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Stanley Woodward papers

Creator:
Woodward, Stanley Wingate, 1890-1970  Search this
Names:
Salmagundi Sketch Club  Search this
Beal, Gifford, 1879-1956  Search this
Butler, Mary  Search this
Cady, Harrison, 1877-1970  Search this
Carter, Janis, 1921-  Search this
Craine, Jeanne  Search this
Custis, Eleanor Parke, 1897-1983  Search this
Darnell, Linda, 1921-1965  Search this
Davis, Bette, 1908-1989  Search this
Day, Laraine, 1920-2007  Search this
Fabri, Ralph, 1894-1975  Search this
Grant, Gordon, 1875-1962  Search this
Hayworth, Rita, 1918-1987  Search this
Kent, Norman, 1903-1972  Search this
Lee, Madaline  Search this
Lupino, Ida, 1918-1995  Search this
Merrill, Gary  Search this
Nichols, Hobart, 1869-1962  Search this
Oakley, Thornton, 1881-1953  Search this
Powell, Eleanor, 1912-1982  Search this
Ryder, Chauncey F., 1868-1949  Search this
Smith, Alexis, 1921-1993  Search this
Smith, Howard (Howard Everett), 1885-1970  Search this
Tarbell, Edmund Charles, 1862-1938  Search this
Thieme, Anthony, 1888-1954  Search this
Extent:
6.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Writings
Drawings
Scrapbooks
Date:
1875-1970
bulk 1905-1970
Summary:
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, his studio, and artwork. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Scope and Content Note:
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, artworks, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, and his studio. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.

Biographical material includes miscellaneous accounts of Woodward's life, cards and certificates of membership in various organizations including the Massachusetts Society of the Sons of the American Revolution, the Salmagundi Club, and the Academic Artist Association, military records of his service in both World Wars, and scattered artwork. A file concerning Woodward's portrait of Abraham Lincoln contains letters primarily discussing a reproduction of the portrait in The Boston Globe and the painting's eventual sale, in addition to notes, clippings, an ink drawing, and a photographic negative of the drawing.

Correspondence is between various family members, but also includes letters to Woodward from colleagues including Harrison Cady, Eleanor Parke Custis, Ralph Fabri, Chauncey F. Ryder, and Howard E. Smith. There are also scattered letters from other artists including Gifford Beal, Mary Butler, Gordon Grant, Norman Kent, Hobart Nichols, Thornton Oakley, Edmund Tarbell, and Anthony Thieme. Correspondence primarily concern his painting career, and includes lists of art work and financial material.

Artwork consists of a sketchbook and three sketches.

Files concerning actresses reflect Woodward's life-long friendship with former teenaged neighbor Bette Davis, who later introduced Woodward and his art work to her show business friends. The files contain letters, clippings, and photographs of actresses Janis Carter, Linda Darnell, Bette Davis, Laraine Day, Madaline Lee, Ida Lupino, Eleanor Powell, and Alexis Smith.

Seventeen diaries contain relatively detailed daily entries describing Woodward's art-related activities, experiences during World War II, and various travels, including a trip to Los Angeles to be a house guest of Bette Davis and visit her on the set of the motion picture Elizabeth and Essex. The 1905 diary contains photographs of Woodward's school friends.

Notes, notebooks, and writings include lists of art works, exhibition guest books, and miscellaneous writings by Woodward including drafts of his book Adventure in Marine Painting.

Business records include an auction catalog, account books for the sale of Woodward's book and art work, and miscellaneous receipts. Records of art classes taught by Woodward include lists of participants, accounts of fees paid, and printed advertisements.

A scrapbook containing clippings and exhibition announcements and catalogs illustrates Woodward's early interests and art-related activities.

Additional printed material consists of clippings, copies of the U. S. Air Corps Magazine The Rip Chord for which Woodward did the cover illustrations, prospectuses with annotations of titles and prices of art work, exhibition announcements and catalogs, reproductions of art work, a booklet, and brochures for books and for art schools. Miscellaneous printed material includes reproductions of a photograph of Woodward's father, Frank E. Woodward, and a program for an event honoring Dr. T. Tertius Noble.

Photographs are of Woodward, family members, friends connected with the U. S. Army Air Force including Jack Dempsey, Woodward's studio, and art work. Three albums contain photographs of art classes and Woodward painting outdoors at various locations including Laguna Beach and Palm Springs, California, St. Augustine, Florida, and Rockport, Massachusetts. A third album also contains photographs of notable friends including Janis Carter, Jeanne Craine, Bette Davis, Rita Hayworth, and Gary Merrill.
Arrangement:
The collection is arranged into 10 series. Each series is arranged chronologically.

Series 1: Biographical Material, 1918-1968 (Boxes 1, 8; 15 folders)

Series 2: Artwork, circa 1920s (Boxes 1; 2 folders)

Series 3: Correspondence, 1910-1969 (Boxes 1-3; 2.9 linear feet)

Series 4: Files Concerning Actresses, 1931-1970 (Boxes 4, 8; 0.75 linear feet)

Series 5: Diaries, 1905-1969 (Boxes 4-5; 10 folders)

Series 6: Notes, Notebooks, and Writings, 1915-1969 (Boxes 5, 8; 21 folders)

Series 7: Business Records, 1924-1969 (Boxes 5-6; 15 folders)

Series 8: Scrapbook, 1875-1919 (Box 6; 1 folder)

Series 9: Printed Material, 1916-1970 (Boxes 6-7; 0.75 linear feet)

Series 10: Photographs, 1920-1969 (Boxes 7-8, OV 9; 11 folders)
Biographical Note:
Stanley Wingate Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Sidney, who later became an art dealer and critic.

