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Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Waegen, Rolf Hans  Search this
Glaenzer, Eugene  Search this
de Hauke, César  Search this
Seligmann, Jacques  Search this
Seligmann, René  Search this
Parker, Theresa D.  Search this
Mackay, Clarence Hungerford  Search this
Liechtenstein, House of  Search this
Schiff, Mortimer L.  Search this
Haardt, Georges  Search this
La Fresnaye, Roger de  Search this
Seligman, Germain  Search this
Arenberg  Search this
Seligmann, Arnold  Search this
Trevor, Clyfford  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co  Search this
Gersel  Search this
Germain Seligmann & Co  Search this
De Hauke & Co., Inc  Search this
Topic:
Art  Search this
World War, 1939-1945  Search this
Art, European  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art galleries, Commercial  Search this
Art, Renaissance  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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Louise Nevelson at Ines Amor Gallery in Mexico

Subject:
Jackson, Martha Kellogg  Search this
Nevelson, Louise  Search this
Type:
Photographs
Place:
Mexico
Date:
ca. 1966
Record number:
(DSI-AAA)4338
See more items in:
Louise Nevelson papers, circa 1903-1988
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_4338
Online Media:

Letter of introduction for Jaime Davidovich by Jorge Romero Brest

Creator:
Romero Brest, Jorge  Search this
Subject:
Davidovich, Jaime  Search this
Museo Nacional de Bellas Artes  Search this
Type:
Correspondence
Place:
Buenos Aires, Argentina
Date:
1962 November 2
Record number:
(DSI-AAA)20307
See more items in:
Jaime Davidovich papers, 1949-2014
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_20307

Marta Adams papers, circa 1914-circa 1991

Creator:
Adams, Marta, 1891 or 3-1978  Search this
Subject:
Jodorowsky, Raquel  Search this
Guerrero, Xavier  Search this
Orozco, José Clemente  Search this
Posada, José Guadalupe  Search this
Kuhn, Hetty  Search this
Toneyama, K?jin  Search this
Kuhn, Charles L. (Charles Louis),  Search this
Galecio, Galo  Search this
Méndez, Leopoldo  Search this
Kulmala, Kay  Search this
Zalce, Alfredo  Search this
Swetzoff, Seymour  Search this
Galerie Günther Franke  Search this
Instituto Nacional de Bellas Artes (Mexico)  Search this
Taller de Gráfica Popular (Mexico City, Mexico)  Search this
Type:
Scrapbooks
Topic:
Prints, Mexican  Search this
Women artists  Search this
Hispanic American art  Search this
Record number:
(DSI-AAA_CollID)10845
(DSI-AAA_SIRISBib)214593
AAA_collcode_adammart
Theme:
Women
Lives of American Artists
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214593
Online Media:

La Pintura de los Estados Unidos de museos de la ciudad de Washington...: exposición promovida y organizada por Instituto Nacional de Bellas Artes, Fondo Nacional para Actividades Sociales, Embajada de los Estados Unidos, Museo del Palacio de Bellas Artes, del 18 di noviembre de 1980 al 4 de enero 1981

Author:
Brown, Milton W (Milton Wolf) 1911-1998  Search this
Lanius, Judith H  Search this
Instituto Nacional de Bellas Artes (Mexico)  Search this
Museo del Palacio de Bellas Artes (Mexico City, Mexico)  Search this
Physical description:
220 p. : ill. (some col.) ; 29 cm
Type:
Exhibitions
Biography
Place:
Washington (D.C.)
United States
Date:
1980
Topic:
Painting  Search this
Art museums  Search this
Painting, American  Search this
Artists  Search this
Call number:
ND235 .W3B7 1980
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_635382

X'TeReSa (ex Templo de Santa Teresa La Antigua), Center for Alternative Art, Mexico City, Mexico

