Skip to main content Smithsonian Institution

Search Results

Collections Search Center
835219 documents - page 1 of 500Result pages are truncated to 500.

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

Oeuvre

Designer:
Jean Bérain the Elder, French, 1640–1711  Search this
Medium:
Etching on off white laid paper.
Type:
ornament
Book
Object Name:
Book
Made in:
France
Date:
ca. 1709
Credit Line:
Purchased for the Museum by the Advisory Council
Accession Number:
1921-6-201
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_1921-6-201
Online Media:

Roche collection

Photographer:
Roche, John P.  Search this
Roche, Mary Alice  Search this
Extent:
0.5 Cubic feet
28 Transparencies (col. , 4 x 5 in.)
62 Photographic prints (b&w , 8 x 10 in.)
1 Photographic print (col. , 2.5 x 3.5 inches)
3 Transparencies (col. , 120mm)
Type:
Collection descriptions
Archival materials
Transparencies
Photographic prints
Slides (photographs)
Date:
circa 1954-1970
Summary:
The Roche Collection documents some of the work of John and Mary Alice Roche, garden photographers who photographed numerous gardens throughout the United States. Several of the Roches' images appeared in popular gardening magazines and books on flower arranging from the 1950s and 1960s.
Scope and Contents note:
The Roche Collection includes twenty-five private gardens dating from the 1950s and 1960s photographed by John and Mary Alice Roche in California, Maine, Missouri, New York, and New Jersey. The Roches typically indicated the garden owner name, location, plant varieties and special features on the backs of many of the color transparency mounts and black and white photographs. Some images are labeled as to which publication they appeared in. All images are stamped on the back with original licensing information.
Biographical/Historical note:
John and Mary Alice Roche opened a studio for horticultural photography in Caldwell, New Jersey, in 1945. Together they photographed gardens and flower arrangements for numerous publications including House Beautiful, House and Garden, Horticulture, Popular Gardening, Flower Grower, Farm Journal, American Home, Family Circle, McCall's, and the Brooklyn Botanic Garden Bulletin as well as for several books. Images by the Roches in newspapers and magazines were credited to 'Roche.'

Both Roches graduated from the Clarence H. White School of Photography in New York City; John Roche later went on to teach there. He was an associate of the Photographic Society of America and a member of the Royal Photographic Society. His work was exhibited in a number of one man shows.

Mary Alice Roche wrote about gardens for a number of magazines and newspapers. She and her husband also lectured on nature photography.

The Roches co-wrote a book, Photographing Your Flowers; a Practical Guide for Indoor and Outdoor Use.

According to the Sensory Awareness Foundation, Mary Alice Roche and Charlotte Selver established the Sensory Awareness Foundation in 1971. Roche was its managing secretary and bulletin editor for many years. She was also a director of The Lifwynn Foundation.
Related Materials:
The Center for Creative Photography at the University of Arizona, Tucson, includes photographs taken and/or developed by John P. Roche in its Photograph Collection.
Provenance:
Mary Alice Roche donated the collection of images to the Archives of American Gardens in 2003.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Missouri  Search this
Gardens -- Maine  Search this
Gardens -- California  Search this
Gardens -- United States  Search this
Gardens -- New Jersey  Search this
Gardens -- New York (State)  Search this
Genre/Form:
Photographic prints
Transparencies
Slides (photographs)
Identifier:
AAG.ROC
See more items in:
Roche collection
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-roc
Online Media:

Edwin Ambrose Webster papers

Creator:
Webster, E. Ambrose (Edwin Ambrose), 1869-1935  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Extent:
2.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1821-1968
Summary:
The papers of painter and educator Edwin Ambrose Webster measure 2.2 linear feet and date from 1821 to 1968. Found within the papers are biographical material; business and personal correspondence; writings; teaching and research files, including information on Webster's participation in the 1913 Armory show; printed material; artwork; and photographic materials of Webster, his family and friends, and his work.
Scope and Contents:
The papers of painter and educator Edwin Ambrose Webster measure 2.2 linear feet and date from 1821 to 1968. Found within the papers are biographical material; business and personal correspondence; writings; teaching and research files, including information on Webster's participation in the 1913 Armory show; printed material; artwork; and photographic materials of Webster, his family and friends, and his work.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1821-1930 (5 folders; Box 1)

Series 2: Correspondence, 1900-1940 (2 folders; Box 1)

Series 3: Writings, 1910-1930 (3 folders; Box 1)

Series 4: Teaching Files, 1930-1933 (5 folders; Box 1)

Series 5: Printed Materials, 1911-1939 (0.4 linear feet; Box 1, OVs 5-6)

Series 6: Artwork, 1890-1930 (1.1 linear feet; Boxes 1-3, Artifacts 4, 7)

Series 7: Photographic Materials, 1875-1930 (8 folders; Box 1)

Series 8: Karl Rodgers Research Files, 1940-1968 (6 folders; Box 1)
Biographical / Historical:
Painter and educator Edwin Ambrose Webster (1869-1935) lived and worked in Provincetown, Massachusetts and was known for his vibrant landscapes and for opening the first modernist art school in Provincetown.

Born in Chelsea, Massachusetts, Webster began his art studies at the Boston Museum of Fine Arts under Frank Benson and Edmund Tarbell, where he received a three year scholarship to study abroad at the Academie Julian. There, he studied under Jean Laurens and Jean-Joseph Constant and was awarded several additional student prizes for his work. Upon his return, Webster established himself as a founding member of the burgeoning art colony in Provincetown, opening his Summer School of Art in 1900, which he operated for the next thirty five years.

Alongside his teaching duties, Webster continued to develop a modernist style and was invited to exhibit in the 1913 Armory Show. In 1918, he traveled to France to study Cubism under Albert Gleizes and Jean Metzinger, and upon his return to Provincetown, began incorporating these techniques into his paintings as well as into his lectures and classes. As an active organizer within the art colony, Webster helped to found the Provincetown Art Association in 1914 and served as its director from 1917 to 1919. In 1916, he also hosted the first exhibition of the woodblock carving group, the Provincetown Printers, at his studio. Webster died at his Provincetown home in 1935.
Provenance:
The papers were donated in 1974 by the wife of Mrs. Webster's nephew, Mrs. Karl F. Rodgers. Additional materials were donated by Mrs. Rodgers 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 Edwin Ambrose Webster papers are owned by the Archvies 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.
Occupation:
Art teachers -- Massachusetts -- Provincetown  Search this
Topic:
Art -- Study and teaching -- Massachusetts -- Provincetown  Search this
Painters -- Massachusetts -- Provincetown  Search this
Genre/Form:
Photographs
Citation:
Edwin Ambrose Webster papers, 1821-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.webse
See more items in:
Edwin Ambrose Webster papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-webse
Online Media:

Herman J. Wechsler papers

Creator:
Wechsler, Herman Joel, 1904-  Search this
Names:
Far Gallery  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1913-1976
Summary:
The papers of art historian and gallery director Herman J. Wechsler measure 2.0 linear feet and date from 1913-1976. The collection primarily documents Wechsler's art historical publications and to a lesser extent the activities of F.A.R. Gallery. Records include business and personal correspondence, drafts of published and unpublished writings, personal business records, printed material, loose scrapbook pages, and photographs of Wechsler and his family.
Scope and Contents:
The papers of New York art historian and gallery director Herman J. Wechsler measure 2.0 linear feet and date from 1913-1976. The collection primarily documents Wechsler's art historical publications and to a lesser extent the activities of F.A.R. Gallery. Records include business and personal correspondence, drafts of published and unpublished writings, personal business records, printed material, loose scrapbook pages, and photographs of Wechsler and his family.
Arrangement:
The collection is arranged as 6 series.