In 1909, Woodward graduated from Malden High School and the family moved to Wellesley Hills. He studied at the Eric Pape School of Art, the School of the Boston Museum of Fine Arts, and the Pennsylvania Academy of the Fine Arts. He left school to serve in France as a Corporal in the Field Artillery 28th Division during World War I. After the war, he settled in Ogunquit, Maine, and became a free lance illustrator for Collier's and the Christian Science Monitor, where his brother Sidney was art editor.

In 1925, he held his first solo show of marine oils at Casson Galleries, Boston, where his twin brother Sidney was manager. He was encouraged to continue painting the ocean after the entire exhibition sold out.

Woodward married Ruth Brainerd in 1926 and they settled in Newton, Massachusetts, where they were neighbors to a young Bette Davis, who had recently graduated from high school. Woodward maintained contact with the actress for the rest of his life, and through Ms. Davis, he befriended other show business personalities.

During the 1930s, Woodward taught painting at the Woodward Outdoor Painting School of Rockport, Massachusetts, at the University of North Carolina at Chapel Hill, at the Ringling School of Art in Sarasota, Florida, and at the Laguna Beach School in California. In 1937, he established his residence and studio in Rockport, Massachusetts.

Woodward served as an Air Corps captain and director of camouflage training at McChord Field in Tacoma, Washington, during World War II. In 1947, he published a book on painting techniques entitled Adventure in Marine Painting. He was also the author of Marine Paintings in Oil and Water Color.

Woodward was a member of the Chicago Society of Etchers, the Concord Art Association, the Print Makers Society of California, the Boston Society of Water Color Painters, Allied Artists of America, the Guild of Boston Artists, the North Shore Art Association, the American Water Color Society, the Grand Central Galleries Association, and the Rockport Art Association. His work is in the collections of the Boston Museum of Fine Arts, Bowdoin College, Amherst College, Lehigh University, and the Prudential Life Insurance Collection.

Stanley Wingate Woodward died on March 21, 1970 in Gloucester, Massachusetts.
Provenance:
The Stanley Woodward papers were donated in two installments in 1973 by Stanley Woodward's daughter, Patricia Woodward Smith.
Restrictions:
The collection is open for research. Use requires an appointment.
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.
Occupation:
Marine painters -- Massachusetts  Search this
Topic:
Educators -- Massachusetts  Search this
World War, 1914-1918  Search this
Marine painting -- Technique  Search this
Illustrators -- Massachusetts  Search this
Artists' studios  Search this
World War, 1939-1945  Search this
Genre/Form:
Photographs
Diaries
Writings
Drawings
Scrapbooks
Citation:
Stanley Woodward papers, 1875-1970, bulk 1905-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodstan
See more items in:
Stanley Woodward papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodstan

Sidney C. Woodward papers

Creator:
Woodward, Sidney C., 1890-1963  Search this
Names:
Casson Galleries  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Cady, Harrison, 1877-1970  Search this
Henri, Robert, 1865-1929  Search this
Hind, C. Lewis (Charles Lewis), 1862-1927  Search this
Kent, Rockwell, 1882-1971  Search this
La Farge, John, 1835-1910  Search this
Murphy, Hermann Dudley, 1867-1945  Search this
Oakley, Violet, 1874-1961  Search this
Pach, Walter, 1883-1958  Search this
Pennell, Elizabeth Robins, 1855-1936  Search this
Ryder, Chauncey F., 1868-1949  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Extent:
3.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1823-1963
bulk 1915-1932
Summary:
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.
Scope and Contents:
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.

Artists that Woodward corresponded with and collected letters from include Ernest L. Blumenschein, Harrison Cady, Robert Henri, C. Lewis Hind, Rockwell Kent, John La Farge, Hermann Dudley Murphy, Violet Oakley, Water Pach, Elizabeth Robins Pennell, and Chauncey Foster Ryder, among many others. A significant number of letters in this collection were sent by his brother, marine painter Stanley, during his service in both World Wars.
Arrangement:
The collection is arranged as 6 series.

Series 1: Correspondence and Collected Letters, 1823-1963 (2.2 linear feet; Box 1-3)

Series 2: Biographical Material, 1918 (1 folder; Box 3)

Series 3: Writings, circa 1880-1940 (0.1 linear feet; Box 3)

Series 4: Printed Material, circa 1880-1963 (0.4 linear feet; Box 3-4)

Series 5: Photographs, 1910s-1940s (4 folders; Box 4)

Series 6: Scrapbooks, circa 1920-1940 (0.7 linear feet; Box 5, BV 6-7)
Biographical / Historical:
Sidney C. Woodward (1890-1963) was an art critic and editor in Boston, MA. Woodward collected letters and autographs from notable artists, as well as manuscripts relating to art and theater.

Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Stanley, marine painter and illustrator. Woodward was an art critic and editor for the Boston Post, Boston Herald, and Christian Science Monitor; and gallery director of Casson Galleries, and Irving & Casson's art gallery in Boston, MA.
Provenance:
A portion of the collection was purchased by the Archives of American Art from Sidney Woodward in 1963. Additional material was donated in 1975 by Mrs. Sidney C. Woodward.
Restrictions:
Use of original papers requires an appointment.
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.
Occupation:
Artists  Search this
Art critics -- Massachusetts -- Boston  Search this
Gallery directors -- Massachusetts -- Boston  Search this
Editors -- Massachusetts -- Boston  Search this
Topic:
Art galleries, Commercial -- Massachusetts -- Boston  Search this
Art -- Collectors and collecting  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Sidney C. Woodward papers, 1823-1963, bulk 1915-1932. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodsidn
See more items in:
Sidney C. Woodward papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodsidn

Gurdon G. Woods papers

Creator:
Woods, Gurdon G., 1915-  Search this
Names:
Otis Art Institute  Search this
San Francisco Art Institute  Search this
DeFeo, Jay, 1929-1989  Search this
Siegriest, 1899-1989  Search this
Siegriest, Lundy, 1925-  Search this
Extent:
0.8 Linear feet
0.2 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Drawings
Date:
1948-1987
Scope and Contents:
Correspondence; notes and writings by Woods and his students; printed material; photographs of Woods and his work; 4 sketches and drawings by his students, undated; 1 certificate from San Francisco Art Institute, undated, various subject files, 1948-1981.
Included are: correspondence with Grace McCann Morley, Jock Reynolds, Richard Hayton, Sean Elwood and others, 1960-1987; notes and writings by Woods and his students; student drawings by Joan Brown and others, and original Christmas cards received; clippings, 1955-1978; files on the San Francisco Art Festival, 1950-1951, San Francisco Art Association, the San Francisco Art Commission, the San Francisco Museum of Art, and other events and topics; gallery announcements, posters and exhibition catalogs;
writings by Woods including commencement addresses, lectures, proposals and one manuscript "New Prospects in Design Education"; proposals for long range development of the visual arts program at the University of California at Santa Cruz (1970-1979); and photographs and slides of Woods and his artwork.
ADDITION: One b&w photograph of Louis Siegriest and his son Lundy; one b&w photograph of Jay DeFeo, ca. 1960; and two exhibition catalogs on the Siegriests, 1980 and 1986; newspaper review of Woods' 1993 exhibit.
Biographical / Historical:
Sculptor and art instructor; San Francisco and Santa Cruz, California.
Provenance:
Material donated 1991 and 1992 by Gurdon Woods.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- California -- Santa Cruz  Search this
Sculptors -- California -- Santa Cruz  Search this
Topic:
Art -- Study and teaching -- California  Search this
Art festivals  Search this
Sculpture, American -- California  Search this
Sculpture, Modern -- 20th century -- California  Search this
Genre/Form:
Drawings
Identifier:
AAA.woodgurd
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodgurd

Jean Xceron letters from David Smith

Creator:
Xceron, Jean, 1890-1967  Search this
Names:
Smith, David, 1906-1965  Search this
Extent:
4 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1940-1957
Scope and Contents:
Smith writes about his upcoming exhibition at the Willard Gallery, 1940. He asks Xceron for information on Xavier Gonzalez for an article he is writing, and thanks him for influencing him "to concentrate on sculpture. I'm forever glad you did, it's more my energy, tho I make 200 color drawings a year and sometimes painting...."
Provenance:
Provenance unknown.
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.
Identifier:
AAA.xcerjeds
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-xcerjeds

Melinda Wortz papers

Creator:
Wortz, Melinda  Search this
Names:
University of California, Irvine -- Faculty  Search this
University of California, Irvine. Department of Studo Art  Search this
University of California, Irvine. Fine Arts Gallery  Search this
Antin, Eleanor  Search this
Baca, Judith Francisca  Search this
Ballatore-Nelson, Sandy  Search this
Barber, Daniel  Search this
Bell, Larry, 1939-  Search this
Christo, 1935-  Search this
DeLap, Tony, 1927-  Search this
Dine, Jim, 1935-  Search this
Eversley, Frederick  Search this
Harding, Bill  Search this
Irwin, Robert, 1928-  Search this
Johns, Jasper, 1930-  Search this
Kauffman, Craig, 1932-2010  Search this
Livkin, Rena  Search this
Lodato, Peter  Search this
Marchesi, Cork  Search this
Marck, Marc van der  Search this
McCafferty, Jay David, 1948-  Search this
Moses, Ed, 1926-  Search this
Noguchi, Isamu, 1904-1988  Search this
Ox, Jack, 1948-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rinke, Klaus, 1939-  Search this
Rosler, Martha  Search this
Schwartz, Beth Ames  Search this
Small, Rena  Search this
Sonneman, Eve  Search this
Taylor, Elizabeth, 1932-2011  Search this
Tivey, Hap  Search this
Todd, Liza  Search this
Turrell, James  Search this
Valentine, De Wain, 1936-  Search this
Warner, Elsa  Search this
Wiener, Nina  Search this
Zaimo, Stephen  Search this
Extent:
17.45 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Transcripts
Sound recordings
Travel diaries
Place:
Paris (France) -- description and travel
Soviet Union -- description and travel
Date:
1958-1992
Summary:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California "light and space" artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Scope and Contents:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California Light and Space artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.

