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Creator:

Architectural League of New York  Search this

Names:

American Institute of Architects  Search this

National Sculpture Society (U.S.)  Search this

Gilbert, Cass, 1859-1934  Search this

Extent:

114.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Annual reports

Photographs

Minutes

Lantern slides

Date:

1880s-1974

Summary:

The records of the Architectural League of New York measure 114.9 linear feet and date from 1880s-1974 (bulk 1927-1968). The League's mission "to advance the art of architecture" is documented through administrative and business records, committee records and officers' files, exhibition files, records of functions and events, correspondence, publicity files, photographs, lantern slides, and 16 scrapbooks.

Scope and Content Note:

The records of the Architectural League of New York measure 114.9 linear feet and date from 1880s-1974 (bulk 1927-1968). The League's mission "to advance the art of architecture" is documented through administrative and business records, committee records and officers' files, exhibition files, records of functions and events, correspondence, publicity files, photographs, lantern slides, and scrapbooks.

League records prior to 1927 are limited in the collection and are mostly found among Administrative Files. The administrative files include a nearly complete collection of annual reports from 1889-1932 and various meetings minutes from 1889 through the mid-20th century. Also found is a history of the League written by founding member Cass Gilbert, documentation of the changes of the League Constitution and By-Laws during the first half of the 20th century, and other administrative records.

Over a third of the collection are records from committees, including voluminous records of the Executive Committee, Current Work Committee, House Committee, Finance Committee, Membership Committee, and Scholarships and Special Awards Committee. In addition, there are scattered records for minor committees. Materials include correspondence, meeting minutes, election ballots, financial records, membership records, documents related to awarding scholarships and awards, and other administrative and organizational committee records. Found is the original 1889 agreement between the Architectural League, the Art Students League, and the Society of American Artists to build the American Fine Arts Society building. Throughout the collection, but especially in the Membership Committee subseries, the records provide a glimpse into the struggles the League faced during the Depression through World War II to maintain dues-paying members.

Officers' Files includes collated records of the League Executive Secretary and Secretary, as well as correspondence of the League President and Treasurer. Materials found here are not comprehensive; similar materials can be found throughout the collection.

Financial records such as bank statements, correspondence, and ledgers; insurance correspondence and policies; and legal correspondence, are found in the Business Records series. This series does not include records prior to 1926.

Exhibition files provide detailed documentation of the exhibitions sponsored by, or held at, the League primarily from the 1930s to the early 1970s. Records related to the League Annual Exhibition, the National Gold Medal Exhibitions, and the 1939 World's Fair in New York are found here, as well as exhibition files arranged chronologically by exhibition date and miscellaneous administrative files. Materials include administrative files, applications, correspondence, printed materials, publicity files, and other records related to organizing and managing exhibitions. The files of the Exhibition Committee are also found here.

Other series which document activities held by, or held at, the League include Functions and Events series and Publicity Files series. Found is correspondence, printed materials, press releases, schedules, and other administrative documents created in organizing events such as dinners, lectures, receptions, balls, and outings. The Records of Other Organizations includes records relating to organizations that had business with the League, often regarding events, meetings, and exhibitions held at the League. Represented here are some records of the American Institute of Architects (A.I.A.) and the National Sculpture Society (N.S.S.).

Correspondence includes miscellaneous correspondence arranged alphabetically by subject or name, and collated correspondence arranged chronologically. Most of the chronological correspondence appears to be Secretaries' files. The materials in the Miscellaneous series seem to have been separated from their original files, or were never filed properly. Therefore, materials and contents are similar to those found in other series, such as correspondence, administrative records, some financial records, and handwritten notes.

Black and white photographs, a handful of colored photographs, nearly 350 lantern slides, and negatives of exhibitions, buildings, events, and portraits are found in the Photographic Materials series.

Sixteen scrapbooks include eight scrapbooks of clippings from 1880s-1960s, and seven scrapbooks of notices and printed materials from 1925-1930. Also found is a scrapbook of signatures of event attendees, a clippings scrapbook compiled by Hamilton M. Wright, and a scrapbook of the Archeological Institute of America.

Arrangement:

The collection is arranged as 12 series:

Series 1: Administrative Files, 1889-1969 (Boxes 1-10, OV 116; 9.7 linear feet)

Series 2: Committee Records, 1887-1974 (Boxes 10-54, 110, 114, OV 116; 44.7 linear feet)

Series 3: Officers' Files, 1900, 1923-1970 (Boxes 54-58; 3.9 linear feet)

Series 4: Business Records, circa 1926-1972 (Boxes 58-62, BVs 129-144; 7.35 linear feet)

Series 5: Exhibitions, 1887-1972, bulk 1930s-1960s (Boxes 62-83, 111, OVs 117-119; 21.85 linear feet)

Series 6: Functions and Events, 1909, 1931-1973 (Boxes 84-93, OV 120; 9.35 linear feet)

Series 7: Publicity Files, 1922-1972 (Boxes 93-95, 111; 2.5 linear feet)

Series 8: Records Relating to Organizations, 1908-1968, bulk 1930s-1960s (Boxes 95-101; 6.1 linear feet)

Series 9: Correspondence, 1929-1970 (Boxes 101-103, OV 120; 1.85 linear feet)

Series 10: Miscellaneous, circa 1936-1968 (Boxes 103-104; 1.3 linear feet)

Series 11: Photographic Materials, 1896-1960s (Boxes 105-108, 112, OVs 121-128; 4.3 linear feet)

Series 12: Scrapbooks, 1880s-1960s (Boxes 108-109, 113-115, BVs 145-148; 2.2 linear feet)

There are frequently similar and related materials in multiple series, as is indicated in the series' descriptions. The records may originally have been arranged by file owner (committees, secretary, etc.), then by League season (roughly May - April). Most series include a handful of folders in which the original folder title indicates the file owner and League season (i.e. Secretary 1938-1939).

Historical Note:

Modeling the organization's name after the Art Students League of New York, the Architectural League of New York was founded in New York City in 1881 by a group of architects who wished to gather and discuss architecture and its relationship to the arts. The group elected D.W. Willard as the first President of the League and they began gathering regularly to discuss and critique each other's sketches and hold competitions. The organization grew quickly and soon the League rented a room in a building on 14th Street between University Place and Fifth Avenue.

However, by the mid-1880s the founders and more active League members left New York, and membership began to falter. The League was reorganized in 1886, expanding membership beyond professional architects, and incorporated in 1888 with 166 members. In 1889, the League joined with the Art Students League of New York and the Society of American Artists to form the American Fine Arts Society. Thus, in 1892 the three organizations were able to erect a building at 215 West 57th Street where the League remained until 1927 when it moved to 115 East 40th Street.

The League was run by the Executive Committee and its officers, elected every two years. The beginning of each League season kicked off with an annual dinner in the spring. The League also formed numerous committees to organize activities and manage administrative tasks. Noteworthy committees include the Current Work Committee, House Committee, Finance Committee, Exhibition Committee, Membership Committee, and Scholarships and Special Awards Committee.

The League's interdisciplinary approach to architecture and the arts was expressed through sponsored forums and discussions with architects and artists. From the League's beginning, the Current Work Committee was established to organize educational forums for members. Recognition of achievement was awarded by an Annual Exhibition from the late 1880s until 1938. In 1950, the League began awarding the annual National Gold Medal Exhibition in various fields, including landscape architecture, engineering, and sculpture. Additionally, the League awarded numerous other scholarships each year. Architects, artists, and arts-related organizations could also rent space in the League building to hold meetings, discussions, and exhibitions.