Series 1: Correspondence, 1950-1975 (Box 1; 0.2 linear feet)

Series 2: Writings, 1913-circa mid-1900s (Box 1; 0.8 linear feet)

Series 3: Personal Business Records, circa mis-1900s-1976 (Box 2; 6 folders)

Series 4: Printed Material, 1932-1976 (Box 2; 0.6 linear feet)

Series 5: Scrapbook, 1935-1940 (Box 2; 2 folders)

Series 6: Photographs, circa mid-1900s-1975 (Box 2; 3 folders)
Biographical / Historical:
Herman Joel Wechsler (1904-1976) was an art historian and gallery director in New York, New York. Wechsler founded the Fine Arts Reproductions (F.A.R.) Gallery in 1934 which remained in business for the remainder of his life. Wechsler is known for writing An Introduction to Prints and Print Making (published in 1960), French Impressionists (1955), Gods and Goddesses in Art and Legend (1950), and Great Prints and Printmakers (1967). Wechsler died in 1976 and was survived by his wife Rachelle and daughter Antonia.
Provenance:
Donated 1977-1981 by Mrs. Herman J. Wechsler, Wechsler's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Herman Wechsler 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:
Gallery directors -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Herman Wechsler papers, 1913-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wechherm
See more items in:
Herman J. Wechsler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wechherm

Elisabeth Weber-Fulop papers

Creator:
Weber-Fulop, Elisabeth, 1886-1966  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1921-1966
Summary:
Papers of painter Elisabeth Weber-Fulop measure 0.2 linear feet and date from 1921 to 1966. Biographical material, letters, printed material, and photographs document Weber-Fulop's career and artwork.
Scope and Contents:
Papers of painter Elisabeth Weber-Fulop measure 0.2 linear feet and date from 1921 to 1966. Biographical material, letters, printed material, and photographs document Weber-Fulop's career and artwork.
Arrangement:
The collection is arranged in 4 series:

Series 1: Biographical Material, 1964-1966 (Box 1; 2 folders)

Series 2: Letters, 1936-1966 (Box 1; 2 folders)

Series 3: Printed Material, 1940-1955 (Box 1; 4 folders)

Series 4: Photographs, 1921-1965 (Box 1; 9 folders)
Biographical / Historical:
Painter Elisabeth Lisel Weber-Fulop (1886-1966), a resident of Duxbury, Massachusetts, was born in Hungary and raised in Vienna, Austria by adoptive parents. She studied art in Vienna with Ludwig Miclek and in Paris. first at the Academy Colarossi and, later, with Jacques Emil Blanche and Lucian Simon.

At age 18, Weber-Fulop had her first solo exhibition at the Albert Durer Gallery in Vienna. She travelled to the United States to paint a portrait of Austrian opera singer Maria Jeritza and then moved to New York City with her husband, Emil J. Weber, an architect. The couple relocated to Duxbury, Massachusetts, in 1945 where Weber-Fulop remained until her death in 1966.

Weber-Fulop painted portraits, still lifes, and interior scenes. While still in Vienna, she painted the interiors of the palace of Kaiserin Maria Theresa; in New York, she depicted the interiors of the Armor Rooms at the Metropolitan Museum of Art and the Governor's room at City Hall. Her works were exhibited in Paris, Vienna, Budapest, Milan, and Zurich. In the United States she exhibited at various museums and galleries including the Findlay Galleries in New York City.
Provenance:
The Elisabeth Weber-Fulop papers were donated in 2009 by the Director and Chief Curator of the Museum of Art, Munson-Williams-Proctor Institute in Utica, New York, Paul Schweizer, who had received them from Weber-Fulop's estate.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Elisabeth Weber-Fulop 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 issubject to all copyright laws.
Topic:
Painters -- Massachusetts  Search this
Women artists -- Massachusetts  Search this
Genre/Form:
Photographs
Citation:
Elisabeth Weber-Fulop papers, 1921-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.webeelis
See more items in:
Elisabeth Weber-Fulop papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-webeelis

Keith Warner papers

Creator:
Warner, Keith, 1895-1959  Search this
Names:
"291" (Gallery)  Search this
American Place (Gallery)  Search this
Whitney Museum of American Art  Search this
Calder, Alexander, 1898-1976  Search this
Dorcely, Roland  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Marin, John, 1870-1953  Search this
Mondrian, Piet, 1872-1944  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Rosenburg, Paul  Search this
Russell, Morgan, 1886-1953  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weber, Max, 1881-1961  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Illustrated letters
Sketches
Date:
1935-1975
Summary:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.
Scope and Contents:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.

Warner's relationships with artists are documented in extensive letters which make up the bulk of the collection. Subjects range from exhibitions, the art market, artists' methods and works, art criticism, and collecting to personal subjects. Letters from Roland Dorcely and Alexander Calder include illustrated letters and postcards. Letters from Calder discuss a mix of business and personal matters, including a discussion of the design of jewelry commissioned for Warner's wife, Edna. Letters from Dorcely document Warner's cultivation, criticism, and collection of Dorcely's work, as well as the hardships of Haitian artists and Dorcely's views on art. The letters are in French with some English translations.

Correspondence with Alfred Stieglitz documents his common endeavor with Warner in collecting the paintings of John Marin, and Stieglitz's gallery, An American Place. Letters associated with An American Place continue after Stieglitz's death in 1946. Found with Alfred Stieglitz's letters are two letters from Georgia O'Keeffe. Max Weber letters include comments on his painting and sculpting, his retrospective show at the Whitney, the art press, national politics, and also refer to Stieglitz and Marin. An extensive group of correspondence with Stanton MacDonald-Wright is mostly undated; MacDonald-Wright writes freely about Stieglitz, the "291" group of artists, and his partner in Synchromism, Morgan Russell. Also included are letters from Piet Mondrian related to collecting, as well as letters from unidentified correspondents.

Warner's collecting files consist of diverse materials concerning his research, writing, and relationships with artists whose paintings he collected, particularly Roland Dorcely and Stanton MacDonald-Wright. Included are biographical sketches; writings about and by the artists, including manuscripts and published materials; newspaper and magazine clippings; exhibition announcements and catalogs; and photographs of works of art. Writings by Roland Dorcely, on the subject of his artistic process and perspective, include handwritten essays in French as well as typed English translations. Published articles from Script magazine (1945-1946) by Stanton MacDonald-Wright document his career as an art critic. Writings on Alexander Calder and Paul Rosenburg, taken from Warner's journal on Calder, and on the early relationship of Alfred Stieglitz and Georgia O'Keeffe, documented on a visit with Stieglitz on May 3, 1944, are also present.

Artwork consists of work by Alexander Calder and Roland Dorcely. Calder's work includes sketches proposing mobiles with notations as to material, scale, and cost. Dorcely's work includes sketches in graphite and ink of abstract figures and objects.
Arrangement:
The collection is arranged as 3 series.

Series 1: Correspondence, 1940-1963 (0.4 linear feet; Box 1-2)

Series 2: Collecting Files, circa 1940-1975 (12 folders; Box 2, OV 3)

Series 3: Artwork, circa 1945-circa 1965 (2 folders; Box 2)
Biographical / Historical:
Keith Warner (1895-1959) was an American art collector. Warner was born and lived in Gloversville, New York, and maintained a manufacturing business that took him to New York City intermittently. Warner began collecting Chinese porcelains after World War I, and a few years later his interest shifted to American abstract painting. Warner retired from business in 1944. His collection was sold gradually after his death, mostly to private collectors, though some works are in museums in the United States and Japan.
Provenance:
The Keith Warner papers were donated in 1992 by Edna K. Allen, wife of Keith Warner.
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 Keith Warner 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.
Occupation:
Art -- Haiti  Search this
Topic:
Art -- Collectors and collecting -- New York (State)  Search this
Artists -- United States  Search this
Art, Abstract -- Collectors and collecting  Search this
Art criticism  Search this
Art, Modern -- 20th century -- Collectors and collecting  Search this
Synchromism (Art)  Search this
Art, American  Search this
Genre/Form:
Photographs
Illustrated letters
Sketches
Citation:
Keith Warner papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warnkeit
See more items in:
Keith Warner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warnkeit
Online Media:

Washington Society of Landscape Painters records

Creator:
Washington Society of Landscape Painters  Search this
Names:
Landscape Club of Washington, D.C.  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Visitors' books
Date:
1917-2000
Summary:
The records of the Washington Society of Landscape Painters measure 1 linear foot and date from 1917 to 2000. The collection documents the activities of the society through scrapbooks, general records, printed matter, correspondence, and photographs.
Scope and Contents:
The records of the Washington Society of Landscape Painters (WSLP) measure 1 linear foot and date from 1917 to 2000. The collection documents the activities of the society through scrapbooks, general records, printed matter, correspondence, and photographs.

General records consist of administrative records such as the WSLP constitution and by-laws, meeting minutes, and membership lists, as well as miscellaneous material such as logbooks, guest registers, and scattered notes.

