionally as Gela Forster.

Archipenko's reputation was solidly established and the majority of his ground-breaking work - adaptation of Cubist ideas to sculpture, sculpto-paintings and incorporation of negative space in sculpture - was accomplished prior to his 1923 arrival in the United States. One of his most innovative works executed in America was the Archipentura, invented circa 1924 and patented in 1927, a machine with rolling cylinders that displayed "animated paintings" using motion and light. Other creations of note are carved Lucite sculptures, illuminated from within, that were executed in the mid-1940s.

Upon settling in the United States in 1923, Archipenko opened his art school in New York City; a summer school was established in Woodstock, New York the following year. Within a few years, Archipenko purchased land near Woodstock and began construction of a home, personal studio, and buildings for the school. At various times during the 1930s, Archipenko resided in Chicago and Los Angeles, and operated schools while living in those cities. For many years during the 1940s, Angelica served on the sculpture faculty at the Escuela de Belles Artes in San Miguel Allende, Mexico.

In addition to running his own schools, Archipenko taught at a number of colleges and universities, where he ran workshops, and served as a visiting professor. He wrote and lectured extensively about his philosophy of art and theories of creativity, publishing several articles and a book, Archipenko: Fifty Creative Years, 1908-1958 (1960).

Angelica Archipenko died in 1957. Three years later Archipenko married sculptor Frances Gray, a former student. During the early 1960s, the couple traveled extensively on a lecture tour that accompanied a solo exhibition to several German cities. Archipenko died in New York City, February 25, 1964.

The following chronology is excerpted from Alexander Archipenko: A Centennial Tribute by Katherine Janszky Michaelsen and Nehama Guralnik (National Gallery of Art, Washington, DC, 1986) and Archipenko: The Sculpture and Graphic art, Including a Print Catalogue Raisonne by Donald Karshan, Ernst Wasmuth Verlag (Tubingen, Germany, 1974).

1887 -- Born to Porfiry Antonovich and Poroskovia Wassilievna Machova Archipenko in Kiev, Ukraine, Russia. Father a mechanical engineer, professor of engineering, and inventor; grandfather an icon painter.

1900 -- Studied and copied Michelangelo drawings from a book given him by his grandfather during a long confinement following a leg injury.

1902-1905 -- Painting and sculpture student in Kiev art school; expelled for criticizing his teachers.

1906 -- First one-man show in the Ukraine. Worked in Moscow and exhibited in several group shows.

1908 -- Moved to Paris and enrolled in the Ecole des Beaux-Arts. Quit formal art instruction after two weeks, continued to study art on his own by visiting museums.

1910 -- Exhibited in the Salon des Independants with the cubists (also in 1911-1914 and 1919).

1912 -- Opened art school in Paris. "Section d'Or" formed in Paris with Archipenko among its members. The group exhibited until 1914, and briefly after World War I. First solo exhibition in Germany, Folkwant Museum, Hagen.

1913 -- Represented in the Armory Show. Executed first prints (lithographs).

1914 -- Began making sculpto-paintings.

1914-1918 -- Spent the war years working near Nice.

1919-1920 -- Began extensive tour exhibiting his works in various European cities (Geneva, Zurich, Paris, London, Brussels, Athens, Berlin, Munich, etc.).

1920 -- One-man exhibition in the Venice Biennale.

1921 -- First solo exhibition in the United States at the Societe Anonyme, Inc., New York; a symposium, Psychology of Modern Art and Archipenko, was held during the course of the show. Moved to Berlin and opened art school. Married sculptor Angelica Bruno-Schmitz [known professionally as Gela Forster]. First print commission.

1923 -- Moved to the United States and opened art school in New York City.

1924 -- Established a summer school at Woodstock, New York.

1927 -- "Archipentura" patented ("Apparatus for displaying Changeable Pictures and methods for Decorating Changeable Display Apparatus," nos. 1,626, 946 and 1,626,497).

1928 -- Became an American citizen.

1929 -- Bought land near Woodstock, New York, and began construction of school and studio buildings.

1932 -- Lectured on his theories of creativeness at colleges and universities throughout the United States.

1933 -- Taught summer session at Mills College, Oakland, California, and Chouinard School, Los Angeles.

1935 -- Moved to Los Angeles and opened art school.

1935-1936 -- Taught summer sessions at the University of Washington, Seattle.

1936 -- Moved to Chicago and opened art school. Associate instructor at New Bauhaus School, Chicago.

1938 -- Returned to New York; reopened art school and Woodstock summer school.

1944 -- Taught at the Dalton School, New York City.

1946-1947 -- Returned to Chicago; taught at the Institute of Design.

1947 -- Began making carved plastic sculptures with internal illumination.

1950 -- Taught at University of Kansas City, Missouri.

1950-1951 -- Lecture tour of the southern cities of the United States.

1951 -- Taught at Carmel Institute of Art, California, University of Oregon, and University of Washington, Seattle.

1952 -- Taught at University of Delaware, Newark.

1953 -- Elected Associate Member of International Institute of Arts and Letters.

1955-1956 -- One-man exhibition tours in Germany (Dusseldorf, Darmstadt, Mannheim, and Recklinghausen).

1956 -- Taught at University of British Columbia, Vancouver, Canada.

1957 -- Death of Angelica.

1959 -- Awarded gold medal, XIII Biennale de'Arte Triveneta, III Concorso Internationale del Bronzetto, Padua, Italy.

1960 -- Archipenko: Fifty Creative Years, 1908-1958 by Alexander Archipenko and Fifty Art Historians published by Tekhne (a company established by Archipenko for the purpose). Married Frances Gray, a sculptor and former student. Recovered plasters of early work stored by French friends since the end of World War I. Traveling exhibition in Germany (Hagen, Münster, and Dusseldorf).

1962 -- Elected to the Department of Art, National Institute of Arts and Letters.

1964 -- Dies in New York City.
Related Material:
Among the holdings of the Archives are the Donald H. Karshan papers relating to Alexander Archipenko, originally accessioned as part of the Alexander Archipenko papers, but later separated to form a distinct collection.

The Archives also has the National Collection of Fine Arts records relating to Alexander Archipenko.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels NA11-NA12, NA16-NA18, and NA 20-NA22) including biographical material, correspondence, exhibition records, writings, printed material and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1967, the Alexander Archipenko papers, previously on deposit at Syracuse University, were loaned to the Archives of American Art for microfilming by his widow Frances Archipenko Gray. In 1982, Ms. Gray donated most of the material previously loaned and microfilmed to the Archives of American Art, along with additional items.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Lantern slides and glass plate negatives are housed separately and closed to researchers.
Rights:
The Alexander Archipenko papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Philosophy  Search this
Sculpture, Modern -- 20th century  Search this
Sculpture -- Technique  Search this
Sculptors  Search this
Art -- Study and teaching  Search this
Cubism  Search this
Genre/Form:
Transcripts
Sound recordings
Scrapbooks
Photographs
Citation:
Alexander Archipenko papers, 1904-1986, bulk 1930-1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.archalex
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Alexander Archipenko papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-archalex
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