The League admitted its first female member in 1934. Notable members of the League included Arnold W. Brunner (President, 1903-1905), Cass Gilbert (President, 1913-1915), Philip Johnson, Robert A.M. Stern, and Russell Sturgis (President, 1889-1893).

The Architectural League of New York continues to provide educational opportunities and scholarships to students and professionals.

Background information was gathered from a written history of the League by Cass Gilbert found in this collection and the Architectural League of New York website (http://archleague.org/category/archive/history-archive/).

Related Material:

Among the holdings of the Archives of American Art are several collections that contain Architectural League of New York records. The American Federation of Arts records, 1895-1993, include a significant amount of League records related to national awards programs and lantern slides from the "New Horizons in America" lecture series.

Provenance:

The Architectural League of New York records were donated in several installments from 1967-1980 by the Architectural League of New York.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Architectural League of New York 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:

Architecture  Search this

Associations, institutions, etc.  Search this

Genre/Form:

Scrapbooks

Annual reports

Photographs

Minutes

Lantern slides

Citation:

Architectural League of New York records, 1880s-1974, bulk 1927-1968. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care and Preservation Fund

Identifier:

AAA.archleag

See more items in:

Architectural League of New York records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-archleag

Creator:

Ankrum Gallery  Search this

Names:

Art Dealers Association of America  Search this

Black Arts Council (Washington, D.C.)  Search this

California Arts Council  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Krannert Art Museum  Search this

Laguna Art Museum (Laguna Beach, Calif.)  Search this

Paramount Pictures  Search this

San Diego Museum of Art  Search this

Staempfli Gallery (New York, N.Y.)  Search this

Storm King Art Center  Search this

Almaraz, Carlos  Search this

Andrews, Benny, 1930-2006  Search this

Ankrum, Joan  Search this

Bauer, Richard, 1944-  Search this

Block, Irving  Search this

Broderson, Morris, 1928-2011  Search this

Caryl, Naomi  Search this

Casey, Bernie  Search this

Duveneck, Frank, 1848-1919  Search this

Feitelson, Lorser, 1898-1978  Search this

Groth, Bruno  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Herschler, David  Search this

Hirsch, Joseph, 1910-1981  Search this

Hirshhorn, Olga  Search this

Homer, Jessie  Search this

Jackson, Suzanne, 1944-  Search this

Johnson, Buffie  Search this

Lundeberg, Helen, 1908-1999  Search this

Mesches, Arnold, 1923-  Search this

Miller, Henry, 1891-  Search this

Palm Springs Desert Museum  Search this

Schuler, Melvin  Search this

Secunda, Arthur  Search this

Shores, Kenneth, 1928-  Search this

Varda, Jean  Search this

Zev  Search this

Extent:

41.5 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Date:

circa 1900-circa 1990s

bulk 1960-1990

Summary:

The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

Scope and Contents:

The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.

Arrangement:

This collection is arranged as 12 series.

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)

Biographical / Historical:

The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.

Related Materials:

Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.

Provenance:

The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.

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 Ankrum Gallery 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 galleries, Commercial -- California -- Los Angeles  Search this

Artists -- California -- Los Angeles  Search this

Genre/Form:

Scrapbooks

Photographs

Citation:

Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.ankrgall

See more items in:

Ankrum Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-ankrgall

Creator:

Swetzoff Gallery  Search this

Names:

Boghosian, Varujan  Search this

Boyce, Richard, 1920-  Search this

Conner, Bruce  Search this

Eshoo, Robert  Search this

Hillsmith, Fannie, 1911-2007  Search this

Kepes, Gyorgy, 1906-2001  Search this

Ohashi, Yutaka, 1923-1989  Search this

Pineda, Marianna, 1925-1996  Search this

Redon, Odilon, 1840-1916  Search this

Stewart, Reba, 1930-1971  Search this

Swetzoff, Hyman Wulf, 1920-1968  Search this

Tovish, Harold, 1921-2008  Search this

Zóbel, Fernando  Search this

Extent:

18.6 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Gallery records

Photographs

Date:

1941-1968

Summary:

The records of the Boston, Massachusetts Swetzoff Gallery measure 18.6 linear feet and date from 1941 to 1968. Materials include administrative files, scattered general correspondence, named files, exhibition files, financial records, printed material, a scrapbook of printed material, photographs, and the personal papers of Hyman Swetzoff.

Scope and Contents:

The records of the Boston, Massachusetts Swetzoff Gallery measure 18.6 linear feet and date from 1941 to 1968. Materials include administrative files, scattered general correspondence, named files, exhibition files, financial records, printed material, a scrapbook of printed material, photographs, and the personal papers of Hyman Swetzoff.

Administrative records include twenty day books, mailing lists, leases, and shipping records. Correspondence is scattered but includes holiday cards and general correspondence between other institutions, galleries, and clients. Named files are a mix of artist, subject, and client files and relate to Gallery's relationships with artists, buyers and clients, and institutions and galleries. Files may include correspondence from or about the named individual. Substantial materials are found for Varujan Boghosian, Richard Boyce, Bruce Connor, Robert Eshoo, Fannie Hillsmith, Gyorgy Kepes, Yutaka Ohashi, Marianna Pineda, Odilon Redon, Reba Stewart, Harold Tovish, and Fernando Zóbel.

Exhibition files document exhibitions at the Swetzoff Gallery, events at other galleries for which Swetzoff loaned works, and for larger art fairs and exhibitions in which the gallery participated. Financial records include artist account ledgers, appraisals, consignments, accounts receivable and payable, price lists, receipts, records of purchases, sales statements, and other general financial records. Ledgers may include artist name, title of work of art, buyer, and price.

Printed material is scattered and includes some exhibition material and clippings. There is one scrapbook of printed materials. Photographs are of artists, gallery employees, installations, and of works of art.

The Hyman Swetzoff papers include biographical material of Swetzoff and his family, correspondence, business records, writings, photographs, and artwork.

Arrangement:

The collection is arranged as 9 series.

Series 1: Administrative Files, 1949-1968 (1.7 linear feet; Boxes 1-2)

Series 2: Correspondence, 1951-1965 (0.6 linear feet; Boxes 2-3)

Series 3: Named Files, 1949-1968 (8.4 linear feet; Boxes 3-12, OV 20-21)

Series 4: Exhibition Files, 1946-1966 (1.1 linear feet; Boxes 12-13)

Series 5: Financial Records, 1941-1968 (3.4 linear feet; Boxes 12-16)

Series 6: Printed Material, 1949-1968 (0.3 linear feet; Box 16)

Series 7: Scrapbook, 1948-1950 (0.3 linear feet; Box 16)

Series 8: Photographs, 1950s-1960s (0.8 linear feet; Boxes 16-17)

Series 9: Hyman Swetzoff Papers, 1950-1968 (2.0 linear feet; Boxes 17-19)

Biographical / Historical:

The Swetzoff Gallery operated in Boston, Massachusetts from the late-1940s to 1968.

Brothers Hyman and Seymour Swetzoff opened the Frameshop Gallery in Boston around 1948. Later, they expanded the business to include the sale of art and renamed the business Swetzoff Gallery. Hyman took sole-ownership of the gallery, which he ran until he was murdered by an unknown assailant in 1968.