There is limited correspondence mostly on the subject of exhibitions, field trips, and membership.

Printed material consists of exhibition catalogs, announcements, reviews, newsletters, and clippings about the WSLP and its members.

There are several scrapbooks in this collection. The "W.S.L.P. Archives" consists of three volumes of material compiled by the club historian and contains photographs, clippings, and printed material about the organization, its activities, and its members. There is also one other scrapbook about WSLP members that is arranged alphabetically by name.

The photographic material includes a few snapshots of people painting at their easels outdoors and a few slides of an unidentified backyard.
Arrangement:
The collection is arranged as 5 series. Unless otherwise specified in the series descriptions, material within each folder is arranged chronologically.

Series 1: General Records, 1917-1997 (Box 1, 0.2 linear feet)

Series 2: Correspondence, 1958-1993 (Box 1, 0.1 linear feet)

Series 3: Printed Matter, 1929-2000 (Box 1, 0.1 linear feet)

Series 4: Scrapbooks, 1919-circa 1976 (Box 1, 0.5 linear feet)

Series 5: Photographs, 1967-1979 (Box 1, 0.1 linear feet)
Biographical / Historical:
The Washington Society of Landscape Painters is an art society based in Washington, D.C. Organized in 1919, it is one of the oldest artists organization in the Mid-Atlantic region.

The Washington Society of Landscape Painters actually traces its inception to 1916, when Charles Seaton and Winfield Scott Cline and other landscape painters formed a group called the Ramblers.

By 1919, the organization was formally named the Landscape Club of Washington. It met at 1221 15th Street, N.W., in a wing of the home of Florida's Senator Fletcher, where they began holding exhibitions, an arrangement that lasted until the late 1920s.

Activities were curtailed during World War II, but exhibitions continued on a slightly reduced schedule. The annual banquet, a tradition begun in 1927, continued until the start of World War II; more than 35 years later, in 1976, another annual dinner was held. In 1996, the annual luncheon/dinner was reinstated as an annual event, although it is no longer a formal affair.

During the 1950s several outspoken members of the Landscape Club were vocal about their dissatisfaction with modern art, making newspaper headlines. Membership and local press coverage of their exhibitions declined during the 1960s and 1970s, though the group remained active during this period. At various times in the society's history, there has been a club historian who collected material produced by or about the organization and its members that was assembled in a set of scrapbooks titled "W.S.L.P. Archives," covering the years 1919-circa 1976. From the mid 1970s until the mid 1980s recordkeeping was less systematic and very few items have survived to fully document activities of the organization during this period. With a resurgence of interest in the club around the mid 1980s came improved attention to recordkeeping.

In the mid 1980s Landscape Club activities increased. There were more painting excursions, the exhibition schedule expanded, and a number of memorial prizes were established. The organization formally changed its name to the Washington Society of Landscape Painters in 1986. Painting on location and critiques of members work were held quarterly. Field trips, sometimes called "paint outs," sometimes extended longer than a weekend and might be in locations farther from home than previously. The group commemorated its 80th anniversary in 1993, at which time its constitution was amended, opening membership to women.
Provenance:
Gift of the Washington Society of Landscape Painters, via its past historian and archivist, 1999 and 2004.
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 Washington Society of Landscape Painters records 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 -- Societies, etc. -- Washington (D.C.)  Search this
Landscape painters -- Washington (D.C.)  Search this
Landscape painting -- 20th century -- Washington (D.C.)  Search this
Genre/Form:
Photographs
Scrapbooks
Visitors' books
Citation:
Washington Society of Landscape Painters records, 1917-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.washsocl
See more items in:
Washington Society of Landscape Painters records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-washsocl
Online Media:

Coulton Waugh and Waugh Family papers

Creator:
Waugh, Coulton, 1896-1973  Search this
Names:
Storm King Art Center  Search this
Waugh, Elizabeth, d.1944  Search this
Waugh, Frederick Judd, 1861-1940  Search this
Waugh, Gwyneth  Search this
Waugh, Ida, d. 1919  Search this
Waugh, Odin  Search this
Waugh, Samuel Bell, 1814-1885  Search this
Extent:
27 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketches
Transcripts
Scrapbooks
Sketchbooks
Diaries
Photographs
Date:
1751-1974
bulk 1838-1974
Summary:
The Coulton Waugh and Waugh Family papers measure 27 linear feet and date from 1751-1974 with the bulk of material dating from 1838 to 1974. The collection contains material from this family of artists living and working in Provincetown, Cape Cod, New York City, and England, including Coulton Waugh, Frederick Judd Waugh, Samuel Bell Waugh, and scattered material from Elizabeth Waugh, Ida Waugh, and Odin Waugh. Biographical materials, correspondence, diaries, writings, book project files, teaching files, business records, printed material, scrapbooks, photographs, and artwork are found.
Scope and Contents:
Coulton Waugh and Waugh Family papers measure 27 linear feet and date from 1751-1974 with the bulk of material dating from 1838 to 1974. The collection contains material from this family of artists living and working in Provincetown, Cape Cod, New York City, and England, including Coulton Waugh, Frederick Judd Waugh, Samuel Bell Waugh, and scattered material from Elizabeth Waugh, Ida Waugh, and Odin Waugh. Biographical materials, correspondence, diaries, writings, book project files, teaching files, business records, printed material, scrapbooks, photographs, and artwork are found.

The Coulton Waugh papers comprise the bulk of this collection and include scattered biographical material; professional and personal correspondence concerning family, friends, arts organizations, and comics; a diary, notebooks, drafts of short stories, and other writings; book project files relating to three publications by Coulton Waugh: The Comics (1947), "Junior Editors" series, and How to Paint With a Knife (1971); teaching files from Waugh's painting classes; business records regarding the Hooked Rug and Ship Model Shop, Storm King Art Center, Hudson River Prints company, and scattered sales lists, receipts, insurance records, and leases; clippings, exhibition announcements and catalogs relating to Waugh and reproductions of works of art; twenty-three daily comics scrapbooks containing clippings; scattered photographs including portraits and snapshots of Coulton Waugh, photos of buildings, and of works of art; and extensive sketchbooks as well as comic mock-ups and other original artwork by Waugh.

The Frederick Judd Waugh papers include scattered biographical materials; personal and professional correspondence, much of which relates to exhibitions, and sales; business records; drafts of Waugh's Patch Pocket Stories, and other short stories and notes; printed material relating to Waugh's career as well as souvenirs; photo albums, potraits and snapshots of Frederick Judd Waugh, and photos of works of art; and original sketches and drawings.

The Samuel Bell Waugh papers include scattered biographical materials; correspondence containing letters from artists, family and arts organizations; a 1838 diary with a transcript and writings about Waugh by others; business records; printed materials; photographs including portraits of Samuel Bell Waugh and photos of works of art; and a sketchbook, sketches and drawings, and a self-portrait.

Assorted Waugh family papers include papers of Clara Waugh, Elizabeth Waugh, Gwen Waugh, Ida Waugh, and Odin Waugh. There are also biographical sketches and genealogical writings for the Waugh family. There is correspondence of Elizabeth, Gwen and Ida Waugh; writings and notes by Elizabeth Waugh, Clara Waugh, and by others regarding the Waugh family; business records for the Waugh family and Elizabeth Waugh; printed material relating to the Waugh family; scrapbooks compiled by Elizabeth Jenkinson (mother of Elizabeth Waugh), and a travel scrapbook; photograph portraits of family members and group photos, snapshots of groups of family members, photos of Waugh family homes, exhibitions, works of art, and a photo album of works of art; artwork and artifacts including sketches by Elizabeth Waugh, Ida Waugh, Odin Waugh, and unsigned sketches.
Arrangement:
This collection is arranged as 4 series.

Series 1: Coulton Waugh papers, circa 1896-1974 (Box 1-13, 20-28, 31, 33-34, 35-53, 55-56; 20 linear feet)

Series 2: Frederick Judd Waugh papers, circa 1870-1966 (Box 13-17, 28, 30, 32; 4.3 linear feet)

Series 3: Samuel Bell Waugh papers, 1838-1910 (Box 17, 26-27, 29, 54; 1.0 linear feet)

Series 4: Assorted Waugh Family papers, 1751-1974 (Box 18-19, 30-32, 46, 49; 1.5 linear feet)
Biographical / Historical:
The Waugh family consists of three generations of artists including portraitist Samuel Bell Waugh (1814-1885), landscape artist Frederick Judd Waugh (1861-1940), and cartoonist, painter, and writer Coulton Waugh (1896-1973). The family lived and worked in Provincetown, New York City, Cape Cod, and England.