Wortz's biographical material includes annotated appointment books and calendars, resumes, and some family, financial, and legal records.

Correspondence files document Wortz's activities beyond her work at UCI, including scattered correspondence with artists such as Eleanor Antin, Daniel Barber, Christo, Craig Kauffman, Cork Marchesi, Martha Rosler, Eve Sonneman, Hap Tivey, and Elsa Warner. Correspondence also relates to arrangements for lectures, juries, panels, symposiums, and other professional activities in which Wortz participated.

Interviews include transcripts of four interviews conducted by Wortz with subjects including Peter Lodato and Dewain Valentine, and a sound recording of an interview with Nina Wiener.

Writings and notes include drafts, and some published copies, of articles and essays written for journals, magazines, and exhibition catalogs; Wortz's dissertation and thesis; notes; student essays and class notes; and scattered writings by others. Included in the published works are copies of Artweek containing articles by Wortz, and drafts and published copies of essays on Larry Bell, Robert Irwin, Jasper Johns, Jay McCafferty, Isamu Noguchi, Robert Rauschenberg, Klaus Rinke, Beth Ames Schwartz, and James Turrell.

Diaries document five separate overseas trips to locations including Asia in 1977, Paris in 1978, and the U.S.S.R., where Wortz delivered a paper on Robert Irwin, in 1989.

University of California, Irvine, records include Wortz's administrative files documenting her work on various committees, her directorship of the Fine Arts Gallery, including budget and exhibition records, her work as Chair of Studio Art, and her collaborations with other faculty, including Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small. Wortz's dossier files provide a thorough record of her accomplishments from the late 1970s-1990, and her UCI teaching files document the content of core art courses which she taught at UCI in the 1970s and 1980s.

Subject files provide additional documentation of Wortz's interest in particular artists and subjects, and include scattered correspondence with artists, as well as additional correspondence, reports, printed material, index card files, sound cassettes, and photographs, documenting her interests in art and politics, feminism, religion and spirituality, museum management and training, and other subjects.

Printed material includes announcements, catalogs, journals, newsletters, and material specifically documenting Wortz's activities.

Artwork includes a piece of floor covering from a Jim Dine exhibition, a booklet by Daniel Barber, Flams by Rena Livkin, and several pieces of unidentified artwork.

Photographs include photos of Wortz with her family and with UCI faculty including Tony DeLap, Craig Kauffman, and Ed Moses; photos of events with friends and family, including Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; photos of artists including Frederick Eversley, Bill Harding, Jack Ox, and Stephen Zaimo; and photos of artwork by artists including Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.
Arrangement:
The collection is arranged as ten series.

Series 1: Biographical Materials, 1966-1988 (0.25 linear feet; Boxes 1, 19)

Series 2: Correspondence, 1967-1992 (1.25 linear feet; Boxes 1-2, 18)

Series 3: Interviews, 1971-circa 1980s (6 folders; Boxes 2, 18)

Series 4: Writings and Notes, 1958-circa 1990 (4.25 linear feet; Boxes 2-6, 19)

Series 5: Diaries, 1977-1989 (6 folders; Box 6)

Series 6: University of California, Irvine, 1960-1991 (4.8 linear feet; Boxes 6-11, OV 20)

Series 7: Subject Files, circa 1960-1990 (4.25 linear feet; Boxes 11-15, 18)

Series 8: Printed Material, 1960s-1980s (1.8 linear feet; Boxes 15-16, 19)

Series 9: Artwork, circa 1960s-circa 1980s (3 folders; Boxes 17, 19)

Series 10: Photographs, 1960s-1980s (0.6 linear feet; Boxes 17, 19)
Biographical / Historical:
California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002), taught at the University of California, Irvine, from 1975, serving as Director of UCI's Fine Arts Gallery and Chair of the Department of Studio Art. Wortz's special area of interest was the work of the California "light and space" artists emerging in Los Angeles in the 1970s.

After attending Stanford University and graduating from Radcliffe College with a bachelors degree in art history, Wortz received her masters degree in art history from the University of California, Los Angeles, and her doctorate in theology and the arts from the Graduate Theological Union at Berkeley. Wortz taught at California State University and the University of California Extension in the early 1970s. At UCI her colleagues included Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small.

Wortz married Edward C. Wortz in the early 1970s, following her divorce from her first husband, Thomas G. Terbell, Jr. Edward Wortz's first career was as a research scientist working on NASA contracts in the air research industry in Colorado and California. Later he was involved in the arts and participated in collaborations with artists including Robert Irwin, Coy Howard, and James Turrell. He worked with Melinda Wortz to develop their personal collection of contemporary art.

Melinda Wortz was a prolific writer who wrote extensively for national art periodicals, including Arts Magazine, and Art News. She also wrote, and served as editor, for the California periodical Artweek from the 1960s to 1990s. She wrote numerous catalogs for artists including Larry Bell, Cork Marchesi, Doug Moran, Beth Ames Schwartz, and James Turrell; and published articles on Dan Flavin, Robert Irwin, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Frank Stella, and others. She lectured at Brown University, the Center for Art, Salt Lake City, Contemporary Art Museum, La Jolla, the Massachusetts Institute of Technology, the San Diego Museum, Wellesley College, the Whitney Museum of American Art, and many other institutions. In 1989 she traveled to the U.S.S.R. to deliver a paper on Robert Irwin at the International Art Critics Association annual meeting.