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Container:
Box 29, Folder 5
Type:
Archival materials
Date:
1993
Scope and Contents note:
(exhibition announcement; catalogs; calendar of events; catalog, Manifiesta: Muestra de instalaciones y performance de Felip Ehrenberg, Helen Escobedo, Marcos Kurtycz, X'TeReSa. Instituto Nacional de Bellas Artes, Mexico)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Tomás Ybarra-Frausto research material is 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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material
Tomás Ybarra-Frausto research material / Series 1: Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref1799

Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
56.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2007
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.
Arrangement:
The collection is arranged as eight series:

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.
Restrictions:
Use of original papers 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. Contact Reference Services for more information.
Rights:
The Lucy R. Lippard 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:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism  Search this
Art critics  Search this
Minimal art  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Museo Nacional de Bellas Artes, Argentina

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 98, Folder 1
Type:
Archival materials
Date:
1929
1926-1927
1935-1936
1931
1914
1912
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art 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:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref5753

Rimer Cardillo printed materials

Creator:
Cardillo, Rimer  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1989-2012
Summary:
The printed materials of artist Rimer Cardillo measure 0.4 linear feet and date from 1985 to 2012. The collection is comprised of clippings including reviews of the exhibition Revelaciones / Revelations: Hispanic Art of Evanescence, exhibition announcements and catalogs, and newsletters relating to Cardillo's career as a printmaker and graphic artist.
Scope and Contents:
The printed materials of artist Rimer Cardillo measure 0.4 linear feet and date from 1985 to 2012. The collection is comprised of clippings including reviews of the exhibition Revelaciones / Revelations: Hispanic Art of Evanescence, exhibition announcements and catalogs, and newsletters relating to Cardillo's career as a printmaker and graphic artist.
Arrangement:
The collection is arranged as one series.

Series 1: Rimer Cardillo Printed Materials, 1985-2012 (Box 1; 0.4 linear feet)
Biographical / Historical:
Rimer Cardillo (1944-) is a printmaker and graphic artist in Wallkill, N.Y.

Cardillo was born in Montevideo, Uruguay. He attended the National Institute of Fine Arts in Montevideo graduating in 1968. He continued his art studies in Germany at the Weissenssee School of Art and Architecture and the Leipzig School of Graphic Arts. In 1979, Cardillo immigrated to the United States. He became a professor of printmaking at the State University of New York, New Paltz.

Cardillo has won a Guggenheim Fellowship and Figari Award among others. He has exhibited his work throughout the United States, South America, and Europe. His work can also be found in the collections of the Art Institute of Chicago, Bibliothèque Nationale de France, Instituto Nacional de Bellas Artes y Literatura of Mexico, Museum of Modern Art, Art Museum of the Americas, and in various private collections.
Provenance:
The collection was donated by Rimer Cardillo in 2015.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Graphic artists -- New York (State) -- New York  Search this
Hispanic American art  Search this
Hispanic American artists--New York (State)--New York  Search this
Printmakers -- New York (State) -- New York  Search this
Citation:
Rimer Cardillo printed materials, 1985-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cardrime
See more items in:
Rimer Cardillo printed materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cardrime

Gustavo Acosta papers

Creator:
Acosta, Gustavo, 1958-  Search this
Extent:
1 Linear foot
0.057 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Date:
circa 1958-2017
Summary:
The papers of painter Gustavo Acosta measure 1.0 linear feet and date from 1958 to 2017. Biographical material including artist statements and interviews are included, as well as documentation from Acosta's education and art production in Cuba. Correspondence is mostly professional in nature and spans from 1987 to 2012, in both Spanish and English. The professional files series includes exhibition documentation and proposals, as well as artwork inventories and a lecture including a digital slide presentation. Printed material includes exhibition announcements and catalogs as well as press clippings. Photographs include images of the artist and artwork among other subjects. The artwork series includes various drawings and sketchbooks, in addition to art source materials including numerous photographs, many with notation and traces of drawing or paint.
Scope and Contents:
The papers of painter Gustavo Acosta measure 1.0 linear feet and date from 1958 to 2017. Biographical material including artist statements and interviews are included, as well as documentation from Acosta's education and art production in Cuba. Correspondence is mostly professional in nature and spans from 1987 to 2012, in both Spanish and English. The professional files series includes exhibition documentation and proposals, as well as artwork inventories and a lecture including a digital slide presentation. Printed material includes exhibition announcements and catalogs as well as press clippings. Photographs include images of the artist and artwork among other subjects. The artwork series includes various drawings and sketchbooks, in addition to art source materials including numerous photographs, many with notation and traces of drawing or paint.
Arrangement:
The collection is arranged in 6 series:

Series 1: Biographical Material, circa 1958-2012 (0.2 Linear Feet; Box 1)

Series 2: Correspondence, circa 1987-2012 (0.1 Linear Feet; Box 1)

Series 3: Professional Files, circa 1993-2017 (0.2 Linear Feet; Box 1, 0.0567 GB; ER01)

Series 4: Printed Material, circa 1980-2017 (0.2 Linear Feet; Box 1)

Series 5: Photographic Material, circa 1960-2010 (0.1 Linear Feet; Box 1)

Series 6: Artwork, circa 1982-2017 (0.2 Linear Feet; Box 1)
Biographical / Historical:
Gustavo Acosta (1958- ) is a Cuban American painter in Miami, Florida. Acosta was born in Havana, Cuba in 1958. He relocated to the United States in 1993, and settled in Miami in 1994. Acosta attended art school at both the Escuela Nacional de Bellas Artes "San Alejandro" and the Instituto Superior de Arte (ISA), both in Havana. A predominant feature of Acosta's paintings is the presence of the urban architectural landscape. He has had numerous exhibtiions including a touring retrospective which began at the Caixa Cultural de Rio de Janeiro and ended at the Caixa Cultural in Sao Paulo. His artwork is featured in museums and private collections including the National Museum of Fine Arts, Havana, Cuba; Wifredo Lam Center, Havana, Cuba; Museum of Contemporary Art, MOCA. Miami, Florida; Lowe Art Museum, Miami, Florida; Fort Lauderdale Art Museum, Fort Lauderdale, Florida; Nassau County Museum of Art, New York; and the Museum of Contemporary Art, Panama.
Provenance:
The papers were donated by Gustavo Acosta to the Archives of American Art in 2018.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
Rights:
The Gustavo Acosta 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:
Painters -- Florida -- Miami  Search this
Topic:
Cuban American artists  Search this
Interviews  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Gustavo Acosta Papers, circa 1958-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.acosgust
See more items in:
Gustavo Acosta papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-acosgust

Marta Adams Papers

Creator:
Adams, Marta  Search this
Names:
Galerie Günther Franke  Search this
Instituto Nacional de Bellas Artes (Mexico)  Search this
Taller de Gráfica Popular (Mexico City, Mexico)  Search this
Galecio, Galo, 1908-1993  Search this
Guerrero, Xavier, 1896-  Search this
Jodorowsky, Raquel  Search this
Kuhn, Charles L. (Charles Louis), 1901-  Search this
Kuhn, Hetty  Search this
Kulmala, Kay  Search this
Méndez, Leopoldo, 1902-1969  Search this
Orozco, José Clemente, 1883-1949  Search this
Posada, José Guadalupe, 1852-1913  Search this
Swetzoff, Seymour  Search this
Toneyama, Kōjin, 1921-  Search this
Zalce, Alfredo, 1908-2003  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Photograph albums
Photographs
Scrapbooks
Sketches
Date:
circa 1914-circa 1991
Summary:
The papers of sculptor, painter, and writer Marta Adams measure 4.2 linear feet, and date from circa 1914 to circa 1991. Found within are biographical materials, correspondence, writings and notes, legal and estate papers, printed materials, photographic material, one mixed-media scrapbook, and artwork, including three portfolios of lithographs, 30 Grabados de Galo Galecio,1946, containing 30 engraving prints by Galecio and Estampas de la Revolucion Mexicana, 1947, containing 85 engraving prints by 16 artists of the Taller de Gracia Popular, and Drawings: Seymour Swetzoff, 1949.
Scope and Contents:
The papers of sculptor, painter, and writer Marta Adams measure 4.2 linear feet, and date from circa 1914 to circa 1991. Found within are biographical materials, correspondence, writings and notes, legal and estate papers, printed materials, photographic material, one mixed-media scrapbook, and artwork, including three portfolios of lithographs, 30 Grabados de Galo Galecio,1946, containing 30 engraving prints by Galecio and Estampas de la Revolucion Mexicana, 1947, containing 85 engraving prints by 16 artists of the Taller de Gracia Popular, and Drawings: Seymour Swetzoff, 1949. .