Born in Pennsylvania in 1814, Samuel Bell Waugh's developed a reputation for being a portraitist in Philadelphia. He travelled to Italy in the 1840s where he spent seven years painting large panoramas. Samuel and his wife Ida had one daughter, also named Ida. Waugh's second wife Eliza studied art under her husband and produced miniture portraits. In 1861, Eliza and Samuel had one son named Frederick Judd. Samuel Bell Waugh died in 1885.

Frederick Judd Waugh attended military school but ultimately enrolled in to the Pennsylvania Academy of Fine Arts. With his wife Eugenie (Gene), Frederick went to Europe where he settled on Sark in the Channel Islands. He painted landscape and marine scenes during his time in England. Eugenie and Frederick's son Frederick Coulton was born in Cornwall, England in 1896. Also, the couple had a daughter named Gwenyth. The family returned to the United States and settled in Cape Cod, the Maine coast, and New Jersey.

Coulton Waugh studied at the Art Students League in New York City where he sketched portraits of people he encountered on the streets. Ultimately, Coulton settled in Cape Cod with his first wife Elizabeth Jenkinson who was a writer and artist. Together, they owned a shop for model ships and hooked rugs. In the 1940s, Coulton wrote daily comic strips and in 1947 wrote a history of the medium entitled The Comics. He wrote and illustrated Dickie Dare, Hank, and Sam of the Seven C's, among others. Coulton Waugh's second wife, Odin, was an artist who illustrated some of her husband's comic strips.
Provenance:
The collection was donated in several installments from 1977-1983 by Odin Waugh Buchanan, Coulton Waugh's widow.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Coulton Waugh and Waugh Family 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:
Painting -- Study and teaching  Search this
Cartooning  Search this
Artists -- United States  Search this
Genre/Form:
Drawings
Sketches
Transcripts
Scrapbooks
Sketchbooks
Diaries
Photographs
Citation:
Coulton Waugh and Waugh Family papers, 1751-1974, bulk 1838-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.waugwaug
See more items in:
Coulton Waugh and Waugh Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-waugwaug
Online Media:

Forbes Watson papers

Topic:
Arts (Magazine)
Creator:
Watson, Forbes, 1880-1960  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Pepsi-Cola Company  Search this
Public Works of Art Project  Search this
Red Cross  Search this
United States. Dept. of the Treasury. Section of Fine Arts  Search this
United States. Dept. of the Treasury. Section of Painting and Sculpture  Search this
United States. Public Buildings Administration. Section of Fine Arts  Search this
Adams, Ansel, 1902-1984  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Beal, Gifford, 1879-1956 -- Photographs  Search this
Brancusi, Constantin, 1876-1957  Search this
Bruce, Edward, 1879-1943  Search this
Citron, Minna Wright, 1896-1991  Search this
Coleman, Glenn O., 1887-1932  Search this
Dows, Olin, 1904-1981  Search this
Genthe, Arnold, 1869-1942  Search this
Glackens, Ira, 1907-1990  Search this
Klonis, Stewart, 1901-1989  Search this
Kroll, Leon, 1884-1974 -- Photographs  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Kuniyoshi, Yasuo, 1889-1953 -- Photographs  Search this
Mangravite, Peppino, 1896-  Search this
Manship, Paul, 1885-1966  Search this
Marsh, Reginald, 1898-1954 -- Photographs  Search this
Matisse, Henri, 1869-1954  Search this
Morgenthau, Henry, 1891-1967  Search this
Pène Du Bois, Guy , 1884-1958  Search this
Ray, Man, 1890-1976  Search this
Rowan, Edward Beatty, 1898-1946  Search this
Saint-Gaudens, Homer, b. 1880 -- Photographs  Search this
Shimin, Symeon, 1902-  Search this
Sterne, Maurice, 1878-1957  Search this
Tucker, Allen, 1866-1939  Search this
Watson, Nan, 1876-1966  Search this
Weber, Max, 1881-1961  Search this
Zorach, William, 1887-1966  Search this
Photographer:
Gallatin, A. E. (Albert Eugene), 1881-1952  Search this
Sheeler, Charles, 1883-1965  Search this
Extent:
13.92 Linear feet
Type:
Collection descriptions
Archival materials
Notes
Photographs
Drafts (documents)
Scrapbooks
Place:
United States -- Social conditions -- 1933-1945
New York N.Y. -- Buildings, structures, etc., Photographs
Date:
1840-1967
bulk 1900-1960
Summary:
The papers of New York City art critic, writer, and lecturer Forbes Watson date from 1840-1967 with the bulk of materials dating from 1900-1960 and measure 13.92 linear feet. Found are biographical materials, correspondence, business records relating to the Arts Publishing Corporation, records documenting Watson's work for the Public Works of Art Project and the Section of Painting and Sculpture, reference files, an exhibition file from the Pepsi-Cola Company's Third Annual Exhibition, writings and notes, ten scrapbooks and loose pages, printed materials, and photographs.
Scope and Content Note:
The papers of New York City art critic, writer, and lecturer Forbes Watson date from 1840-1967 with the bulk of materials dating from 1900-1960 and measure 13.92 linear feet. Found are biographical materials, correspondence, business records relating to the Arts Publishing Corporation, records documenting Watson's work for the Public Works of Art Project and the Section of Painting and Sculpture, reference files, an exhibition file from the Pepsi-Cola Company's Third Annual Exhibition, writings and notes, ten scrapbooks and loose pages, printed materials, and photographs.

Biographical material includes Watson's Harvard diploma, documents concerning his service with the Red Cross in World War II, biographical accounts, and obituaries.

Correspondence is primarily with colleagues and includes scattered letters from Alfred H. Barr, Jr., Ira Glackens, Allen Tucker, and Max Weber. Other letters are from artists, art historians, and museum curators. A notebook contains shorthand drafts of letters from Watson.

Business records include personal business records consisting of various tax and stock records. The Arts Publishing Corporation records concern Watson's tenure as editor of The Arts magazine and contains a contract, correspondence, financial records, stockholders reports, press releases, a scrapbook, and issues of The Arts. Also included are business records pertaining to the Art in Federal Buildings, Inc..

The U.S. Treasury Department file is the largest series and documents Watson's federal employment as technical director, chief advisor, and consultant for Treasury Department's public art programs - the Public Works of Art Project and the Section of Painting and Sculpture. The files contain correspondence, financial reports, prospectuses, exhibition files, typescripts, clippings, exhibition catalogs, miscellaneous printed material, and photographs, and a scrapbook. The files contain a record of Watson's and other federal administrators' interactions with many artists during the Depression Era. Correspondence is primarily between Watson and Edward Bruce, Olin Dows, Henry and Elinor Morgenthau, and Edward B. Rowan. Found are scattered letters from artists including Yasuo Kuniyoshi, Paul Manship, and William Zorach, among many others. There are exhibition files for "Art for Bonds," "Army at War," and "War Against Japan." There are also photographs of U. S. Treasury Department events including a radio broadcast by John Dewey, Robert La Follette, Jr., and Sumner Welles.

Documents from the Pepsi-Cola Company's Third Annual Exhibition at the National Academy of Design contains a prospectus, an exhibition catalog and artists' statements.

Artist/Patron files contain reference material concerning painters, sculptors, photographers, dancers, composers, authors, art collectors, art dealers, and museum administrators. Files may include writings, notes, artworks, exhibition catalogs and other printed materials. Of particular note are photographs, which include portrait photographs of artists and of artists in their studios. Notable photographers include Ansel Adams, Arnold Genthe, Man Ray, photographs of New York City by Charles Sheeler and a photo of Henri Matisse by A. E. Gallatin. Files for Nan Watson, Symeon Shimin, and Glenn O. Coleman contain artworks. A file for Constantin Brancusi contains legal documents concerning U. S. Customs vs. Brancusi.

Art and Architecture files consist of reference material including photographs and notes concerning miscellaneous unattributed art works, American architecture, and furnishings.

Notes and writings consist of miscellaneous notes and typescripts of lectures and published articles, and notebooks.