In addition to her curatorial work at the UCI Fine Arts Gallery, where she organized exhibitions for artists including Alice Aycock, Jonathan Borofsky, Audrey Flack, Jack Ox, and Dennis Oppenheim, Wortz curated exhibitions for University of California sister colleges, Pasadena Art Museum, and others.

Wortz received UCI and National Endowment for the Arts grants in support of her writing, and served on advisory boards of the Contemporary Arts Forum, Los Angeles Institute of Contemporary Art, Santa Barbara, Robert Rauschenberg's foundation, Advisory Board of Change, Inc., the Pasadena Art Museum, and others.

Wortz was diagnosed with Alzheimers disease at the age of 50 and died in 2002.
Provenance:
The collection was donated by Edward C. Wortz, Melinda Wortz's husband, in 1994.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Occupation:
Women art historians -- California  Search this
Art historians -- California -- Los Angeles  Search this
Art critics -- California -- Los Angeles  Search this
Authors -- California -- Los Angeles  Search this
Art teachers -- California -- Los Angeles  Search this
Topic:
Gallery directors -- California -- Los Angeles  Search this
Art, American -- California  Search this
Art galleries, University and college -- California -- Irvine  Search this
Curators -- California -- Los Angeles  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century -- California  Search this
Genre/Form:
Interviews
Photographs
Transcripts
Sound recordings
Travel diaries
Citation:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wortmeli
See more items in:
Melinda Wortz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wortmeli
Online Media:

Personal and Family Photos: Graduations, Unidentified Events

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 17, Folder 22
Type:
Archival materials
Date:
circa 1960s-circa 1980s
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 10: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref1001

Personal and Family Photos: Weddings

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 17, Folder 21
Type:
Archival materials
Date:
circa 1960s-circa 1980s
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 10: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref1002

Personal and Family Photos: Miscellaneous, Unidentified Events

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 17, Folder 23
Type:
Archival materials
Date:
circa 1960s-circa 1980s
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 10: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref1003

Polytechnic School

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 2, Folder 22
Type:
Archival materials
Date:
1976-1977
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref101

"Fan Letters"

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 2, Folder 10
Type:
Archival materials
Date:
1980s
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref102

Personal and Family Photos: Portraits, Holidays, Unidentified Events

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 17, Folder 20
Type:
Archival materials
Date:
1948-circa 1980s
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 10: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref324

Terbell, Alison and Lisa

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 2, Folder 25
Type:
Archival materials
Date:
1970s-1980s
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref384

Terbell, Thomas G., Jr.

Collection Creator:
Wortz, Melinda  Search this
Container:
Box 2, Folder 26
Type:
Archival materials
Date:
1980-1981
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:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Melinda Wortz papers
Melinda Wortz papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wortmeli-ref385

Theodore Wores papers

Creator:
Wores, Theodore, 1858-1939  Search this
Names:
Bohemian Club (San Francisco, Calif.)  Search this
Duveneck, Frank, 1848-1919  Search this
Gray, Percy, 1869-1952  Search this
Keith, William, 1838-1911  Search this
Peck, Orrin, 1860-1921  Search this
Peters, Charles Rollo, 1862-1928  Search this
Russel, Alexander, Mrs  Search this
Sandona, Matteo, b. 1883  Search this
Shenson, A. Jess  Search this
Tilden, Douglas, 1860-1935  Search this
Extent:
296 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1881-1967
Scope and Contents:
Letters received, 1884-1967, concern Wores' art work, the Bohemian Club, the work of sculptor Douglas Tilden, and other matters. William Keith writes of his own work and choice of subject matter. Other correspondents include Orrin Peck, Frank Duveneck, Charles Rollo Peters, Mrs. Alexander Russel, Matteo Sandona, and Percy Gray. In addition, there are two scrapbooks, 1881-1938; a typescript of CALIFORNIA ART RESEARCH, 1937-Abstract from WPA Project 2874, which is a monograph on Wores with penciled corrections by him; and 5 articles from THE CENTURY ILLUSTRATED MAGAZINE, 1889-1899, 4 of them written by Wores, and 1 illustrated by him.
Biographical / Historical:
Landscape painter, portrait painter, illustrator, teacher. Year of birth also cited as 1860. Born in San Francisco, resided many places.
Provenance:
Lent for microfilming April 1974 by A. Jess Shenson, M.D., along with his brother Ben who spent many years researching Wores.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Portrait painters  Search this
Illustrators  Search this
Landscape painters  Search this
Topic:
Painting, Modern -- 19th century -- United States  Search this
Painting, Modern -- 20th century -- United States  Search this
Identifier:
AAA.woretheo
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woretheo