The Swetzoff Gallery worked with many artists, dealers, galleries, and collectors including Albert Alcalay, Hyman Bloom, Varujan Boghosian, Richard Boyce, James Ensor, Robert Eshoo, Fannie Hillsmith, Gyorgy Kepes, Elie Nadelman, Yutaka Ohashi, Bradley Phillips, Marianna Pineda, Reba Stewart, Jean Tock, and Hugh Townley among many others.

Provenance:

The records of the Swetzoff Gallery were donated by Sidney Swetzoff in 1968.

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 Swetzoff Gallery 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, American -- Massachusetts -- Boston  Search this

Art galleries, Commercial -- Massachusetts -- Boston  Search this

Genre/Form:

Scrapbooks

Gallery records

Photographs

Citation:

Swetzoff Gallery records, 1941-1968. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.swetgall

See more items in:

Swetzoff Gallery Records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-swetgall

Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Names:

Acconci, Vito, 1940-  Search this

Anderson, David K., 1935-  Search this

Benglis, Lynda, 1941-  Search this

Benyon, Margaret, 1940-  Search this

Bochner, Mel, 1940-  Search this

Brooks, James, 1906-1992  Search this

Castelli, Leo  Search this

Chase, Doris, 1923-  Search this

Cross, Lloyd G.  Search this

Davis, Douglas  Search this

Dwan, Virginia  Search this

Feigen, Richard L., 1930-  Search this

Glimcher, Arnold B.  Search this

Gottlieb, Adolph, 1903-1974  Search this

Graham, Dan, 1942-  Search this

Hollander, Irwin  Search this

Insley, Will, 1929-2011  Search this

Jackson, Martha Kellogg  Search this

Janis, Sidney, 1896-1989  Search this

Kirby, Michael  Search this

Levine, Les, 1935-  Search this

Lichtenstein, Roy, 1923-1997  Search this

Mazur, Michael, 1935-2009  Search this

Meyer, Ursula, 1915-  Search this

Nauman, Bruce, 1941-  Search this

O'Doherty, Brian  Search this

Parsons, Betty  Search this

Richter, Hans, 1888-1976  Search this

Siegelaub, Seth, 1941-  Search this

Smith, Tony, 1912-1980  Search this

Sonfist, Alan  Search this

Weiner, Sam  Search this

Wise, Howard  Search this

Extent:

20.9 Linear feet

Type:

Collection descriptions

Archival materials

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Date:

1943-1975

bulk 1964-1975

Summary:

The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Scope and Contents:

The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.

Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.

Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.

Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.

Arrangement:

The collection is arranged as 4 series.

Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)

Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)

Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)

Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)

Biographical / Historical:

The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.

Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.

Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.

The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."

Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.

Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.

The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.

Provenance:

The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art 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:

Video artists -- New York (State) -- New York  Search this

Museum administrators -- New York (State) -- New York  Search this

Museum curators -- New York (State) -- New York  Search this

Topic:

Sculptors -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Gallery directors  Search this

Gallery owners  Search this

Genre/Form:

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.finccoll

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-finccoll

Creator:

Smithsonian Institution. Traveling Exhibition Service  Search this

Names:

Anacostia Neighborhood Museum  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Extent:

0.5 Linear feet (1 box)

Type:

Collection descriptions

Archival materials

Photographic prints

Research

Exhibit scripts

Correspondence

Exhibition records

Place:

Washington (D.C.)

Date:

1983

Summary:

This show featured 36 portraits--27 oil paintings and 9 color photo reproductions--selected from the Harmon Foundation collection, from the National Portrait Gallery, as well as biographical information and memorabilia. Likenesses of blacks who made significant contributions in the fields of civil rights, law, education, medicine, the military, and the arts are on display. Included are Marian Anderson, Joe Lewis, W.E.B. duBois, Thurgood Marshall, George Washington Carver, Charles Drew, William Ayres Campbell, and Richard Barthe. It was exhibited at the Anacostia Neigborhood Museum from April 17, 1983 to August 21, 1983.

Scope and Contents note:

These records document the planning, organizing and execution of the exhibition. Materials include correspondence, exhibit scripts, administrative records, and artists files.

Related Archival Materials note:

Audiovisual materials related to this exhibition located in Anacostia Community Museum Archives.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Topic:

Museum exhibits  Search this

Genre/Form:

Photographic prints

Research

Exhibit scripts

Correspondence

Exhibition records -- 1967-1989

Citation:

Portraits in Black: Outstanding Americans of Negro Origin exhibition records, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.03-002

See more items in:

Portraits in Black: Outstanding Americans of Negro Origin exhibition records

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_collection:sova-acma-03-002

Creator:

Goldwater, Robert John, 1907-1973  Search this

Names:

Museum of Primitive Art  Search this

New York University -- Faculty  Search this

Queens College (New York, N.Y.) -- Faculty  Search this

Gauguin, Paul, 1848-1903  Search this

Goldwater, S. S. (Sigismund Schulz), 1873-1942  Search this

Lipchitz, Jacques, 1891-1973  Search this

Tamayo, Rufino, 1899-  Search this

Extent:

5.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1902-1974

Summary:

The papers of art historian, educator, editor, and museum director Robert John Goldwater measure 5.4 linear feet and date from 1902-1974. Found are correspondence, subject files, teaching records, writings, and printed material. Also included are the papers, primarily correspondence, of Goldwater's father, S. S. Goldwater, M. D., a nationally recognized expert in the fields of public health, hospital administration, and hospital design and construction.

Scope and Content Note:

The papers of art historian, educator, editor, and museum director Robert John Goldwater measure 5.4 linear feet and date from 1902-1974. Found are correspondence, subject files, teaching records, writings, and printed material. Also included are the papers, primarily correspondence, of Goldwater's father, S. S. Goldwater, M. D., a nationally recognized expert in the fields of public health, hospital administration, and hospital design and construction.

The bulk of Robert John Goldwater's correspondence focuses on his writings and editing work, including his work for Magazine of Art and the Museum of Primitive Art. It is with academic colleagues, art museums, colleges and universities, publishers, former students, and family. There is also scattered correspondence with artists. A list of correspondents is found at the end of this finding aid.

Subject files concern topics of interest to Goldwater as well as exhibitions and organizations with which he was involved, and include correspondence, printed material, and notes. Teaching records are from Goldwater's work at both Queens College and New York Universtity and consist mainly of course syllabi, bibliographies, and notes, as well as some administrative records.

The largest series in the collection consists of Goldwater's writings, including drafts, manuscripts, and notes for several books, reviews, and talks and lectures. Found here are complete and partial manuscript versions of his books Artists on Art; From David to Delacroix; Jacques Lipchitz; Paul Gaugin; Rufino Tamayo; and Symbolism. Printed material includes many items about or mentioning Goldwater, as well as printed or published articles and reviews written by him.

The papers of S. S. Goldwater, M. D. (1873-1942) consist primarily of correspondence documenting his work as a hospital administrator, public health expert, and New York City's Commissioner of Hospitals. They also include biographical information, legal documents, photographs, printed material, and writings.

Arrangement:

The collection is arranged as 6 series.

Series 1: Correspondence, 1934-1973 (Box 1; 0.5 linear ft.)

Series 2: Subject Files, 1931-1973 (Box 1; 0.3 linear ft.)