Biographical material includes address books, curriculum vitaes, a passport, awards and certificates, and immigration materials.

Correspondence comprises the bulk of the collection and is primarily personal in nature. Most of the correspondence is between Marta and her daughter Kay Kulmala, though there are several files of a blend of personal and professional correspondence to and from others. Additional correspondents include other family members and friends, as well as the Galerie Günther Franke and Instituto Nacional de Bellas Artes. Notable correspondents include Charles L. and Hetty Kuhn, Raquel Jodorowsky, and Kojin Toneyama, among others.

Writings include drafts and manuscripts by Adams, of poetry and children's stories, as well as notes for an unpublished autobiography. Also found are writings about Adams by others.

After Marta Adam's death, her daughter, Kay Kulmala, dealt with her estate by conducting inventories, discussing exhibitions, and facilitating auctions of Adam's artwork, documented via legal and estate papers found within the collection.

Printed materials include clippings, exhibition announcements and catalogs,

Photographs are of the artist, friends and family, and artwork. Also included are two family photograph albums. One scrapbook contains letters, notes, drawings, and photographs, and appears to have been created by friends and peers for Adams.

Artwork includes Christmas card designs, sketches and illustrations, and mixed media collages by Marta Adams. Also included are works by others including a signed lithograph by Leopoldo Méndez, and prints by Xavier Guerrero, José Clemente Orozco, Jose Guadalupe Posada, and Alfredo Zalce. There are three limited editions of portfolios of lithographs, 30 Grabados de Galo Galecio,1946, containing 30 engraving prints by Galecio, Estampas de la Revolucion Mexicana, 1947, containing 85 engraving prints by 16 artists of the Taller de Grafica Popular, and Drawings: Seymour Swetzoff, 1949.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, circa 1918-circa 1980 (0.2 linear feet; Box 1, Box 6)

Series 2: Correpsondence, circa 1929-circa 1978 (1.8 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1914-circa 1978 (0.1 linear feet; Box 3)

Series 4: Legal and Estate Papers, circa 1963-circa 1991 (0.3 linear feet; Box 3)

Series 5: Printed Materials, circa 1940s-circa 1988 (0.7 linear feet; Box 3)

Series 6: Photographic Material, circa 1916-circa 1980s (0.7 linear feet; Boxes 3-6)

Series 7: Scrapbook, circa 1963-circa 1964 (1 folder; Box 5)

Series 8: Artwork, circa 1920s-circa 1978 (0.4 linear feet; Boxes 5-6, OV 7)
Biographical / Historical:
Marta Adams (1891 or 1893-1978) was a painter, sculptor, and writer, active in Boston, Massachusetts and Mexico.