Theodore F. Wolff papers

Creator:
Wolff, Theodore F.  Search this
Names:
Diebenkorn, Richard, 1922-1993  Search this
Donati, Enrico, 1909-2008  Search this
Hogue, Alexandre, 1898-  Search this
Johnston, Ynez, 1920-  Search this
Kohlmeyer, Ida, 1912-1997  Search this
Landeck, Armin, 1905-  Search this
Miller, Melissa  Search this
Natkin, Robert, 1930-  Search this
Stamos, Theodoros, 1922-1997  Search this
Tacha, Athena, 1936-  Search this
Turrell, James  Search this
Witkin, Jerome  Search this
Extent:
8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Video recordings
Sound recordings
Photographs
Interviews
Date:
1920-2013
bulk 1977-2013
Summary:
The papers of art critic, writer, and painter Theodore F. Wolff measure 8 linear feet and date from 1920-2013, with the bulk of the material dating from 1977-2013. The collection documents Wolff's career through biographical material, correspondence, interviews, writings, subject files, printed material, a small amount of artwork, and photographs.
Scope and Contents:
The papers of art critic, writer, and painter Theodore F. Wolff measure 8 linear feet and date from 1920-2013, with the bulk of the material dating from 1977-2013. The collection documents Wolff's career through biographical material, correspondence, interviews, writings, subject files, printed material, a small portion of artwork, and photographs.

Biographical material consists of biographical data, curriculum vitae, and awards. Included are outgoing and incoming letters that document Wolff's activities as an art critic, appraiser, and fine arts consultant. A large portion of his correspondence is with artists. Among the correspondents are Richard Diebenkorn, Alexander Hogue, Ynez Johnston, Armin Landeck, Melissa Miller, Robert Natkin, Theodoros Stamos, Athena Tachna, Jerome Witkin, and the writer Tom Wolfe. There is significant correspondence with Morris Graves, James Hubbell, Clyfford Still, and Stow Wengenroth relating to their work and Wolff's writings.

Interviews consist of three interviews with Theodore F. Wolff as well as a panel discussion with Wolff and other artists. Found are interviews with Enrico Donati and James Turrell. Recordings are on five sound cassettes and three videocassettes. Writings consist of Wolff's reviews, mostly tearsheets for The Christian Monitor and draft versions of a book. Also included are talks and lectures on art and art education recorded on seven videocassettes and six sound cassettes. Subject files document Wolff's professional interests and relate to his writing projects, exhibitions, talks, and presentations. Included are interviews with artists that were used by Theodore Wolff as source material.

Printed material includes Theodore F. Wolff's published critical writings on art, artists, and education. Included are exhibition catalogs, brochures, journals, and monographs. Artwork consists of seventeen sketches by Wolff done early in his career. Photographs are of Theodore F. Wolff and with friends and colleagues, many of them unidentified. Included are photographs of Wolff with Ida Kohlmeyer.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1982-2013 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1920, 1951-2011 (Box 1; 0.75 linear feet)

Series 3: Interviews, circa 1990-2002 (Box 2; 0.1 linear feet)

Series 4: Writings, Talks, and Lectures, circa 1977-2005 (Boxes 2-4; 2.8 linear feet)

Series 5: Subject Files, circa 1940, 1964-2004 (Boxes 4-6; 1.8 linear feet)

Series 6: Printed Material, 1956-2006 (Boxes 6-8; 2.2 linear feet)

Series 7: Artwork, 1942-1948 (Box 7, 1 folder)

Series 8: Photographs, circa 1980-circa 2011 (Box 7; 0.25 linear feet)
Biographical / Historical:
Theodore F. Wolff (1926-2012) was an art critic, writer, and painter in New York City.

Wolff attended the University of Wisconsin, earning a Bachelor of Arts degree in Art Education in 1949 and a Masters degree in Art and Art History the following year. By the early 1950s, Wolff was living in San Francisco, where he began his professional career as a painter. In 1956, he and his wife, Collette Wolff, moved to New York. During this period, Wolff also worked as an art appraiser and fine arts consultant for collectors, galleries, and museums. In 1977, Wolff began writing art criticism for The Christian Science Monitor and held the post of art critic at the publication until 1990. In addition to his art columns to The Monitor, Wolff contributed critical and introductory essays on artists for exhibition catalogs and journals. Theodore F. Wolff taught and lectured on art and art education at museums, universities, and conferences. In 1982, he received the National Headliners Award for Consistently Outstanding Column on Art and the Art World Award for Distinguished Newspaper Art Criticism in 1983. In 1990, Theodore Wolff retired from The Christian Science Monitor. He devoted the latter part of his career to painting, writing, lecturing, and teaching.

Theodore F. Wolff died in 2012 in New York City. He is survived by his wife, Collette Wolff.
Provenance:
A small amount of material was donated in 1999 by Theodore F. Wolff. Additional papers were donated in 2013 by Collette Wolff, widow of Theodore F. Wolff.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Occupation:
Art critics -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Sketches
Video recordings
Sound recordings
Photographs
Interviews
Citation:
Theodore F. Wolff papers, 1920-2013, bulk 1977-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wolftheo
See more items in:
Theodore F. Wolff papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wolftheo

