Search Results

Creator:

Beach, Chester, 1881-1956  Search this

Names:

American Academy in Rome  Search this

Architectural League of New York  Search this

Cleveland Museum of Art  Search this

Ecole nationale supérieure des beaux-arts (France)  Search this

Frontier Art Colony  Search this

Mark Hopkins Institute of Art  Search this

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

National Sculpture Society (U.S.)  Search this

Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this

Salmagundi Club  Search this

Salon d'automne  Search this

Allen, Mary Jester  Search this

Beach, Eleanor Murdock  Search this

Blumenschein, Ernest Leonard, 1874-1960  Search this

Carrington, Fitz Roy, 1869-1954  Search this

Couper, William, 1853-1942  Search this

Fitchen, Eleanor Beach  Search this

French, Daniel Chester, 1850-1931  Search this

Greacen, Edmund W., 1876-1949  Search this

Hancock, Walker Kirtland, 1901-1998  Search this

Jackson, Hazel Brill  Search this

Jennewein, Carl Paul, 1890-  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Walt, 1877-1949  Search this

Käsebier, Gertrude, 1852-1934  Search this

Leibig, Bonnie  Search this

MacMonnies, Frederick William, 1863-1937  Search this

Mora, F. Luis (Francis Luis), 1874-1940  Search this

Nelson, Laurence, 1887-1978  Search this

Nisbet, Robert H., 1879-1961  Search this

Olmsted, Frederick Law, 1822-1903  Search this

Piexotto, Jessica B.  Search this

Winter, Ezra, 1886-1949  Search this

Extent:

7.32 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Date:

1846-1999

bulk 1895-1999

Summary:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Scope and Contents:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.

Arrangement:

The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)

Biographical / Historical:

Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.

Separated Materials:

Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.

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. Glass plate negatives are housed separately and not served to researchers.

Rights:

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

Topic:

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

Eclecticism in architecture  Search this

Sculpture -- Technique  Search this

Sculpture -- Equipment and supplies  Search this

Artists' studios  Search this

Sculpture -- Economic aspects  Search this

Genre/Form:

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Citation:

Chester Beach papers, 1846-1999, bulk circa 1900-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.beacches

See more items in:

Chester Beach papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93fbc1322-a3ff-4570-b08a-68b84efe296b

EDAN-URL:

ead_collection:sova-aaa-beacches

Collection Creator:

Lipchitz, Jacques, 1891-1973  Search this

Container:

Box 5, Folder 34

Type:

Archival materials

Date:

1946-1963

Scope and Contents note:

Arnason, H. H., "Jacques Lipchitz - The Maquettes" (1963)

Cocteau, Jean, Untitled

Cohen, Ruth, "Jacques Lipchitz Exhibition"

Ingersoll, R. Sturgis, Foreword to Fine Arts Associates catalog

Meeropol, Robert, Untitled Student Paper

Rewald, John, Untitled

Shenker, Israel, "Jacques Lipchitz"

Sweeney, James Johnson, "Jacques Lipchitz"

Sweeney, James Johnson, Address at Dedication Ceremony of -- Joie de Vivre -- , Albert Einstein College of Medicine

Tucker, Jean S., Student Paper, "An approach to -- Mother and Child -- , 1949, by Jacques Lipchitz"

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Jacques and Yulla Lipchitz Foundation, Inc.

See more items in:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz / Series 1: Jacques Lipchitz papers / 1.4: Writings

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw954900f97-f424-4369-927a-250d7a05acb9

EDAN-URL:

ead_component:sova-aaa-lipcjacq2-ref392

Creator:

Ros, Moses, 1958-  Search this

Extent:

2.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1978-2012

Summary:

The papers of Dominican American installation artist Moses Ros measure 2.3 linear feet and date from 1978 to 2012. The collection is comprised of files for several New York City Housing Authority commissions, as well as architecture, sculpture, and mural projects; professional files for Dominican York Proyecto GRAFICA, MUD/BONE Print Studio, and a New York American Institute of Architects residency; printed materials; and artwork that includes doodles, sketches, mock ups, and a paper and feather mask.

Scope and Contents:

The papers of Dominican American installation artist Moses Ros measure 2.3 linear feet and date from 1978 to 2012. The collection is comprised of files for several New York City Housing Authority commissions, as well as architecture, sculpture, and mural projects; professional files for Dominican York Proyecto GRAFICA, MUD/BONE Print Studio, and a New York American Institute of Architects residency; printed materials; and artwork that includes doodles, sketches, mock ups, and a paper and feather mask.