Born in Germany in 1891 or 1893, Marta Arnstem immigrated to Massachusetts around 1915, and married Edward Brinley Adams in 1916 who died in 1922. She apprenticed with sculptor Hans Stangl in Munich during the winter of 1925. Before moving back to Cambridge in 1933, Adams showed drawings and sculpture at the Günther Galerie in Munich, and was part of a social circle that included cartoonist Otto Nückl, writer A. M. Frey, and painter Karl Zerbe, among others. Animals were her favorite subject used in most of her artwork, though she also included flowers, and had a series on open-heart surgery. In 1935, Adams made her first visit to Mexico, and began spending more time there than in the United States. There, she met Diego Rivera who stimulated her interest in oil painting. In 1952 she moved to Mexico permanently. She exhibited with the Boris Mirski Gallery in Boston, and had numerous exhibitions in Mexico.
Provenance:
The bulk of Marta Adams papers were donated to the Archives in 1992 by the estate of Katherine Adams Kulmala (Adams's daughter) via Jonathan Strong, executor. In 1992, a sketch and a section of a watercolor were donated to the Archives by Phyllis Hughes, who purchased the artwork at an auction held at the Concord Art Association in Massachusetts.
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 Marta Adams 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:
Animal sculptors -- Massachusetts  Search this
Animal sculptors -- Mexico  Search this
Women artists -- Massachusetts -- Boston  Search this
Sculptors -- Mexico  Search this
Authors -- Mexico  Search this
Women artists -- Mexico  Search this
Topic:
Painters -- Massachusetts -- Boston  Search this
Hispanic American art  Search this
Prints, Mexican  Search this
Painters -- Mexico  Search this
Sculptors -- Massachusetts -- Boston  Search this
Authors -- Massachusetts  Search this
Genre/Form:
Photograph albums
Photographs
Scrapbooks
Sketches
Citation:
Marta Adams papers, circa 1914-circa 1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.adammart
See more items in:
Marta Adams Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-adammart

Correspondence

Collection Creator:
Adams, Marta  Search this
Extent:
1.8 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
circa 1929-circa 1978
Scope and Contents:
Correspondence is primarily with Marta's daughter, Kay Adams, and some letters are illustrated; sometimes written in Spanish as well as English; and may include photographs and postcards as well as letters. Other correspondence is with galleries and museums such as Galerie Günther Franke and the Instituto Nacional de Bellas Artes, as well as artists and other family members and friends. Other correspondents include Raquel Jodorwosky, Charles L. and Hetty Kuhn, and Kojin Toneyama, among others.
Collection 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.
Collection Rights:
The Marta Adams 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.
Collection Citation:
Marta Adams papers, circa 1914-circa 1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.adammart, Series 2
See more items in:
Marta Adams Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-adammart-ref10

Biographical Material

Collection Creator:
Adams, Marta  Search this
Extent:
0.2 Linear feet (Box 1, Box 6)
Type:
Archival materials
Date:
circa 1918-circa 1980
Scope and Contents:
Found here are five address books, an honorable mention award certificate from the Instituto Nacional de Bellas Artes, curriculum vitaes, immigration papers for Marta Adams and various family and friends, and a passport and marriage certificate.
Collection 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.
Collection Rights:
The Marta Adams 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.
Collection Citation:
Marta Adams papers, circa 1914-circa 1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.adammart, Series 1
See more items in:
Marta Adams Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-adammart-ref9

Playbill for Golden Boy

Published by:
Playbill, American, founded 1884  Search this
Subject of:
Billy Daniels, American, 1915 - 1988  Search this
Paula Wayne  Search this
Kenneth Tobey, American, 1917 - 2002  Search this
Ted Beniades, American, born 1922  Search this
Roy E Glenn, American, 1914 - 1971  Search this
Ja'net Dubois, American, born 1945  Search this
Johnny Brown, American, born 1937  Search this
Jaime Rogers  Search this
Louis Gossett Jr., American, born 1936  Search this
Charles Welch, American, 1921 - 2004  Search this
Don Crabtree  Search this
Lola Falana, American, born 1942  Search this
Medium:
ink on paper
Dimensions:
H x W: 9 x 6 in. (22.9 x 15.2 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1964
Topic:
African American  Search this
Actors  Search this
Broadway Theatre  Search this
Jazz (Music)  Search this
Musical Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.34
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5ae36f1be-b0cd-46b1-9afa-97b466a2b172
EDAN-URL:
edanmdm:nmaahc_2011.45.34
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Playbill for Golden Boy digital asset number 1
Online Media:

Dibujos de escultores; de Rodin a nuestros días

Author:
Instituto Nacional de Bellas Artes (Mexico)  Search this
Physical description:
[24] p. (chiefly illus.)
Type:
Exhibitions
Date:
N. d.]
20th century
Topic:
Drawing  Search this
Sculptors  Search this
Sculpture, Modern  Search this
Call number:
NC27.M6 M65
NC27.M6M65
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_57382

Eva Longoria

Artist:
Timothy Greenfield-Sanders, born 16 Feb 1952  Search this
Sitter:
Eva Longoria, born 15 Mar 1975  Search this
Medium:
Inkjet print
Dimensions:
Image: 85.5 × 68.4 cm (33 11/16 × 26 15/16")
Sheet: 101.8 × 76 cm (40 1/16 × 29 15/16")
Type:
Photograph
Date:
April 2010
Topic:
Costume\Jewelry\Earring  Search this
Costume\Jewelry\Ring  Search this
Eva Longoria: Female  Search this
Eva Longoria: Performing Arts\Performer\Actor  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.2015.29
Restrictions & Rights:
© 2010 Timothy Greenfield-Sanders
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4cd4b50c0-9110-4d2d-93b3-e51b18570f7f
EDAN-URL:
edanmdm:npg_NPG.2015.29

Bañista

Title:
Bather
Artist:
Raquel Forner, 1902 - 1968  Search this
Sitter:
Unidentified Group  Search this
Medium:
Oil on canvas
Dimensions:
94.5 x 70cm (37 3/16 x 27 9/16")
Type:
Painting
Date:
1928
Topic:
Portrait  Search this
Credit Line:
Owner: Museo Nacional de Bellas Artes, Buenos Aires
Object number:
AG010035
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm407271aef-5e4a-46d6-839e-76361b08a61b
EDAN-URL:
edanmdm:npg_AG010035

El hombre de la flor amarilla I

Title:
The Man of the Yellow Flower I
Artist:
Emilio Pettoruti, 1892 - 1974  Search this
Sitter:
Alberto Hidalgo, 1884 - 1967  Search this
Medium:
Oil on canvas
Dimensions:
81 x 65cm (31 7/8 x 25 9/16")
Type:
Painting
Date:
1932
Topic:
Alberto Hidalgo: Male  Search this
Alberto Hidalgo: Literature\Writer\Poet  Search this
Portrait  Search this
Credit Line:
Owner: Museo Nacional de Bellas Artes, Buenos Aires
Object number:
AR 6931
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm497a92440-6f02-4a4c-a77f-6e1f14624991
EDAN-URL:
edanmdm:npg_AR_6931

Lili [Lily Berni]

Artist:
Antonio Berni, 1905 - 1981  Search this
Sitter:
Lily Berni, born c. 1930  Search this
Medium:
Oil on canvas
Dimensions:
100 x 70cm (39 3/8 x 27 9/16")
Type:
Painting
Date:
1943
Topic:
Nature & Environment\Plant\Flower  Search this
Lily Berni: Female  Search this
Portrait  Search this
Credit Line:
Owner: Museo Nacional de Bellas Artes, Buenos Aires
Object number:
AG010026
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm472cd1839-c3e0-41be-af35-45314902f6ad
EDAN-URL:
edanmdm:npg_AG010026

Mi tía Catalina

Title:
My Aunt Catalina
Artist:
Miguel Carlos Victorica, 1884 - 1955  Search this
Sitter:
Catalina  Search this
Medium:
Oil on canvas
Dimensions:
61.5 x 50cm (24 3/16 x 19 11/16")
Type:
Painting
Date:
1951
Topic:
Indeterminable  Search this
Catalina: Female  Search this
Portrait  Search this
Credit Line:
Owner: Museo Nacional de Bellas Artes, Buenos Aires
Object number:
AG010027
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm497828a3d-8b8f-4b21-8191-32850cf6d1d1
EDAN-URL:
edanmdm:npg_AG010027

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