Beatrice Wood papers

Creator:
Wood, Beatrice  Search this
Names:
Garth Clark Gallery (New York, N.Y.)  Search this
John Waller, Fine Ceramics (Firm : Los Angeles, Calif.)  Search this
Zachary Waller Gallery (Los Angeles, Calif.)  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Duchamp, Marcel, 1887-1968  Search this
Hapgood, Elizabeth Reynolds  Search this
Hoag, Stephen Asa  Search this
Nin, Anaïs, 1903-1977  Search this
Roché, Henri Pierre, 1879-1959  Search this
Rosencrantz, Esther, 1876-1950  Search this
Extent:
26.6 Linear feet
Type:
Collection descriptions
Archival materials
Drafts (documents)
Interviews
Photographs
Illustrated letters
Notes
Watercolors
Diaries
Transcripts
Lithographs
Short stories
Illustrations
Designs
Drawings
Bookplates
Date:
1894-1998
bulk 1930-1990
Summary:
The papers of California ceramicist Beatrice Wood measure 26.6 linear feet and date from 1906 to 1998, with the bulk dating from 1930-1990. There is extensive correspondence with gallery owners, fellow artists, clients, friends, and family. The collection also contains biograpical materials, personal business records, writings, printed materials, photographs, and works of art. Of particular interest are the 28 diaries that Wood maintained from 1916 until her death in 1998 and 42 glazing formula notebooks dating from 1934-1997. Also found are documents of Steven Hoag and Esther Rosencranz, her husband and aunt respectively, that consist of correspondence, business records, and photographs given to the Archives of American Art as part of the Beatrice Wood papers.
Scope and Contents note:
The papers of California ceramicist Beatrice Wood measure 26.6 linear feet and date from 1906 to 1998, with the bulk dating from 1930-1990. There is extensive correspondence with gallery owners, fellow artists, clients, friends, and family. The collection also contains biographical materials, personal business records, writings, printed materials, photographs, and works of art. Of particular interest are the 28 diaries that Wood maintained from 1916 until her death in 1998 and 42 glazing formula notebooks dating from 1934-1997. Also found are documents of Steven Hoag and Esther Rosencranz, her husband and aunt respectively, that consist of correspondence, business records, and photographs given to the Archives of American Art as part of the Beatrice Wood papers.

Biographical material contains certificates, licenses, degrees, legal documents, and extensive interview transcripts, which describe her philosophy on art and her development as a ceramic artist.

Correspondence is particularly rich in documenting Wood's passion and dedication to her work as a writer and artist. The records reflect Wood's close professional and personal relationships with many friends and colleagues, including Henri-Pierre Roche, Marcel Duchamp, Anais Nin, Elizabeth Hapgood, and Walter and Lou Arensberg. Additional correspondence with editors and publishers is also included. Wood enjoyed illustrating her letters, as did many of her correspondents.

Personal business records include financial material, sales and consignment records, and correspondence with gallery owners, including Garth Clark Gallery, John Waller Gallery, and Zachary Waller Gallery.

Notes and writings extensively document Wood's second career as a writer. Edited drafts of her monographs and short stories are available, as well as her journal writings and notes. Drafts of I Shock Myself: The Autobiography of Beatrice Wood, Angel Who Wore Black Tights, 33rd Wife of a Maharajah, among others are included. Also found here are the illustrations that Wood created for her monographs. She often did a series of drawings for each illustration and these copies are included as well.

Twenty-eight detailed diaries contain information about studio sales, clients, and the economic uncertainties of being a self-employed artist. The diaries, arranged in one-year and five-year volumes, begin in 1916 and end just a few days before her death in 1998.

Forty-two glaze books record the formulas for the pottery glazes Wood developed throughout her career.

Printed material includes copies of Wood's published monographs as well as exhibition announcements and brochures. Also found are clippings about Wood, including numerous articles about her trips to India.

Photographic material includes photographs and slides of Wood, her friends, travels, and other events. Many of the photographs are identified by Wood.

Artwork includes original sketches, drawings, watercolors, lithographs and designs by Wood. The original illustrations from her books are included in this series.

The last two series contain records generated by her husband, Stephen Hoag and her maternal aunt, Esther Rosencrantz. Wood was married to Hoag from 1937 until his death in 1960. The bulk of the material contains Hoag's financial records, mostly receipts, from his early years as a engineer in the Pacific Northwest. Esther Rosencranz, a physician in San Francisco, collected book plates that are included in this series.
Arrangement note:
The collection is arranged as 11 series:

Series 1: Biographical Material, 1924-1993 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1910-1998 (Box 1-8; 7.7 linear feet)

Series 3: Personal Business Records, 1909-1988 (Box 9-11, 26, OV 31; 3.5 linear feet)

Series 4: Notes and Writings, circa 1912-1997 (Box 11-16, 27; 5.5 linear feet)

Series 5: Diaries, 1915-1998 (Box 17-20; 4 linear feet)

Series 6: Glaze Books, circa 1930-1997 (Box 21-22, 27-30; 2.5 linear feet)

Series 7: Printed Material, 1940-1997 (Box 23, OV 31; 1.1 linear feet)

Series 8: Photographic Material, 1913-1997 (Box 24, 30; 1 linear foot)

Series 9: Artwork, 1917-1991 (Box 24-25, 30; 0.5 linear feet)

Series 10: Stephen Hoag papers, 1906-1960 (Box 25; 0.3 linear feet)

Series 11: Esther Rosencranz papers, 1894-1959 (Box 25; 0.1 linear feet)
Biographical/Historical note:
Beatrice Wood (1893-1998) was a ceramicist, painter, and writer who relocated to Ojai, California in 1948.