Series 3: Teaching Records, 1935-1973 (Boxes 1-2; 1.2 linear ft.)

Series 4: Writings, 1932-1973 (Boxes 3-5; 2.2 linear ft.)

Series 5: Printed Material, 1931-1974 (Box 5; 0.3 linear ft.)

Series 6: Papers of S. S. Goldwater, M.D., 1902-1956 (Boxes 5-6; 0.9 linear ft.)

Biographical Note:

Robert John Goldwater (1907-1973), a native New Yorker, studied art history at Columbia College (B.A., 1929), Harvard University (M.A., 1931), and New York University (Ph.D., 1937). Goldwater was a Carnegie Corporation Fellow, 1930-31, a Guggenheim Fellow, 1944-45, and a Fulbright Fellow in France, 1944-45. He was especially interested in primitive art, primitivism and symbolism in modern art, and the history of art criticism.

His teaching career began at New York University in 1934. Five years later, Goldwater moved to Queens College. In 1957, he joined the faculty of the Institute of Fine Arts, New York University, where he remained until his death in 1973.

Goldwater wrote a large number of articles, books, and reviews on a variety of art topics. His books include: Primitivism in Modern Painting (1938), Artists on Art from the XIV to the XX Century (1945), Rufino Tamayo (1947), Modern Art in Your Life (1949), Vincent van Gogh (1954), Jacques Lipchitz (1954), Paul Gauguin (1957), Senufo Sculpture from West Africa (1964), Space and Dream (1968), What Is Modern Sculpture (1969), and Symbolism (1979).

From 1957-1963 Goldwater was Director of the Museum of Primitive Art, and for the next decade was Chairman of its administrative committee. In addition, Goldwater served as book review editor of the College Art Association's Art Bulletin from 1944-1947, and from 1947-1953 he was editor of the American Federation of Art's Magazine of Art.

Provenance:

The Robert John Goldwater papers were donated to the Archives of American Art in 1976 by Goldwater's widow, Louise Bourgeois.

Restrictions:

This material is ACCESS RESTRICTED; permission; written permission is required. Contact Reference Services for more information.

Rights:

The Robert John Goldwater 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:

Editors -- New York (State) -- New York  Search this

Topic:

Authors -- New York (State) -- New York  Search this

Art historians -- New York (State) -- New York  Search this

Symbolism  Search this

Museum directors -- New York (State) -- New York  Search this

Citation:

Robert John Goldwater papers, 1902-1974. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.goldrobe

See more items in:

Robert John Goldwater papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-goldrobe

Creator:

Smithsonian Institution. Anacostia Community Museum  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Extent:

10.55 Linear feet (16 boxes)

Type:

Collection descriptions

Archival materials

Photographic prints

Exhibition records

Catalogs

Exhibit scripts

Correspondence

Place:

Harlem (New York, N.Y.)

Date:

1985-09 - 1986-12

Summary:

An exhibition on the history and art of the Harlem Renaissance. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985-December 1986. These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, exhibit scripts, administrative records, brochures, press coverage, education packets, loan agreements, floor plans, and catalogues.

Related Archival Materials note:

Audiovisual materials related to this exhibition located in Anacostia Community Museum Archives.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Topic:

Harlem Renaissance  Search this

Museum exhibits  Search this

Genre/Form:

Photographic prints

Exhibition records -- 1967-1989

Catalogs

Exhibit scripts

Correspondence

Citation:

The Renaissance: Black arts of the Twenties exhibition records, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.03-024

See more items in:

The Renaissance: Black arts of the Twenties exhibition records

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_collection:sova-acma-03-024

Creator:

Weichsel, John, 1870-1946  Search this

Names:

People's Art Guild  Search this

Beal, Gifford, 1879-1956  Search this

Bellows, George, 1882-1925  Search this

Bluemner, Oscar, 1867-1938  Search this

Davis, Stuart, 1892-1964  Search this

Delaunay, Robert, 1885-1941  Search this

Kroll, Leon, 1884-1974  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Pascin, Jules, 1885-1930  Search this

Sloan, John, 1871-1951  Search this

Van Dine, S. S.  Search this

Weichsel, John, 1938?-  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, William, 1887-1966  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Date:

1905-1965, bulk 1905-1929

bulk 1905-1929

Summary:

The John Weichsel papers concerning the People's Art Guild measure 0.6 linear feet and date from 1905-1965 with the bulk of the material dating from 1905-1929. The papers consist almost entirely of the records of the People's Art Guild, founded by Weichsel, and include administrative records, correspondence, writings and notes, business and financial records, printed material, and artwork.

Scope and Contents:

The John Weichsel papers concerning the People's Art Guild measure 0.6 linear feet and date from 1905-1965 with the bulk of the material dating from 1905-1929. The papers consist almost entirely of the records of the People's Art Guild, founded by Weichsel, and include administrative records, correspondence, writings and notes, business and financial records, printed material, and artwork.

People's Art Guild records include the constitution, membership lists, and correspondence with Gifford Beal, George Bellows, Oscar Bluemner, Stuart Davis, Robert Delaunay, Leon Kroll, Standon Macdonald-Wright, Jules Pascin, John Sloan, Willard Wright and Marguerite and William Zorach, among others. Writings about the Peoples Art Guild are by Weichsel and his grandson John Weichsel. There are also lists of artists and works of art. Also found are very scattered business and financial records, printed materials, and artwork in the form of sketches for exhibition announcements.

Arrangement:

The collection is arranged as 6 series.

Series 1: Administrative Records, 1915-1917 (2 folders; Box 1)

Series 2: Correspondence, 1905-1922 (0.3 linear feet; Box 1)

Series 3: Writings and Notes, 1915-circa 1919, 1965 (4 folders; Box 1)

Series 4: Business and Financial Records, 1915-1917 (0.1 linear feet; Box 1-2)

Series 5: Printed Material, 1915-circa 1948 (0.2 linear feet; Box 2)

Series 6: Artwork, 1915-1916 (1 folder; Box 2)

Biographical / Historical:

John Weichsel (1870-1946) was an arts administrator and founded the artists' cooperative People's Art Guild of New York City in 1915.

John Weichsel was born in Poland and ultimately settled in New York City. The People's Art Guild was founded by Weichsel as an artist's cooperative focused on improving and expanding knowledge of art and the art world among the general public, believing this would increase art appreciation and patronage.

Provenance:

The collection was donated in 1960 and 1963 by Dr. H. S. Weichsel and John Weichsel, the son and grandson of Dr. John Weichsel. At an unknown later date, grandson John Weichsel donated his 1965 thesis on the Peoples Art Guild.

Restrictions:

Use of original papers requires an appointment.

Rights:

The John Weichsel papers concerning the People's Art Guild 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:

Arts administrators -- New York (State) -- New York  Search this

Topic:

Art -- Societies, etc. -- New York (State) -- New York  Search this

Genre/Form:

Sketches

Citation:

John Weichsel papers concerning the People's Art Guild, 1905-1965, bulk 1905-1929. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.weicjohn

See more items in:

John Weichsel papers concerning the People's Art Guild

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-weicjohn

Creator:

Van der Marck, Jan, 1929-2010  Search this

Sculptor:

Arman, 1928-2005  Search this

Artist:

Christo, 1935-  Search this

Indiana, Robert, 1928-  Search this

Names:

Lipchitz, Jacques, 1891-1973  Search this

O'Doherty, Brian  Search this

Pepper, Beverly  Search this

Segal, George, 1924-2000  Search this

Extent:

9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Photographs

Journals (accounts)

Date:

1942-2010

Summary:

The papers or curator and arts administrator Jan Van der Marck measure 9.0 linear feet and date from 1944 to 2010. His career is documented through biographical material, files on artists and art historians, museum administration records, and other professional records. Also found are papers concerning Van der Marck's personal interest and research on modern bookbinding.