Nine scrapbooks and loose scrapbook pages contain clippings of articles written by Watson, lists, and exhibition announcements and catalogs. Additional printed material includes clippings, copies of the Hue and Cry newspaper, exhibition announcements and catalogs, press releases, calendars of events, brochures for the Art Students League, book catalogs, published books, and miscellaneous printed material.

Photographs are of Forbes Watson; family members including his wife, painter Nan Watson; and members of the Art Students League including Peggy Bacon, Minna Citron, Stewart Klonis, Yasuo Kuniyoshi, and Reginald Marsh. There are also photographs of juries for the Carnegie Institute International Exhibitions that include colleagues Alfred H. Barr, Jr., Gifford Beal, Guy Pene DuBois, Leon Kroll, Henri Matisse, Homer Saint-Gaudens, and Maurice Sterne.
Arrangement:
The collection is arranged as 11 series:

Series 1: Biographical Material, 1902-1960 (Box 1; 4 folders)

Series 2: Correspondence, 1913-1960 (Box 1; 33 folders)

Series 3: Business Records, 1920-1944 (Box 1-3, 14, 22; 2.0 linear feet)

Series 4: U. S. Treasury Department File, 1926-1945 (Box 3-6, 14, 17, 22, OV 21; 3.4 linear feet)

Series 5: File for Pepsi-Cola Company's Third Annual Exhibition "Paintings of the Year," 1946 (Box 6; 5 folders)

Series 6: Artist/Patron Files, 1840-1967 (Box 6-9, 15, OV 21; 2.8 linear feet)

Series 7: Art and Architecture File, 1929-1930 (Box 9; 35 folders)

Series 8: Notes and Writings, 1875-1950 (Box 9-10, 22; 1.3 linear feet)

Series 9: Scrapbooks, 1904-1951 (Box 9, 11, 14, BV 18, BV 19, BV 20; 1.8 linear feet)

Series 10: Printed Material, 1900-1961 (Box 10, 12-13, 16-17, 22; 1.5 linear feet)

Series 11: Photographs, 1900-1950 (Box 13, 22; .4 linear feet)

All material is arranged chronologically, with the exception of the Artist/Patron Files which are arranged alphabetically.
Biographical Note:
Forbes Watson (1879-1960) worked primarily in New York City and Washington, D.C. as an art critic, writer, lecturer, and consultant to the U. S. Treasury Department's Public Works of Art Project and Section of Painting and Sculpture (Section of Fine Arts).

Forbes Watson was born on November 27, 1879 in Boston, the son of stockbroker John Watson and his wife Mary. Watson grew up in Cambridge, Massachusetts, attending the Phillips Academy in Andover, and graduating from Harvard University in 1902. After a brief period of freelance writing, he was hired by The New York Evening Post as an art critic in 1911 and worked there until 1917. In 1910, he married Agnes, professionally known as painter Nan Watson.

During World War I, Watson served with an American volunteer ambulance unit with the French army, later working with the American Red Cross in Paris. After the war, he moved back to New York City and worked as art critic for The World, from the early 1920s until 1931 and as editor of The Arts magazine from 1923-1933. Watson also lectured at the Art Students League, and at various universities and arts organizations.

In 1933, Watson moved to Washington, D.C. to serve as technical director of the U. S. Treasury Department's short-lived Public Works of Art Project. In October 1934, Watson was employed as Chief Adviser to the Treasury Department's Section of Painting and Sculpture (later renamed the Section of Fine Arts) and later as Consultant to the Secretary's Office of the Treasury. During World War II, he organized various traveling exhibitions including "Art for Bonds" that promoted the sale of war bonds. Watson retired in 1946 and lived in Gaylordsville, Connecticut.

Watson was the author of numerous essays and reviews, and several books including American Painting Today and Winslow Homer, a biography of the noted American artist. With Edward Bruce, he produced a pictorial volume Art in Federal Buildings, Vol. I: Mural Designs. At his death he was working on his autobiography.

Forbes Watson died on May 31, 1960 in New Milford, Connecticut.
Provenance:
The Forbes Watson papers were donated by Watson's widow, Nan Watson, in 1961. An additional folder of material was donated in 2018 by the Museum of Modern Art via Michelle Elligott, Chief of Archives, Library and Research.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Forbes Watson 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 and state  Search this
Art, American  Search this
Art publishing  Search this
Art critics -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York  Search this
Architecture, New York State, New York -- Photographs  Search this
Architecture -- New York, N.Y. -- Photographs  Search this
New Deal, 1933-1939  Search this
World War, 1939-1945 -- Art and the war  Search this
Authors -- New York (State) -- New York  Search this
Federal aid to the arts  Search this
Genre/Form:
Notes
Photographs
Drafts (documents)
Scrapbooks
Citation:
Forbes Watson papers, 1840-1967, bulk 1900-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.watsforb
See more items in:
Forbes Watson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-watsforb

Patti Warashina papers

Creator:
Warashina, Patti, 1940-  Search this
Names:
Lee Nordness Galleries  Search this
Currier, Anne, 1950-  Search this
Kottler, Howard, 1930-1989  Search this
Lipofsky, Marvin, 1938-  Search this
Lucero, Michael, 1953-  Search this
Sperry, Robert, 1927-1998  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Date:
circa 1900-1991
bulk 1970-1989
Summary:
The papers of ceramicist and sculptor Patti Warashina (b. 1940) date from circa 1900 and 1957 through 1991, bulk 1970-1989. The collection consists of 4.8 linear feet of correspondence and printed material reflecting the many ceramic and craft exhibitions and other projects Warashina participated in throughout the United States, and her associations with other ceramicists. Also included are biographical documents, writings, art works, several photographs, and a video.
Scope and Content Note:
The Patti Warashina papers measure 4.8 linear feet and date from circa 1900 and 1957 through 1991 (bulk 1970-1989). The collection documents the artistic and teaching career of Seattle-based sculptor and ceramicist Patti Warashina predominantly through correspondence and printed material reflecting the many ceramic and craft exhibitions and other projects Warashina participated in throughout the United States, and her associations with other ceramicists. Also included are biographical documents, writings, art works, several photographs, and a video.

Biographical material includes family trees, diplomas, awards, and documents relating to Warashina's family Japanese internment during WWII. Correspondence, 1968-1991, relating to exhibitions and other projects, is with galleries, museums, purchasers, publishers, and others, among them the Lee Nordness Gallery (N.Y.), Morgan Gallery (Kansas City), and Theo Portney Gallery (Seattle). Additional correspondence files contain letters received, 1977-1990, many addressed to Warashina and her husband Bob (Robert Sperry), from friends, colleagues, former students and family members, including Nancy Carmen, Anne Currier, Deborah Horrell, Matthew Kangas, Howard Kottler, Marvin Lipofsky, Michael Lucero, and others.

Ten photographs, circa 1900-1944, are portraits of Warashina's relatives and family, and several snapshots, circa 1970s, are of former students and works of art. Printed material, 1961-1990, includes newspaper and magazine clippings, programs, journals, newsletters, exhibition announcements, exhibition catalogs, and workshop announcements for Warashina's various sculpture and ceramic lectures. Writings include both published and unpublished works by Warashina, including an artist's statement for a possible lecture at the 1986 conference of the National Council on Education for the Ceramic Arts (NCECA). Also found here are handwritten notes on a panel discussion titled Cultural and Racial Heritage: Sources and Imagery in which Warashina was a participant along with artists Aminah Brenda Lynn Robinson, María Brito Avellana, and Indira Johnson. Art work consists of blue line drawings for her sculpture "Red Earth," 1986 as well as a pen and ink sketch of Warashina by an unidentified artist. A videocassette, 1987, is of the television program "The Big A: Different Ways of Seeing", in which Warashina appears briefly.
Arrangement:
The Patti Warashina papers are arranged as seven series based primarily on type of material. The correspondence in Series 2 is arranged chronologically for exhibitions and projects and general letters received. Additional letters received are arranged by name of author.