Arrangement:

The collection is arranged as four series.

Series 1: Commission and Project Files, circa 2000 (Boxes 1, 4, OV 5; 0.8 linear feet)

Series 2: Professional Files, 1997-2012 (Box 1; 0.2 linear feet)

Series 3: Printed Materials, 1978-2012 (Boxes 1, 4, OV 6; 0.3 linear feet)

Series 4: Artwork, circa 2000 (Boxes 1-4, OV 6; 1.0 linear feet)

Biographical / Historical:

Moses Ros (1958- ), also known as Moses Ros-Suárez, is a Dominican American installation artist in Bronx, New York. He was born in New York City to Dominican born parents. Ros received a bachelor's degree in architecture from Pratt Institute and is a licensed architect in the state of New York. He incorporates his knowledge of architecture into his numerous sculptural designs for community centers, daycare facilities, and other public spaces. He has completed sculpture, design, and mural commissions for the New York City Housing Authority, Bronx Council on the Arts, the Department of Cultural Affairs, and the Metropolitan Transit Authority. Ros has also been active with collaborative artist groups such as Dominican York Proyecto GRAFICA and MUD/Bone Print Studio.

Provenance:

The papers were donated in 2016 by Moses Ros.

Restrictions:

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

Topic:

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

Installations (Art)  Search this

Latino and Latin American artists  Search this

Dominican American artists  Search this

Citation:

Moses Ros papers, 1978-2012. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.rosmose

See more items in:

Moses Ros papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d59f0914-be56-4341-a4c8-c6e99ace99b8

EDAN-URL:

ead_collection:sova-aaa-rosmose

Collection Creator:

Casas, Mel, 1929-2014  Search this

Container:

Box OV 3, Folder 3

Type:

Archival materials

Date:

1987-1998

Collection 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.

Collection Rights:

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

Collection Citation:

Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Mel Casas papers

Mel Casas papers / Series 4: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9892210c7-a4e0-414f-91e1-630abb620a0b

EDAN-URL:

ead_component:sova-aaa-casamel-ref43

Collection Creator:

Thomas, Alma  Search this

Container:

Box 2, Folder 34

Type:

Archival materials

Date:

circa 1998

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of the Alma Thomas paper is provided by The Walton Family Foundation and The Friends of Alma Thomas

See more items in:

Alma Thomas papers

Alma Thomas papers / Series 3: Notes and Writings / 3.3: By Others

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw970259d33-d961-4051-a92e-46af8239db8b

EDAN-URL:

ead_component:sova-aaa-thomalma-ref790

Collection Creator:

Chase, William Merritt, 1849-1916  Search this

Container:

Box 1, Folder 6

Type:

Archival materials

Date:

circa 1896-circa 1909

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

William Merritt Chase papers, circa 1890-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

William Merritt Chase papers

William Merritt Chase papers / Series 1: William Merritt Chase Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e650f450-8f6d-4ea6-b12f-004f00359a39

EDAN-URL:

ead_component:sova-aaa-chaswill-ref22

Collection Creator:

National Arts Club (New York, N.Y.)  Search this

Container:

Reel 4265, Frame 318-1159

Type:

Archival materials

Date:

1924-1932

Scope and Contents note:

Exhibition of Art Expression by Club Members, Dec. 1-29, 1924

Members' Annual Exhibition, Jan. 7-31, 1925

Autograph Letters with Accompanying Portraits of Authors, Statesmen, Artists, etc., Feb. 23-March 7, 1925

Second Annual Exhibition of Living American Etchers, Dec. 10-27, 1924

Special Exhibition of Lithographs, Woodblocks, and Linoleum Cuts, April 8-May 9, 1925

Exhibition of Living American Etchers, Dec. 3-20, 1925

Members' Annual Exhibition, Jan. 13-Feb. 6, 1926

Special Group Exhibition, Feb. 10-27, 1926

Special Exhibition of Copies of Old Masters, March 3-27, 1926

Special Exhibition of Architecture, Sculpture, and Decorative Painting, April 7-May 7, 1926