Scope and Contents:

The papers or curator and arts administrator Jan Van der Marck measure 9.0 linear feet and date from 1944 to 2010. His career is documented through biographical material, files on artists and art historians, museum administration records, and other professional records. Also found are papers concerning Van der Marck's personal interest and research on modern bookbinding.

Biographical material includes records of Van der Marck's personal collection of artwork, books, and photographs; early records consisting primarily of school documents, writings, and photographs; and one journal. Additionally there are copies of published interviews, one file of letters from friends, and several photographs of Van der Marck. Files on artists and art historians may include correspondence, photographs, slides, news clippings, exhibition catalogs, lists of artworks, exhibition planning documents, as well as articles or other writings by Van der Marck about the artist. Of note are files on Arman, Robert Indiana, Christo, Jacques Lipchitz, George Segal, Beverly Pepper, and Brian O'Doherty.

Museum Administration records document Van der Marck's activities as director or curator at various museums. Files may include museum exhibition planning records, administrative records, printed material, correspondence, and photographs. Also found are records of Van der Marck's other professional activities, such as his participation as guest curator of exhibitions, committee participant, and exhibition juror, as well as lecture files containing invitations, press materials, and drafts of his lectures. Additionally there are a few research files and copies of his published articles.

Papers concerning bookbinding document Van der Marck's research and personal collection of contemporary bookbinding and book arts. Included are files on bookbinders, slides and photographs of bindings, correspondence with libraries, and records of his purchase or donation of these works.

Biographical / Historical:

Jan Van der Marck (1929-2010) was a curator and museum administrator in Detroit, Mich., Chicago, Ill., and Miami, Fla.

Van der Marck was born in Roermond, the Netherlands, in 1929. His family owned a printing and publishing business. He studied art history at the University of Nijmegen and earned his doctorate in 1956 with a dissertation on 19th-century Belgian book illustration. In 1957 he came to the United States on a grant from the Rockefeller Foundation to research the relationship between museums and their audiences and studied briefly at Columbia University. In 1962 he was assistant director of fine arts exhibitions at the Seattle World's Fair. Van der Marck became curator at the Walker Art Center in 1963 and became the founding director of the Museum of Contemporary Art in Chicago in 1967. While in Chicago he invited Christo and Jeanne-Claude to wrap the museum building in canvas. He later served as project manager for their "Valley Curtain" project in 1971 and 1972.

After leaving the Museum of Contemporary Art, Van der Marck worked briefly at the University of Washington in Seattle, and then served as director of the Dartmouth College Galleries and Collections from 1974 to 1980. At Dartmouth he continued to support non-traditional artworks and oversaw the installation of the lawn sculpture "X-Delta" by Mark di Suvero, despite negative campus reactions. In 1980 he became the director of the new Center for the Fine Arts in Miami. After a disagreement with trustees he left the Center and became chief curator at the Detroit Institute of Arts in 1986. In 1995 he lost his job at the Detroit Institute when it was ruled that he violated a city residential requirement.

Aside from his work as an arts administrator, Van der Marck wrote and published many catalog essays, articles, and monographs on artists, lectured on contemporary art, and participated in arts organizations. He also maintained an interest in contemporary bookbinding.

Provenance:

The papers were donated in 2011 by Sheila Van der Marck, Jan Van der Marck's widow.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Jan Van der Marck 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:

Arts administrators -- United States  Search this

Topic:

Bookbinding  Search this

Curators -- United States  Search this

Genre/Form:

Interviews

Photographs

Journals (accounts)

Citation:

Jan Van der Marck papers, 1942-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.vandjan

See more items in:

Jan Van der Marck papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-vandjan

Collection Creator:

Van der Marck, Jan, 1929-2010  Search this

Extent:

1.3 Linear feet (Boxes 6-7)

Type:

Archival materials

Date:

1963-2009

Scope and Contents:

Museum Administration records consist of files kept by Van der Marck to document his tenure as director or curator at various museums. Files may include museum exhibition planning records, acquisition records, administrative records, news clippings, press releases, correspondence, photographs of Van der Marck at various events, and photographs and slides of artwork.

Arrangement:

Folders are arranged alphabetically by name of museum. Documents for each museum are maintained in Van der Marck's original order.

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Jan Van der Marck 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:

Jan Van der Marck papers, 1942-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.vandjan, Series 3

See more items in:

Jan Van der Marck papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-vandjan-ref108

Creator:

Slobodkina, Esphyr, 1908-2002  Search this

Bolotowsky, Ilya, 1907-1981  Search this

Names:

American Abstract Artists  Search this

Eckstein, Ruth, 1916-  Search this

Kelpe, Paul, 1902-1985  Search this

Morris, George L. K., 1905-1975  Search this

Rabkin, Leo  Search this

Tedlie, Harry  Search this

Extent:

1.9 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

circa 1925-1995

Summary:

The papers of painter, sculptor, author, and illustrator Esphyr Slobodkina measure 1.9 linear feet and date from circa 1925 to 1995. Found within the papers are personal and professional correspondence, including letters from Ilya Bolotowsky, George L.K. Morris, and Paul Kelpe; writings, including a copy of the autobiography Notes for a Biographer (vol. 1); printed materials; photographs; and material on the American Abstract Artists, including administrative records, business correspondence, and publications.

Scope and Contents:

The papers of painter, sculptor, author, and illustrator Esphyr Slobodkina measure 1.9 linear feet and date from circa 1925 to 1995. Found within the papers are personal and professional correspondence, including letters from Ilya Bolotowsky, George L.K. Morris, and Paul Kelpe; writings, including a copy of the autobiography Notes for a Biographer (vol. 1); printed materials; photographs; and material on the American Abstract Artists, including administrative records, business correspondence, and publications.

Correspondence is primarily with Slobodkina's family, friends, and business associates. The series includes significant correspondence from her first husband, Ilya Bolotowsky, as well as abstract artists George L.K. Morris, Paul Kelpe, Ruth Eckstein, Leo Rabkin, and Harry Tedlie. The series also includes correspondence regarding her published works.

Writings consist of 3 essays by Slobodkina on abstract art, the autobiography Notes for a Biographer (vol. 1), the edited folio Ilya Bolotowsky, and a small notebook kept by Ilya Bolotowsky during the 1920s-30s.

Printed material includes clippings; samples of announcements and cards designed by Slobodkina; exhibition announcements and catalogs; and press releases.

Photographs are of Slobodkina and her paintings and sculptures, as well as photographs of artwork by other abstract artists.

American Abstract Artists' records includes administrative material, correspondence, writings, selected exhibitions, and printed material dating from 1936 to 1996.

Arrangement:

The collection is arranged as 5 series.