Series 1: Biographical Material, 1974-1991, undated (Box 1; 3 folders)

Series 2: Correspondence, 1957, 1967-1991, undated (Boxes 1-3; 2.0 linear feet)

Series 3: Photographs, circa 1900- circa 1959, 1971, undated (Box 3; 3 folders)

Series 4: Printed Material, 1961-1990, undated (Boxes 3-6, OV 7; 2.0 linear feet)

Series 5: Writings and Notes, 1984, 1986, 1989, undated (Box 6; 4 folders)

Series 6: Artwork, 1986, undated (Box 6; 2 folders)

Series 7: Miscellany, 1987, undated (Box 6; 2 folders)
Biographical Note:
Ceramicist and sculptor Patti Warashina was born in 1940 as Masae Patricia Warashina in Spokane, Washington to third generation Japanese emigrants. She received her undergraduate degree from the University of Washington, Seattle, where she studied with sculptors Robert Sperry, Harold Myers, Rudy Autio, Shoji Hamada, Shinsaku Hamada, and Ruth Penington. She received her first solo exhibition in 1962 at the Phoenix Art Gallery in Seattle the same year she graduated with an M.F.A. from the University of Washington. Warashina later married fellow student Fred Bauer and from 1964 to 1970 exhibited as Patti Bauer.

Influences in Warashina's art include California funk and sculptural ceramics. Her work is best known for its whimsical themes expressed through low-fire highly colored figurative images. Together with fellow artists Robert Sperry, Howard Kottler and Fred Bauer, she brought national recognition to the department of ceramics at the University of Washington's School of Art beginning in the 1980s.

Patti Warashina is a recipient of several awards for achievements in the field of crafts, most recently the Twining Humber Award granted by Seattle's Artists Trust in 2002. She received the Governor's Award of Special Commendation for the Arts in 1980 in addition to grants from the National Endowment for the Arts in both 1975 and 1986. In 1978, Warashina was awarded a World Craft Council Travel Grant which allowed her to conduct research on the ceramic arts process in Japan, Hong Kong, Singapore, Thailand, Bali and the Philippines. Warashina's teaching career spans over 30 years and includes positions at the University of Wisconsin, Eastern Michigan University, and at her alma mater where she has taught for over 25 years. Her work is featured in several museum collections in both the U.S. and abroad including the American Craft Museum in New York, the Seattle Art Museum and Henry Art Gallery, the Smithsonian American Art Museum's Renwick Gallery (Washington, DC), the Art Gallery of Western Australia, and the Ichon World Ceramic Center in Korea. Since her marriage to ceramicist Robert Sperry in 1976, she has used Patti Warashina as her professional name. Patti Warashina is a resident of Seattle, Washington.
Provenance:
The Patti Warashina papers were donated by the artist to the Archives of American Art in 1991.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Patti Warashina 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 sculptors -- Washington (State) -- Seattle  Search this
Women artists -- Washington (State) -- Seattle  Search this
Asian American women artists  Search this
Ceramicists -- Washington (State) -- Seattle  Search this
Sculptors -- Washington (State) -- Seattle  Search this
Japanese American families -- Photographs  Search this
Japanese American sculptors  Search this
Genre/Form:
Video recordings
Photographs
Citation:
Patti Warashina papers, circa 1990-1991, bulk 1970-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warapatt
See more items in:
Patti Warashina papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warapatt
Online Media:

Philip Stein papers regarding David Alfaro Siqueiros

Creator:
Stein, Philip, 1919-2009  Search this
Names:
Siqueiros, David Alfaro  Search this
Extent:
3.8 Linear feet
3.88 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Date:
1933-2012
Summary:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Scope and Contents:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Arrangement:
The collection is arranged in 7 series:

Series 1: Correspondence, 1934-2010 (0.3 linear feet; Box 1)

Series 2: Interviews, 1977-1994 (0.1 linear feet; Box 1)

Series 3: Writings, 1937-2006 (0.6 linear feet; Boxes 1-2, 0.021 GB; ER01)

Series 4: Subject Files and Research Files, 1933-2009 (0.6 linear feet;Boxes 2-3)

Series 5: Printed Material, 1949-2009 (0.7 linear feet; Boxes 2-3,5)

Series 6: Photographic Materials, 1933-2005 ( 0.5 linear Feet; Boxes 3-4, 0.011 GB; ER02)

Series 7: Sound, Video and Film Recorings, circa 1967-2012 (1.3 linear feet; Box 3, 4, FC 6-9, 3.85 GB; ER03-ER04)
Biographical / Historical:
Artist, author and political activist, Philip Stein (1919-2009), also called "Estano," lived and worked in New York City, Mexico, and Spain. Stein worked as an assistant to muralist David Alfaro Siqueiros. Both men were committed to the Mexican Mural School of new-realism, painting exterior murals rather than easel paintings so art could be public and directed to the masses.

Stein was born in Newark, New Jersey and was a mostly self-taught artist, occasionally studying at local art schools. He served in the armed forces during World War II as a meteorologist, seeing action throughout Europe. After the war, he moved to California to paint movie sets. In 1948, Stein and his wife Gertrude moved to Mexico where he studied art on the GI Bill at The School of Fine Arts of San Miguel de Allende. There he met Siqueiros, an ardent communist, who had attempted to assasinate Leon Trotsky. Stein worked with Siqueiros on several murals in Mexico until Siqueiros' death in 1974.

Between 1953 and 1993 Stein occasionally exhibited in Mexico, New York City and Spain. One of Stein's best known murals is at the Village Vanguard club in New York City. His biography of Siqueiros, Siqueiros, His Life and Work was published in 1994. Stein died at home in Manhattan in 2009 at age 90.
Provenance:
The Philip Stein papers regarding David Alfaro Siqueiros were donated to the Archives of American Art in 2015 by Anne Stein, daughter of Philip Stein.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Philip Stein papers regarding David Alfaro Siqueiros 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:
Muralists -- Mexico  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- Mexico  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Citation:
Philip Stein papers regarding David Alfaro Siqueiros, 1933-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.steiphil
See more items in:
Philip Stein papers regarding David Alfaro Siqueiros
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-steiphil

Hedda Sterne papers

Creator:
Sterne, Hedda, 1910-  Search this
Names:
Mathieu, Georges, 1921 -- Photographs  Search this
Saint-Exupéry, Antoine de, 1900-1944  Search this
Steinberg, Saul  Search this
Werth, Léon, 1878-1955  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Transcripts
Sketchbooks
Drawings
Interviews
Date:
1939-1977
Summary:
The papers of painter Hedda Sterne measure 1.3 linear feet and date from 1939 to 1977. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Sterne's second husband Saul Steinberg, the artist known for his New Yorker drawings; writings; exhibition files; printed material; drawings and 3 sketchbooks; photographs and slides of Sterne, her family, and her work; and originals of Antoine de Saint-Exupéry's work Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.
Scope and Contents:
The papers of painter Hedda Sterne measure 1.3 linear feet and date from 1939 to 1977. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Sterne's second husband Saul Steinberg, the artist known for his New Yorker drawings; writings; exhibition files; printed material; drawings and 3 sketchbooks; photographs and slides of Sterne, her family, and her work; and originals of Antoine de Saint-Exupéry's work Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.

Biographical material includes certificates, curriculum vitae, a Fulbright application, lists of artworks, and Saul Steinberg's fingerprints. Correspondence is primarily with Sterne's friends, and business associates. There is significant correspondence from the artist Georges Mathieu and from her second husband Saul Steinberg.

Writings consist of numerous miscellaneous handwritten and typescript notes on art. Exhibition files include an article, interview transcript, and press release for Sterne's 1970 exhibition Everyone at the Betty Parsons Gallery. Printed material includes cards, clippings, exhibition announcements, and an exhibition catalog.

Artwork consists of drawings and 3 sketchbooks. Photographs are of Sterne, her family and friends, and her artwork. Materials related to Antoine de Saint-Exupéry include copies of his Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical materials, 1941-1970 (8 folders; Box 1)

Series 2: Correspondence, circa 1943-1965 (0.5 linear feet; Box 1-2)

Series 3: Writings, circa 1945-1965 (5 folders; Box 1)

Series 4: Exhibitions, 1970 (3 folders; Box 1)

Series 5: Printed material, 1946-1977 (3 folders; Box 1)

Series 6: Artwork, circa 1945-1965 (4 folders; Box 1)

Series 7: Photographic Materials, 1939-1969 (0.3 linear feet; Box 1-2)

Series 8: Antoine de Saint Exupéry, circa 1942 (4 folders; Box 1)
Biographical / Historical:
Painter Hedda Sterne (1910-2011) lived in New York City and was known for working in many artistic styles, including surrealism and abstract expressionism. She was the only woman in the group of abstract expressionists known as "The Irascibles."