Fifth Annual Exhibition of the Brooklyn Society of Etchers, May 1926

Exhibition of Volkbehr Collection of Incunabula, Aug. 23-Sept. 30, 1926

Summer Exhibition, 1926

Fourth Annual Exhibition of Living American Etchers, Dec. 2-22, 1926

Members' Annual Exhibition, Jan. 5-29, 1927

Exhibition and Auction of Works of Art by Artist Members, Feb. 11-27, 1927

Invited Exhibition of Distinguished American Painters, March 2-21, 1927

Fifth Annual Exhibition of Living American Etchers, Dec. 7-24, 1927

Norse Pictorial Weavings by Mrs. Berthea Aske Bergh, April 6-29, 1928

Members' Annual Exhibition, Feb. 8-29, 1928

Sixth Annual Exhibition of Living American Etchers, Feb. 13-March 8, 1928

Exhibition of Decorative Arts, March 8-31, 1928

Junior Artist Members, April 4-20, 1928

Members' Annual Exhibition, Jan. 8-Feb. 1, 1929

Loan Exhibition of Italian Primitives from the Collection of Richard M. Hurd, March 1929

Junior Artist Members, April 3-26, 1929

Summer Exhibition of Painter Life Members, May 1-Oct. 1, 1929

Exhibition of Decorative Arts, Dec. 4-26, 1929

Members' Annual Exhibition, Jan. 8-Feb. 1, 1930

Seventh Annual Exhibition of Living American Etchers, Feb. 5-28, 1930

Junior Artist Members, March 5-28, 1930

Members' Exhibition, April 16-Sept. 30, 1930

Eighth Annual Exhibition of Living American Etchers, Dec. 3-26, 1930

New York Water Color Club Exhibition, April 1-25, 1931

Gramercy Park Centenary Celebration Exhibition, May 2-29, 1931

Members' Annual Exhibition, Jan. 7-Feb. 6, 1931

Junior Artists, March 4-27, 1931

Members' Exhibition, June 3-Oct. 1, 1931

Members' Exhibition, Jan. 6-13, 1932

Exhibition of Drawings by Artist Members, Feb. 3-27, 1932

Junior Artist Members, March 2-26, 1932

Exhibition and Auction of Works of Art by Artist Members, March 13-April 15, 1932

Exhibition by a Group of New York Art Schools, April 20-30. 1932

Members' Exhibition, May 4-Oct. 1, 1932

Collection Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Collection Rights:

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

Collection Citation:

National Arts Club records, 1898-1960. Archives of American Art, Smithsonian Institution.

See more items in:

National Arts Club records

National Arts Club records / Series 9: Scrapbooks / 9.2: National Arts Club Printed Matter

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9121f0a62-ac82-448a-8d3a-8a0fd8b66f11

EDAN-URL:

ead_component:sova-aaa-natiartc-ref502

Creator:

McKinney, Theodore H., 1918-1983  Search this

Extent:

0.2 Linear feet ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1964-1982

Scope and Contents:

Letters, from Norman H. Albertson, H.J. Bott, Dr. Denton A. Cooley, Texas Heart Institute, Houston, Senator Sam J. Ervin, Jr., Ben Hogan, Paul E. Martin, and Joseph W. Santamaria; a photocopy of McKinney's essay "A Viewpoint of a Sculptor for the Benefit of the Architect,"; newspaper and magazine clippings; Texas Heart Institute newsletters and reports, 1976-1982, relating to McKinney's sculpture of the human heart A SYMBOL OF EXCELLENCE; a notebook containing photographs of McKinney's sculpture and models for architectural sculpture and printed material about his studio, sculptors foundry and gallery, Stafford, Texas; and photographs and slides of McKinney and his sculpture, undated and 1964-1976.[Note: The 80 slides were not filmed.]

Biographical / Historical:

Sculptor; Houston and Stafford, Texas.

Provenance:

Microfilmed as part of the Archives of American Art's Texas project. Donated 1982 by McKinney.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Sculptors -- Texas  Search this

Topic:

Sculpture, American -- Texas  Search this

Identifier:

AAA.mckitheo

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9993d21ac-af39-4edb-8c19-cebd11a6b3bd

EDAN-URL:

ead_collection:sova-aaa-mckitheo

Interviewee:

Kaplan, Leonard, 1922-2008  Search this

Interviewer:

McGlynn, Betty Hoag  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

New Deal and the Arts Oral History Project  Search this

Extent:

1 Sound tape reel (Sound recordings: (20 min.), 5 in.)

11 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tape reels

Pages

Sound recordings

Interviews

Date:

1965 June 19

Scope and Contents:

An interview of Leonard Kaplan conducted 1965 June 19, by Betty Hoag, for the Archives of Ameican Art. Kaplan speaks of teaching with the Education Alliance; his work with architectural sculpture; Laguna Festival; WPA murals; drawing classes; and California.