Series 1: Correspondence, 1934-1992 (0.4 linear feet; Box 1)

Series 2: Writings, circa 1920-1985 (6 folders; Box 1)

Series 3: Printed material, circa 1939-1994 (7 folders; Box 1, OV 4)

Series 4: Photographs, circa 1925-1970 (3 folders; Box 1)

Series 5: American Abstract Artists, circa 1936-1995 (0.9 linear feet, Box 1-3, OV 4)

Biographical / Historical:

Painter, sculptor, author, and illustrator Esphyr Slobodkina (1908-2002) lived and worked in New York City, Great Neck, and Long Island, New York and was known for her abstract art and her children's books, including the seminal Caps For Sale.

Slobodkina was born in Chelyabinsk, Siberia to Solomon Slobodkin and his wife, Itta Agranovich. After the Russian Revolution and Civil War of 1917-1918, her family immigrated to Harbin, Manchuria where her father found work with Standard Oil and her mother contributed to the family's finances by working as a dressmaker. After graduating from high school in 1927, Slobodkina immigrated to the United States to join her brother in New York City where she enrolled at the National Academy of Design.

At the Academy, Slobodkina met her future husband, the artist and fellow Russian émigré Ilya Bolotowsky. In 1936, they became founding members of the American Abstract Artists, an artist run organization that worked to advance abstract art at a time when few opportunities to exhibit their works existed. She served as the organization's first secretary and later served as treasurer, president, and institutional bibliographer.

In 1937, Slobodkina met the children's author Margaret Wise Brown. After seeing her work, Brown invited Slobodkina to illustrate The Little Fireman, the first of their many collaborations together. In 1940, Slobodkina's first published book, Caps For Sale, was released and has remained in print for over 70 years. It won the Lewis Carroll Shelf Award in 1958 and is considered a classic of children's literature.

Slobodkina and Bolotowsky divorced in 1938, after which she continued to produce abstract mixed media paintings and sculptures. Her first major one-person show was organized by the gallery owner A.E. Gallatin in 1940. Through the 1940s and into 1970s, Slobodkina regularly contributed to group exhibitions and her works are owned by numerous institutions, including the Metropolitan Museum of Art, Whitney Museum, Boston Museum of Fine Arts, and Hillwood Art Museum.

In addition to publishing children's books, Slobodkina authored three volumes of her autobiography, Notes for a Biographer (1976-1983) and edited American Abstract Artists: Its Publications, Catalogs, and Membership (1979) and the folio Ilya Bolotwosky (1985). Active until the end of her life, she oversaw the production of musical audio recordings for her 20 children's books well into her 80s, and at the age of 90, designed a museum financed through the Slobodkina Foundation. She died at her home in Glen Head, Long Island in 2002.

Related Materials:

The Archives also holds the American Abstract Artists records.

Separated Materials:

The Archives of American Art also holds materials lent for microfilming (N70-61) including a travel album, printed material, notes, McDowell colony correspondence, and an American Abstract Artists financial ledger. Lents materials were returned to the lender and are not described in the collection container inventory.

Additionally, 69 rolled drawings on tracing paper were transferred to Hillwood Art Museum in 2006.

Provenance:

Esphyr Slobodkina loaned a portion of her papers for microfilming and donated material in 1970. She gave additional papers between 1995 and 1996.

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 Esphyr Slobodkina 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 -- New York (State)  Search this

Topic:

Sculptors -- New York (State)  Search this

Women artists -- New York  Search this

Authors -- New York  Search this

Illustrators -- New York (State)  Search this

Painting, Abstract -- New York (State) -- New York  Search this

Genre/Form:

Photographs

Citation:

Esphyr Slobodkina papers, circa 1925-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection was funded by the Terra Foundation for American Art

Identifier:

AAA.slobesph

See more items in:

Esphyr Slobodkina papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-slobesph

Creator:

Sims, Lowery Stokes  Search this

Extent:

24.4 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Video recordings

Date:

circa 1981-2017

Scope and Contents:

The papers of African American art historian, curator and art administrator, Lowery Stokes Sims, measure 24.2 linear feet and date from circa 1918-2017. Included are correspondence; photographs of Lowery and others at events; notes and journals; exhibition records and administrative records from the Metropolitan Museum of Art, The Studio Museum in Harlem, and the Museum of Art and Design and other organizations; VHS videos, DVD and audio cassettes of interviews with Sims regarding artists and exhibitions; and research files on artists.

Biographical / Historical:

Lowery Stokes Sims (1949-) is an African American art historian, curator and art administrator. Sims was the first African American Curator at the Metropolitan Museum of Art (1972-1999), then served as Executive Director, President then Adjunct Curator of the Permanent Collection of The Studio Museum in Harlem (2000-2007), and Senior Curator and then Chief Curator of the Museum of Art and Design (2007-2015).

Provenance:

The collection was donated in 2019 by Lowery Stokes Sims as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of audio visual recordings with no duplicate copy requires advance notice.

The collection is access restricted. Written permission is required. Contact Reference Services for additional information.

Occupation:

Art historians -- New York (State) -- New York  Search this

Arts administrators -- New York (State) -- New York  Search this

Topic:

Curators -- New York (State) -- New York  Search this

African American art museum curators  Search this

Genre/Form:

Sound recordings

Interviews

Video recordings

Identifier:

AAA.simslowe

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-simslowe

Creator:

Ritchie, Andrew Carnduff  Search this

Names:

Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this

College Art Association of America  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Yale University. Art Gallery  Search this

Afro, 1912-1976  Search this

Calder, Alexander, 1898-1976  Search this

Hadzi, Dimitri, 1921-2006  Search this

Lynes, Russell, 1910-1991  Search this

Namuth, Hans  Search this

Paolozzi, Eduardo, 1924-2005  Search this

Ritchie, Jane  Search this

Roszak, Theodore, 1907-1981  Search this

Extent:

10.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1907-1983

Summary:

The papers of museum director, professor, writer, and post-World War II Monuments Men Andrew Carnduff Ritchie measure 10.3 linear feet and date from 1907 to 1983. Found within the papers are biographical material, including materials and photographs concerning his military service in the Monuments, Fine Arts, and Archives Section of the U.S. Army; correspondence, including letters from numerous artists; writings; committee and organization files; exhibition and project files, teaching files; printed material; and photographs, including portrait images of Ritchie taken by Hans Namuth.

Scope and Contents:

The papers of museum director, professor, writer, and post-World War II Monuments Men Andrew Carnduff Ritchie measure 10.3 linear feet and date from 1907 to 1983. Found within the papers are biographical material, including materials and photographs concerning his military service in the Monuments, Fine Arts, and Archives Section of the U.S. Army; correspondence, including letters from numerous artists; writings; committee and organization files; exhibition and project files, teaching files; printed material; and photographs, including portrait images of Ritchie taken by Hans Namuth.

Biographical materials include birth certificates, passports, academic records, biographical profiles, and awards. There are files documenting Andrew Carnduff Ritchie's post-World War II military service in 1945-1946 as a "Monuments Men" in the Monuments, Fine Arts, and Archives (MFAA) section of the U.S. Army, including correspondence, forms, reports, photographs (including 7 of paintings looted from Holland), and awards. There is also a file on the Fogg conference on the emergency protection of artwork dated 1939-1942 and one file regarding the Frick Collection's orders for protecting art. There is also a folder of material on his wife Jane Ritchie.