Sterne was born in Bucharest, Romania to Simon Lindenberg, a high school language teacher, and his wife Eugenie. Her early interest in art was encouraged by her family and, after graduating from high school at the age of seventeen, she traveled to Vienna to study art. In 1932, she married childhood friend and businessman Frederick Stern. Through the 1930s, she continued to develop as an artist, traveling between Bucharest and Paris, where she attended Fernand Léger's atelier for a time. In 1938, her work with torn paper collages at that year's Paris Salon caught the eye of Hans Arp, who convinced her to exhibit at Peggy Guggenheim's London gallery. The chaos and persecution of Jews during World War II precipitated Sterne's arrival in America, where she joined her husband in New York City.

In New York, Peggy Guggenheim welcomed Sterne into her circle of artist friends and invited her to exhibit in Guggenheim's gallery in New York City, Art of This Century. In 1944, Sterne married Saul Steinberg, the artist known for his New Yorker drawings, and became a U.S. citizen. Through the 1940s, Sterne created works in realist and surrealist styles, but by the late 1940s, she began exploring abstract expressionism. In 1943, Sterne exhibited at the Wakefield Gallery, where she met the gallery manager Betty Parsons and where she received her first one woman show in 1945. After Betty Parsons opened her own gallery in 1946, Sterne joined Parsons' stable and continued to meet and befriend other prominent abstract artists. In 1950, she signed an open letter along with 14 other artists protesting the Metropolitan Museum's conservatism towards abstract art. This led to a feature article in Life magazine where she was the only woman to be photographed alongside "The Irascibles." This group included Jackson Pollock, Willem de Kooning, Barnett Newman, Mark Rothko, and Ad Reinhardt, among others. Through the 1950s, Sterne continued to explore new avenues of art by painting cityscapes, abstract mechanical structures, portraits, and faces, and by using mediums ranging from oil, spray paint, pen and ink, pencil, and diary/text reproductions on stretched canvas.

In 1960, Sterne and Steinberg separated but remained friends until his death in 1999. The recipient of numerous awards and one woman shows, retrospectives of her work were exhibited at the Montclair Art Museum (1977), Queens Museum of Art (1985), and the Krannert Art Museum (2006). Sterne died in her home in Manhattan in 2011 at the age of 100.
Related Materials:
Also found in the Archives is an oral history interview with Hedda Sterne conducted by Phyllis Tuchman, December 17, 1981, for the Archives of American Art's Mark Rothko and His Times oral history project. Additional correspondence and photographs of Sterne are located in the Saul Steinberg papers at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
Hedda Sterne donated her papers in 1970, 1971, and 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Hedda Sterne 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:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Transcripts
Sketchbooks
Drawings
Interviews
Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sterhedd
Online Media:

Stendahl Art Galleries records

Creator:
Stendahl Art Galleries  Search this
Names:
Couvoisier Galleries  Search this
Demotte, inc. (New York, N.Y.)  Search this
Thomas Gilcrease Institute of American History and Art  Search this
Wildenstein and Company, New York, N.Y.  Search this
Archipenko, Alexander, 1887-1964  Search this
Beltran-Masses, Federico, b. 1885  Search this
Calder, Alexander, 1898-1976  Search this
Cantú, Federico, 1908-1989  Search this
Charlot, Jean, 1898-1979  Search this
De Creeft, José, 1884-1982  Search this
Eddy, Jerome  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Gelhaar, Emil  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gilbert, Arthur Hill, 1894-1970  Search this
Guthrie, George B.  Search this
Hansen, Armin C. (Armin-Carl), 1886-1957  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kent, Rockwell, 1882-1971  Search this
Kleitsch, Joseph, 1885-1931  Search this
Knight, Aston, 1873-1948  Search this
Kronberg, Louis, 1872-1965  Search this
Laurence, Sydney, 1868-1940  Search this
Loeffler, Gisella, 1900-  Search this
Montenegro, Roberto  Search this
Mérida, Carlos, 1891-1984  Search this
Noguchi, Isamu, 1904-1988  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958  Search this
Payne, Edgar A. (Edgar Alwin), 1882-1947  Search this
Pearson, Ralph M., 1883-1958  Search this
Picasso, Pablo, 1881-1973  Search this
Ritschel, William, 1864-1949  Search this
Rivera, Diego, 1886-1957  Search this
Rose, Ethel Boardman, 1871-1946  Search this
Rose, Guy, 1867-1925  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Siqueiros, David Alfaro  Search this
Stendahl, Earl L.  Search this
Szecsi, Ladislas  Search this
Wendt, William, 1865-1946  Search this
Zuloaga, Ignacio, 1870-1945  Search this
Extent:
7.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Scrapbooks
Date:
1907-1971
Summary:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.

The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.

Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.

Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.

Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)

Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)

Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.

Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.

Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.

As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.

The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Stendahl Art Galleries records 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 -- New Guinea  Search this
Hispanic American art  Search this
Landscape painting  Search this
Prints  Search this
Art, American  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Gallery records
Scrapbooks
Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stenartg
See more items in:
Stendahl Art Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stenartg
Online Media:

Rose, Guy

Collection Creator:
Stendahl Art Galleries  Search this
Container:
Box 7, Folder 11
Type:
Archival materials
Date:
1927-1937
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Stendahl Art Galleries records 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.
Collection Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
See more items in:
Stendahl Art Galleries records
Stendahl Art Galleries records / Series 4: Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-stenartg-ref232

Rose, Ethel

Collection Creator:
Stendahl Art Galleries  Search this
Container:
Box 7, Folder 10
Type:
Archival materials
Date:
1926-1938
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Stendahl Art Galleries records 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.
Collection Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
See more items in:
Stendahl Art Galleries records
Stendahl Art Galleries records / Series 4: Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-stenartg-ref770

Jack Stewart papers

Creator:
Stewart, Jack, 1926-2005  Search this
Names:
New York City Transit Authority  Search this
World Trade Center (New York, N.Y.)  Search this
Yale University -- Students  Search this
Baxter, Violet  Search this
Egan, Charles, 1911-  Search this
Gold, Nancy  Search this
Goulet, Lorrie, 1925-  Search this
Kahn, Wolf, 1927-  Search this
Romano, Clare  Search this
Thomas, Steffen, 1906-  Search this
Toney, Anthony  Search this
Townsend, Rodman  Search this
Walker, Herbert Brooks, 1927-  Search this
Weiner, Sam  Search this
Extent:
9.9 Linear feet
7.31 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Date:
1926-2010
Summary:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.
Scope and Content Note:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.

Biographical materials include a "Video Archive" in digital format, consisting mainly of Jack Stewart being interviewed on several occasions by Nancy Gold for her television show, "What It Takes." In addition to discussions about Stewart's career, the shows include examples of his paintings and murals along with views of him at work.

Correspondence mostly documents Stewart's artistic career and work as an educator and administrator; there is some personal correspondence, as well. Of particular note are letters to Rodman Townsend who commissioned a mural about the human brain; they discuss the details of the project and its evolution, brain research, and subsequent exhibitions of related paintings. Illustrated letters and greeting cards with original artwork are from Violet Baxter, Lorrie Goulet, Wolf Kahn, Clare Romano, Anthony Toney, and Sam Weiner. Herbert Brooks Walker sent several pieces of mail art and, while in Italy, collected graffiti information for Stewart. Letters Stewart wrote to his mother span decades; the best represented periods are the years he served in the U.S. Army and studied at Yale University.

Writings and notes consist of Stewart's dissertation ("Subway Graffiti: An Aesthetic Study of Graffiti on the Subway"), miscellaneous writings and notes, and art and architecture notebooks. Dissertation documentation includes the manuscript, drafts, and related records. Among the miscellaneous writings and notes - published and unpublished - are shorter pieces, articles, student papers, and teaching notes. Of particular interest are notes/instructions for a performance piece titled "Endless Subway," "Memories of Steffan Thomas" and "My Recollection of Charles Egan." Also found are minutes of Cooper Union adjunct faculty meetings (1965-1966), and reports written when provost of the Rhode Island School of Design. Art and architecture notebooks (5 volumes) were compiled while at Yale University.