Biographical / Historical:

Leonard Kaplan (1922-2008) was a painter and art dealer from Laguna Beach, Calif.

General:

An unrelated interview of Peterpaul Ott (6/24/65) conducted by B. Hoag is also on this tape.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Topic:

Federal aid to the arts  Search this

Mural painting and decoration  Search this

Painters -- California -- Interviews  Search this

Function:

Art festivals

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kaplan65

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw963a82b4f-aca3-4747-92ef-44a2d383c44b

EDAN-URL:

ead_collection:sova-aaa-kaplan65

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 105, Folder 12

Type:

Archival materials

Date:

1924-1934

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90afc3f41-6a46-4098-b838-102b0b22d252

EDAN-URL:

ead_component:sova-aaa-jacqself-ref11759

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 106, Folder 9

Type:

Archival materials

Date:

1923-1933

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ca24123c-9a79-4cd2-9bb8-b8ac4eb7280a

EDAN-URL:

ead_component:sova-aaa-jacqself-ref11769

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 117, Folder 5

Type:

Archival materials

Date:

1929-1977

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d600d667-ce3f-4c30-bcb1-7f5910e64d46

EDAN-URL:

ead_component:sova-aaa-jacqself-ref11907

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 117, Folder 6

Type:

Archival materials

Date:

1929-1977

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9578eccc1-eea2-4c48-b1aa-44a13b5934f8

EDAN-URL:

ead_component:sova-aaa-jacqself-ref17779

Collection Creator:

Dwan, Virginia  Search this

Container:

Box 2, Folder 17

Type:

Archival materials

Date:

1966 March 15

Scope and Contents:

Oversized material housed in OV6

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Dwan Gallery records

Dwan Gallery records / Series 1: Los Angeles Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw987524048-be50-40f1-9004-74fa9da8c914

EDAN-URL:

ead_component:sova-aaa-dwangall-ref81

Collection Creator:

Baxter Art Gallery  Search this

Container:

Box 7, Folder 1-15

Type:

Archival materials

Date:

circa 1968-1981

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Baxter Art Gallery records, 1962-1997. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of the 2019 addition to the collection was provided by Gerald and Bente Buck.

See more items in:

Baxter Art Gallery records

Baxter Art Gallery records / Series 4: Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw973204c5f-1d22-4184-9b9a-d3f6355a5476

EDAN-URL:

ead_component:sova-aaa-baxtart-ref49

Collection Creator:

Richard York Gallery  Search this

Container:

Box 57, Folder 114

Type:

Archival materials

Date:

1996

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Collection Rights:

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

Collection Citation:

Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Richard York Gallery records

Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9821faceb-dc72-42f0-8f67-a4263b6ed746

EDAN-URL:

ead_component:sova-aaa-richyorg-ref5721

Photographer:

Sousberghe, Léon de  Search this

Collection Photographer:

Sousberghe, Léon de  Search this

Extent:

1 Slide (col.)

Culture:

Pende (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Congo (Democratic Republic)

Date:

1955

Scope and Contents:

Original accompanying Léon de Sousberghe caption reads, " Kombo-Kiboto. Près de Njinji (Kasaï)." Translated original accompanying caption reads, " Kombo-Kiboto. Near Njinji (Kasaï)."

The kibulu is the chief's ritual house and enclosure. Only a chief's house would have such an enclosure. The mother-and-child rooftop sculpture is a mid-twentieth-century innovation in a dynamically changing tradition of Eastern Pende royal architectural sculpture first documented by westerners (L. Frobenius) in 1905. The sculptor Kaseya Tambwe Makumbi from the village of Kandolo-Mututwa (Njila chiefdom) has been particularly associated with the development of this particular rooftop sculpture. This theme logically extends the iconographic significance of the rooftop sculpture along the Kasai river which was a woman that usually held the chief's ritual ax (kuba) in her right hand and the calyx (bangwa) in her left hand.

General:

Title source: Archives staff.

Note source: Archives staff.

Citation source: Archives staff.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Works of art in situ  Search this

Wood-carving  Search this

Cultural landscapes  Search this

Vernacular architecture  Search this

Genre/Form:

Color slides

Identifier:

EEPA.1999-010, Item EEPA 1999-100086

See more items in:

Leon de Sousberghe photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7c0a8273d-ab96-4905-b639-229464993782

EDAN-URL:

ead_component:sova-eepa-1999-010-ref592

Photographer:

Sousberghe, Léon de  Search this

Collection Photographer:

Sousberghe, Léon de  Search this

Extent:

1 Slide (col.)

Culture:

Pende (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Congo (Democratic Republic)

Date:

1955

Scope and Contents:

Original accompanying Léon de Sousberghe caption reads, " Case cheffale à Kombo-Kiboto." Translated original accompanying caption reads, " Chief's ritual house at Kombo- Kiboto."