Alphabetical and chronological correspondence is with artists, museums, galleries, universities, and colleagues. The bulk of the alphabetical correspondence consists of letters from artists such as Afro, Alexander Calder, Dimitri Hadzi, Russell Lynes, Eduardo Paolozzi, Theodore Roszak, and others. There are also condolence letters addressed to Jane Ritchie. Chronological correspondence includes Ritchie's correspondence on the subject of travels, lectures, projects, and exhibitions.

Writings include one disbound notebook, papers from college and graduate studies, lecture drafts, outlines, and notes. There are a few writings by others.

Committee and organization files document Ritchie's work on advisory panels, trustee boards, councils, board of directors, and committees. There are meeting minutes, bulletins, reports, studies, and correspondence. Some of the more voluminous files include the College Art Association's study on "The Visual Arts in Higher Education" as well as the Museum of Modern Art's committee on museum collections.

Exhibition and project files include correspondence, printed material, photographs, catalogs, and assorted documents. Among the projects and exhibitions in this series are Ritchie's work on the Alfred E. Burr Memorial in Connecticut and the Middelheim Sculpture exhibition.

Teaching files contain correspondence, program outlines, course materials, recommendations, and a few student papers from universities and programs where Ritchie taught, including Yale University Art Gallery.

Printed material consists of news clippings, some of which are arranged by subject, along with articles by Andrew Ritchie, press releases, magazines, bulletins, and a few exhibition catalogs.

Photographs are of Andrew Ritchie, and of friends and artists at various art openings and events. There is one small album of photographs of a birthday party for Jane Ritchie. Also included are photographs of artwork.

Arrangement:

This collection is arranged as 8 series.

Series 1: Biographical Material, 1907-1978 (0.5 linear feet; Box 1, OV 11)

Series 2: Correspondence, 1928-1983 (2.2 linear feet; Boxes 1-3)

Series 3: Writings, 1927-1978 (2.9 linear feet; Boxes 3-6, OV 11)

Series 4: Committee and Organization Files, 1948-1971 (1.2 linear feet; Boxes 6-7)

Series 5: Exhibition and Project Files, 1949-1978 (1.6 linear feet; Boxes 7-9, OV 12)

Series 6: Teaching Files, 1957-1974 (0.5 linear feet; Box 9)

Series 7: Printed Material, 1928-1978 (0.5 linear feet; Boxes 9-10)

Series 8: Photographs, 1935-1982 (O.9 linear feet; Box 10, OV 13)

Biographical / Historical:

Andrew Carnduff Ritchie (1907-1978) was a museum director, professor, and art historian based in New York and Connecticut. He served as director of the Albright Knox Gallery in Buffalo, N.Y., director of Painting and Sculpture at the Museum of Modern Art, and director of the Yale University Art Gallery.

Andrew Carnduff Ritchie was born in Bellshill, Scotland, in 1907 to Andrew and Jeanie Gilchrist Ritchie. The family immigrated to the United States when he was 15 and settled in Pittsburgh, Pennsylvania. He attended the University of Pittsburgh and received a bachelor's and master of arts degrees in medieval art, and his doctoral degree from the University of London in 1935. That same year, he married Jane Thompson.

From 1935 to 1942, Ritchie was a researcher and lecturer at the Frick Collection in New York City and faculty member at New York University, as well as a visiting lecturer at Johns Hopkins University in Baltimore, Maryland.

In 1942, Ritchie was appointed director of the Albright Knox Gallery in Buffalo, New York where he stayed until 1949 when he became the director of Painting and Sculpture at the Museum of Modern Art.

In 1945-1946, directly following World War II, Ritchie served with the U.S. Army's Monuments, Fine Arts, and Archives section in Austria and helped with the restitution of art looted by the Nazis, returning paintings and cultural artifacts back to their country of origin. He was later honored by France and the Netherlands for this work.

In 1957, Ritchie accepted the postion of director of the Yale University Art Gallery where he stayed until 1971. While there, he acquired notable works of art for the Gallery's collections by David Smith, Noguchi, and Maillol. Thanks to Ritchie's efforts and guidance, art collector and patron Paul Mellon donated his collection of British art and established the Yale Center for British Studies. In 1971, Ritchie also became the Clark Professor at Williams College, Massachusetts, and, in 1972, he was a visiting professor at the University of Sydney, Australia. Ritchie retired from Yale in 1973.

Ritchie was also awarded honorary doctorates from the University of Pittsburgh and the Royal College of Art in London. He wrote several books over the course of his career and passed away in Canaan, Connecticut, in 1978.

Related Materials:

Among the holding at the Archives of American Art is an interview of Andrew Carnduff Ritchie conducted in 1977 June 16-17 by Paul Cummings.

The Albright-Knox Gallery Archives in Buffalo, New York has a collection of Andrew Carnduff Ritchie papers, which include administrative records and correspondence.

Provenance:

This collection was donated in multiple installments in 1979 and 1981 by Andrew Ritchie's widow, Jane T. Ritchie, and by her estate in 1986. Five letters from Alfred Hamilton Barr to Andrew and Jane Ritchie were donated in 1974 by Andrew Ritchie through Russell Lynes.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.

Rights:

The Andrew Carnduff Ritchie 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:

Arts administrators -- Connecticut -- Canaan  Search this

Educators -- Connecticut -- Canaan  Search this

Topic:

World War, 1939-1945 -- Destruction and pillage -- Europe  Search this

World War, 1939-1945 -- Confiscations and contributions -- Germany  Search this

Art treasures in war -- Netherlands -- History -- 20th century  Search this

Art thefts -- Germany -- History -- 20th century  Search this

World War, 1939-1945 -- Art and the war  Search this

Cultural property -- Protection -- Europe -- History -- 20th century  Search this

Art -- Study and teaching  Search this

Museum directors -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Genre/Form:

Photographs

Citation:

Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ritcandr2

See more items in:

Andrew Carnduff Ritchie papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-ritcandr2

Creator:

Patch, Margaret Merwin, 1894-1987  Search this

Names:

American Craftsmen's Council  Search this

World Crafts Council  Search this

Ayers, Hester Merwin, 1902-1975  Search this

Webb, Aileen O., 1892-1979  Search this

Extent:

10.9 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Sound recordings

Date:

1885-1986

Summary:

The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material, and photographs.

Scope and Contents:

The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material; and photographs.

Biographical material includes documents from Margaret Merwin Patch as well as items from Rachel Merwin-Coggeshall, George Patch, Hester Merwin, and Ruth Merwin. One scrapbook contains clippings and photographs from the Patch's time at Cranbrook Academy of Art. Correspondents include Dorothy Johnson, Luba Kruja, Mary and Frances Schimpff, Olga Valkova, and Aileen Webb. Writings by others include unpublished works by Aileen Webb and Beatrice Wood. Family photographs depict the Patch and Merwin families.