Research files on graffiti contain many sound recordings and some transcripts of interviews with graffiti writers, voluminous lists of graffiti writers' names/tags, correspondence, notes, photographs, and a wide variety of printed material. Some of the material is in digital format. Stewart began collecting these materials as his interest in graffiti developed. They were used for his dissertation and material continued to be added after the dissertation was completed.

Printed material mentioning Stewart or containing reproductions of his work includes exhibition catalogs, posters, and newsletters.

Artwork by Jack Stewart consists of drawings, paintings, and one etching; also found are designs and plans for tables, murals, and other projects. Drawings include figure studies, heads, and landscapes; most are in pencil and some in ink. The small number of paintings are oil on canvas (removed from stretchers), and gouache on paper and board. Sketchbooks (44 volumes) contain mostly pencil drawings and sketches, and a few studies for paintings and murals. Two volumes include writings about travels and events; of particular interest are "Notes on Kline's funeral May 1962," "Visit to Roman Bronze Art Foundry," and "Notes on My Development."

Photographic materials consist mainly photographs, but also include digital images and 35-mm color slides. Images of Stewart include views of him with paintings and working in his studio. Identified individuals with whom he appears are: Regina Stewart (wife), Brandon Stewart (son), Lil Stewart (mother), Ninalee Craig, Irving Sandler, and students in Urbino, Italy. Photographs of artwork document murals such as Raw Material (composed of shirt labels), and Versailles Hotel in Miami Beach; among the paintings documented are State of the Union, Icons of Western Art and Revelation XVI-16 (both with keys to individuals portrayed). Exhibition openings and installations are shown in photographs, color slides, and video recordings. Also found are photographs of the World Trade Center site taken by Stewart in December 2001.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Materials, 1926-circa 2009 (Boxes 1,11; 0.6 linear foot, ER01-ER02, 3.92 GB)

Series 2: Correspondence, 1944-2009 (Boxes 1-2; 0.7 linear foot)

Series 3: Writings and Notes, circa 1947-2003 (Boxes 2-5; 3.1 linear foot)

Series 4: Research Files on Graffiti, 1972-2010 (Boxes 5-7,11; 2.8 linear foot, ER03-ER05, 3.18 GB)

Series 5: Printed Material, circa 1945-2002 (Boxes 8, 11, OV 13; 0.7 linear foot)

Series 6: Scrapbooks, circa 1990-2003 (Box 8; 0.2 linear foot)

Series 7: Artwork, 1946-2000 (Boxes 8, 11, OV 12; 0.3 linear foot)

Series 8: Sketchbooks, 1951-2004 (Boxes 8-9; 1.3 linear foot)

Series 9: Photographic Materials, circa 1950s-2010 (Boxes 10-11; 0.4 linear foot, ER06-ER07, 0.208 GB)
Biographical Note:
Jack Stewart (1926-2005) was a painter, muralist, designer, educator and administrator in New York City. After developing an interest in graffiti in the 1970s, Stewart eventually wrote a dissertation on the subject, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989) and was recognized as an expert on mass transit art.

Jack Stewart began studying art at the High Museum School in his hometown of Atlanta when he was 10 years old. At age 14, he began a 4 year apprenticeship with painter and sculptor Steffen Thomas. After serving in World War II, he enrolled at Yale University (B.F.A. 1951) as a sculpture student, but soon switched to the painting department where he studied with Josef Albers and Willem de Kooning. After graduation, Stewart began receiving mural commissions and enrolled in classes at Columbia University School of Architecture (1951-1953). His interest in architecture was tied to understanding how to work effectively with architects on mural projects. Later, Stewart developed an interest in graffiti which he pursued through graduate study at New York University (M.A., 1975 and Ph.D., 1989).

Stewart created murals in ceramic tile, mixed media and stained glass. In addition to mosaic murals, he designed tables with mosaic tops. As an outgrowth of his mosaic work, Stewart developed a technique for laminating stained glass onto plate glass that, by eliminating the need for lead, opened new design possibilities. Mural commissions included work for Hamilton Hotel in Chicago, Versailles Hotel in Miami Beach, Public School 28 in New York City, and several ocean liners. The most unusual mural, Raw Material commissioned by Cluett Peabody and Company, was composed of shirt labels embedded in acrylic.

Beginning in 1950 Stewart participated regularly in group shows and enjoyed solo exhibitions mainly in the New York City area. He also showed in Philadelphia, Georgia, Rhode Island, Mexico and Italy, and was included in exhibitions circulated by the American Federation of Arts.

Stewart taught at the college level for nearly thirty years, including: The New School (art and architecture, 1953-1958); Pratt Institute (interior architectural design, 1955-1960); The Cooper Union for the Advancement of Science and Art (painting, drawing, human anatomy, art history, 1960-1976; Art Department Chairman, 1971-1976); International Center of Mythymna, American Division, Lesbos, Greece (summer school, 1962-1965); Columbia University (M.F.A. program instructor, 1966-1976); and New York University (drawing, 1967-1975). In 1976 he was appointed Vice President and Provost of the Rhode Island School of Design.

Stewart was active in several professional organizations. He served as New York Artists Equity Association Secretary (1986-1987) and President (1987-1989); President of the National Society of Mural Painters (1996-2000); member of the advisory board of the Steffen Thomas Museum and Archives, Buckhead, GA (1997- 2000s); and President of the Fine Arts Federation of New York (2003-2004). The National Academy of Design elected Jack Stewart an Academician in 1995.

Jack Stewart and Margot Schwarzhaupt, an artist, were married in 1947; they had one son, Brandon. Painter and arts administrator, Regina Serniak, became Jack Stewart's wife in 1976.

Jack Stewart died in New York City in 2005.
Provenance:
Donated in 2010 by Regina Stewart, widow of Jack Stewart.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. This collection is copyright restricted.
Rights:
The Jack Stewart 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:
Street art  Search this
Muralists -- New York (State) -- New York  Search this
Mail art  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Graffiti  Search this
Graffiti artists  Search this
Arts administrators -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Citation:
Jack Stewart papers, 1926-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stewjack
See more items in:
Jack Stewart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stewjack

The Electrified Future: How the World Is Building Transportation 2.0

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Wed, 01 Apr 2020 18:50:11 +0000
Topic:
Custom RSS  Search this
See more posts:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_4bda7cca1b757dda780ff2e1f1354dcf

Oral history interview with Betty Woodman, 2003 April 22 and 29

Interviewee:
Woodman, Betty, 1930-2018  Search this
Interviewer:
Perreault, John, 1937-  Search this
Subject:
Leach, Bernard  Search this
Serra, Richard  Search this
Kozloff, Joyce  Search this
Brown, Elenita  Search this
Hamada, Sh?ji  Search this
Higby, Wayne  Search this
Kushner, Robert  Search this
Shark, Bud  Search this
Carlson, Cynthia  Search this
Woodman, George  Search this
Voulkos, Peter  Search this
Fabric Workshop  Search this
University of Colorado  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Girl Scouts of the United States of America  Search this
Centre internationale de recherche sur le verre et les arts plastiques (Marseille, France)  Search this
Europees Keramisch Werkcentrum  Search this
Bellagio Study and Conference Center  Search this
Boulder (Colo.).Parks & Recreation Department  Search this
School for American Crafts  Search this
Type:
Sound recordings
Interviews
Topic:
Airplanes  Search this
Screen process printing  Search this
Netherlands  Search this
India  Search this
Ceramicists  Search this
Boulder (Colo.)  Search this
Glass art  Search this
Art  Search this
World War, 1939-1945  Search this
Mexico  Search this
Ceramics  Search this
Handicraft  Search this
Women artists  Search this
Decorative arts  Search this
Record number:
(DSI-AAA_CollID)13297
(DSI-AAA_SIRISBib)245771
AAA_collcode_woodma03
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_245771
Online Media:

Oral history interview with Laurance P. Roberts, 1985 July 26-29

Interviewee:
Roberts, Laurance P., 1907-2002  Search this
Interviewer:
Brown, Robert F.  Search this
Subject:
American Academy in Rome  Search this
Brooklyn Museum  Search this
New York State Council on the Arts  Search this
Type:
Sound recordings
Interviews
Topic:
Museum curators  Search this
Museum directors  Search this
Art historians  Search this
Record number:
(DSI-AAA_CollID)12943
(DSI-AAA_SIRISBib)212100
AAA_collcode_robert85
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212100
Online Media:

Modify Your Search







or


Narrow By