The mother-and-child rooftop sculpture is a mid-twentieth-century innovation in a dynamically changing tradition of Eastern Pende royal architectural sculpture first documented by westerners (L. Frobenius) in 1905. The sculptor Kaseya Tambwe Makumbi from the village of Kandolo-Mututwa (Njila chiefdom) has been particularly associated with the development of this particular rooftop sculpture. This theme logically extends the iconographic significance of the rooftop sculpture along the Kasai river which was a woman that usually held the chief's ritual ax (kuba) in her right hand and the calyx (bangwa) in her left hand.

Local Numbers:

LS 109

General:

Title source: Archives staff.

Note source: Archives staff.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Works of art in situ  Search this

Wood-carving  Search this

Cultural landscapes  Search this

Vernacular architecture  Search this

Genre/Form:

Color slides

Identifier:

EEPA.1999-010, Item EEPA 1999-100087

See more items in:

Leon de Sousberghe photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo72118d371-e71e-4c9e-a0ad-b1abf2399768

EDAN-URL:

ead_component:sova-eepa-1999-010-ref593

Photographer:

Sousberghe, Léon de  Search this

Collection Photographer:

Sousberghe, Léon de  Search this

Extent:

1 Slide (col.)

Culture:

Pende (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Congo (Democratic Republic)

Date:

1955

Scope and Contents:

Original accompanying Léon de Sousberghe caption reads, " Case cheffale à Kombo-Kiboto." Translated original accompanying caption reads, " Chief's ritual house at Kombo- Kiboto."

The mother-and-child rooftop sculpture is a mid-twentieth-century innovation in a dynamically changing tradition of Eastern Pende royal architectural sculpture first documented by westerners (L. Frobenius) in 1905. The sculptor Kaseya Tambwe Makumbi from the village of Kandolo-Mututwa (Njila chiefdom) has been particularly associated with the development of this particular rooftop sculpture. This theme logically extends the iconographic significance of the rooftop sculpture along the Kasai river which was a woman that usually held the chief's ritual ax (kuba) in her right hand and the calyx (bangwa) in her left hand.

Local Numbers:

LS 133

General:

Title source: Archives staff.

Note source: Archives staff.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Works of art in situ  Search this

Wood-carving  Search this

Cultural landscapes  Search this

Vernacular architecture  Search this

Genre/Form:

Color slides

Identifier:

EEPA.1999-010, Item EEPA 1999-100088

See more items in:

Leon de Sousberghe photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7bd91f242-ed12-4c56-9483-c9d636d84691

EDAN-URL:

ead_component:sova-eepa-1999-010-ref594

Photographer:

Sousberghe, Léon de  Search this

Collection Photographer:

Sousberghe, Léon de  Search this

Extent:

1 Slide (col.)

Culture:

Pende (African people)  Search this

Type:

Archival materials

Slides

Color slides

Place:

Africa

Congo (Democratic Republic)

Date:

1955

Scope and Contents:

Original accompanying Léon de Sousberghe caption reads, " Case cheffale à Kombo-Kiboto." Translated original accompanying caption reads, " Chief's ritual house at Kombo- Kiboto."

The mother-and-child rooftop sculpture is a mid-twentieth-century innovation in a dynamically changing tradition of Eastern Pende royal architectural sculpture first documented by westerners (L. Frobenius) in 1905. The sculptor Kaseya Tambwe Makumbi from the village of Kandolo-Mututwa (Njila chiefdom) has been particularly associated with the development of this particular rooftop sculpture. This theme logically extends the iconographic significance of the rooftop sculpture along the Kasai river which was a woman that usually held the chief's ritual ax (kuba) in her right hand and the calyx (bangwa) in her left hand.

General:

Title source: Archives staff.

Caption source: Archives staff.

Note source: Archives staff.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Works of art in situ  Search this

Wood-carving  Search this

Cultural landscapes  Search this

Vernacular architecture  Search this

Genre/Form:

Color slides

Identifier:

EEPA.1999-010, Item EEPA 1999-100089

See more items in:

Leon de Sousberghe photographs

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo752d09768-9746-42c5-8dab-c43073189dff

EDAN-URL:

ead_component:sova-eepa-1999-010-ref595