The bulk of Patch's papers relate to her involvement with numerous arts organizations including the American Craftsmen's Council, Atlantic Center for the Arts, Shelburne Falls Art Center, and the World Crafts Council. These files may include founding documents, financial material, administrative records, correspondence, notes, printed material, and photographs. Found is material from the planning, goals, and accomplishments of twenty-five international meetings of various committees and groups of the World Crafts Council.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Material, 1903-1976 (0.9 linear feet; Box 1, 12, OV13-14)

Series 2: Correspondence, 1928-1986 (0.6 linear feet; Box 1)

Series 3: Diaries, 1912-1926 (0.2 linear feet; Box 2)

Series 4: Writings and Notes, circa 1919-circa 1980s (0.4 linear feet; Box 2)

Series 5: Subject Files, 1927-1986 (1.4 linear feet; Box 2-3)

Series 6: American Craftsmen's Council Records, 1953-1987 (1.0 linear feet; Box 4)

Series 7: World Crafts Council Records, circa 1960-1986 (5.2 linear feet; Box 5-10)

Series 8: Printed Material, 1930s-1986 (0.4 linear feet; Box 10)

Series 9: Photographs, 1880s-1980s (0.8 linear feet; Box 10-11)

Biographical / Historical:

Margaret Merwin Patch (1894-1987) was an arts administrator in Massachusetts and Florida.

Born in Bloomington, Illinois in 1894, Margaret Stone Merwin graduated from Illinois Wesleyan University in 1915. She attended the University of Chicago Graduate School of Commerce and Administration from 1916 to 1917.

While living in London, Margaret enrolled at the London School of Economics and worked for the American Section of the Allied Maritime Transport Council, attending the Paris Peace Conference. Upon returning to the United States, she was a member of the National Industrial Conference Board and attended Columbia University in the early 1920s. She started a statistical graphic design company, Merwin-Davis Statistical Reports and Charts, which produced illustrated and varied graphs to display statistical information in the mid-1920s.

Margaret Merwin married George Patch in 1930. She and George moved between their summer home in Shelburne Falls, Massachusetts, New York City, where Margaret was a special consultant to the National Broadcasting Company, and Bloomfield Hills, Michigan where she studied painting under Zoltan Sepeshy and Wallace Mitchell at Cranbrook Academy of Art. During World War II, Patch worked for the Office of Price Administration. Upon her husband's death in the 1950s, Patch spent winters in New Smyrna Beach, Florida.

From the 1940s until her death in 1988, Margaret Merwin Patch devoted her time to arts administration in the United States and around the world. Her passion began when she became the art chairman of the Women's Club of Shelburne Falls, Massachusetts. With that role, she helped lead the exhibition, class instruction, and retail support of local crafts. Eventually, her activity led to the formation of the Shelburne Falls Craft Center. Among the many organizations with which she was involved were the Aid to Artisans, American Craftsmen's Council, Atlantic Center for the Arts, Deerfield Valley Art Association, Michigan League of Women Voters, and the Shelburne Falls Art Center. Through her affiliation with the American Craftsmen's Council, Patch embarked on a year-long trip around the world in 1960. This trip helped lay the foundation for the World Crafts Council, which was formally established in 1964, with the aid of her colleague, Aileen Osborn Patch. A UNESCO group, the World Crafts Council sponsored international crafts conferences and cultural assemblies.

Margaret Merwin Patch died in 1988.

Related Materials:

Also in the Archives of American Art is an interview of Margaret Merwin Patch, conducted 1980 October 16-1984 September 25, by Robert F. Brown.

Researchers interested in accessing the audiovisual recording in this collection must use an access copy. Contact References Services for more information.

Provenance:

The Margaret Merwin Patch papers were donated to the Archives of American Art by Linda M. Walker, a personal representative of Patch's estate in 1987.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing the audiovisual recording in this collection must use an access copy. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to Smithsonian's Terms of Use for additional information.

Occupation:

Arts administrators  Search this

Topic:

handicrafts  Search this

Genre/Form:

Diaries

Sound recordings

Citation:

Margaret Merwin Patch papers, 1885-1986. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.patcmarg

See more items in:

Margaret Merwin Patch papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-patcmarg

Creator:

Weichsel, John, 1870-1946  Search this

Subject:

Davis, Stuart  Search this

Zorach, William  Search this

Bellows, George  Search this

Bluemner, Oscar  Search this

Van Dine, S. S.  Search this

Weichsel, John  Search this

Beal, Gifford  Search this

Zorach, Marguerite  Search this

Pascin, Jules  Search this

Kroll, Leon  Search this

Sloan, John  Search this

Macdonald-Wright, Stanton  Search this

Delaunay, Robert  Search this

People's Art Guild  Search this

Type:

Sketches

Topic:

Art -- Societies, etc. -- New York (State) -- New York  Search this

Record number:

(DSI-AAA_CollID)9336

(DSI-AAA_SIRISBib)211532

AAA_collcode_weicjohn

Theme:

Communities, Organizations, Museums

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211532

Creator:

van der Marck, Jan, 1929-2010  Search this

Subject:

Christo  Search this

O'Doherty, Brian  Search this

Pepper, Beverly  Search this

Segal, George  Search this

Lipchitz, Jacques  Search this

Indiana, Robert  Search this

Arman  Search this

Type:

Interviews

Photographs

Journals (accounts)

Topic:

Bookbinding  Search this

Curators -- United States  Search this

Record number:

(DSI-AAA_CollID)15990

(DSI-AAA_SIRISBib)305480

AAA_collcode_vandjan

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_305480

Creator:

Slobodkina, Esphyr, 1908-2002  Search this

Bolotowsky, Ilya, 1907-1981  Search this

Subject:

Morris, George L. K.  Search this

Eckstein, Ruth  Search this

Kelpe, Paul  Search this

Rabkin, Leo  Search this

Tedlie, Harry  Search this

American Abstract Artists  Search this

Type:

Photographs

Topic:

Sculptors -- New York (State)  Search this

Women artists -- New York  Search this

Authors -- New York  Search this

Illustrators -- New York (State)  Search this

Painting, Abstract -- New York (State) -- New York  Search this

Record number:

(DSI-AAA_CollID)9411

(DSI-AAA_SIRISBib)211609

AAA_collcode_slobesph

Theme:

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211609

Creator:

National Academy of Design (U.S.)  Search this

Subject:

Durand, Asher Brown  Search this

Ranger, Henry Ward  Search this

Abbey, Edwin Austin  Search this

Lanyon, Ellen  Search this

American Federation of Arts  Search this

Type:

Drawings

Scrapbooks

Interviews

Record number:

(DSI-AAA_CollID)9080

(DSI-AAA_SIRISBib)211273

AAA_collcode_natiacad

Theme:

Communities, Organizations, Museums

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211273

Creator:

MacRae, Elmer Livingston, 1875-1953  Search this

Subject:

Pach, Walter  Search this

Davies, Arthur B. (Arthur Bowen)  Search this

Kuhn, Walt  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Armory Show  Search this

Topic:

Art, Modern -- 20th century -- Exhibitions  Search this

Art, Modern -- 20th century -- societies, etc  Search this

Record number:

(DSI-AAA_CollID)9534

(DSI-AAA_SIRISBib)211733

AAA_collcode_macrelme

Theme:

Diaries

Communities, Organizations, Museums

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211733

Creator:

Los Angeles Independent Film Oasis  Search this

Subject:

Friedman, Roberta  Search this

Fisher, Morgan  Search this

Halpern, Amy  Search this

Gerry, Lyn  Search this

Gehry, Leslie  Search this

O'Neill, Pat  Search this

O'Neill, Beverly  Search this

Möritz, William  Search this

Topic:

Experimental films  Search this

Filmmakers -- California -- Los Angeles  Search this

Record number:

(DSI-AAA_CollID)6526

(DSI-AAA_SIRISBib)215788

AAA_collcode_losangei

Theme:

Communities, Organizations, Museums

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215788