Beatrice Wood was born on March 3, 1893 in San Francisco to socially prominent and wealthy parents. In the late 1890s, the family moved to New York City where Wood was expected to begin the process of "coming out" in New York society. This process included boarding schools, a convent school in Paris, and frequent summer trips to Europe where she was exposed to museums, galleries, and the theater. Wood studied acting and dance in Paris until the outbreak of the war in 1914. She returned to New York and soon joined the company of the French National Repertory Theatre. From 1914 through 1916, Wood played over 60 parts as a stage actress.

In 1917, Wood met the writer Henri Pierre Roche, with whom she had a brief affair and a long friendship. Roche introduced her to the New York world of artists and writers and encouraged her interest in drawing and painting. During a visit to see the composer Edgard Varese in the hospital, Wood met Marcel Duchamp, with whom she had a love affair and who also had a strong influence in her development as an artist. Their long discussions about modern art encouraged Wood to show Duchamp a recent drawing entitled "Marriage of a Friend." Duchamp liked the drawing so much that he published it in Rogue, a magazine partly financed by Walter and Louise Arensberg, friends of Duchamp. The Arensbergs were pioneering collectors of modern art and soon became friends of Wood as well. She became a frequent guest at their evening gatherings, forming friendships with Walter Pach, Francis Picabia, Joseph Stella, Myrna Loy, Galka Scheyer, and others.

Through Duchamp and the Arensbergs, Wood was introduced to the world of the New York Dada. Following the formation of the Society of Independent Artists in 1917, Wood exhibited work in their Independents exhibition. Together with Duchamp and Roche, she published a short-lived avant-garde journal, called Blind Man, in which the Alfred Steiglitz photograph of Duchamp's famous ready-made "Fountain" appeared. She also designed the poster for the Dada event, The Blind Man's Ball.

Throughout the 1920s, Wood continued to draw and paint, especially watercolors. Late in 1927, she moved to California to join the Arensbergs, who had been there since 1921. She also developed an interest in clay and took her first ceramics classes with Glen Lukens at the University of Southern California in the late 1930s. In 1940 Wood studied with Otto and Gertrud Natzler, Austrian potters who were known for their technical mastery and ability to throw almost perfectly formed pots. The Natzlers taught her how to throw pots and calculate glaze formulas.

Museums and galleries began to take an interest in her pottery and she held several shows in New York, San Francisco, and Phoenix. Several department stores, including Nieman Marcus and Gumps, also began to feature her pottery. During the 1940s, Wood began making figurative art in addition to more traditional pots. In 1947, for example, she included a large blue fish with white spots in an exhibition at the Los Angeles County Museum of History, Science, and Art. As her skills developed, Wood moved to a new home and studio in Ojai, California. By 1950, Wood was experimenting with luster surfaces, pottery with a metallic glaze that gives the effect of iridescence. These lusterware plates, in addition to her decorative figures and traditional ceramics, were sold at her studio, advertised with a sign out front that read "Beatrice Wood: Fine Pottery, Reasonable and Unreasonable."

In 1961, Wood visited India as a cultural ambassador, sponsored by the State Department. She toured the country and showed her work in fourteen cities. She became enamoured with Indian decorative arts and began to weave shimmering gold and silver threads into her palatte. Wood returned a second time in 1965 at the invitation of the Indian government. It was during this trip that she decided to adopt the sari as her style of dress, a style she continued until her death in 1998. She made her third and last trip to India in 1971. Her book, 33rd Wife of a Maharajah is about her adventures in India.

Wood always enjoyed writing, recording her daily activities in a diary and creating stories about her experiences with friends and colleagues. She published her first book, Angel Who Wore Black Tights in 1982, followed by her autobiography, I Shock Myself, in 1985.

Wood considered her last 25 years as her most productive. In addition to her literary publications, Wood also had several successful exhibitions, including Intimate Appeal: The Figurative Art of Beatrice Wood at the Oakland Museum in 1990 and Beatrice Wood: A Centennial Tribute at New York's American Craft Museum in 1997. The film, Beatrice Wood: The Mama of Dada, was filmed on the occasion of her 100th birthday in 1993. She died in Ojai, California in 1998, nine days after her 105th birthday.
Related Archival Materials note:
The Archives of American Art holds two oral history interviews with Beatrice Wood completed by Paul Karlstrom in 1976 and 1992.
Provenance:
Beatrice Wood donated her papers in several accretions between 1976 and 2002. Additional material was donated by Francis Naumann in 1993 and the Beatrice Wood Personal Property Trust in 1999. Material from a 1977 loan was included in Wood's later donations.
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 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:
Art -- Philosophy  Search this
Authors -- California  Search this
Glazes -- Formulae  Search this
Women artists -- California  Search this
Art -- Economic aspects  Search this
Actresses -- United States  Search this
Ceramicists -- California  Search this
Art, Modern -- 20th century -- California  Search this
Genre/Form:
Drafts (documents)
Interviews
Photographs
Illustrated letters
Notes
Watercolors
Diaries
Transcripts
Lithographs
Short stories
Illustrations
Designs
Drawings
Bookplates
Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodbeat
See more items in:
Beatrice Wood papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodbeat
Online Media:

Chronological

Collection Creator:
Wood, Beatrice  Search this
Container:
Box 2, Folder 13
Type:
Archival materials
Date:
July-September 1955
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:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Beatrice Wood papers
Beatrice Wood papers / Series 2: Correspondence / 2.1: Chronological General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref100

Annotated Excerpts from 1937 Diary - "Scenario of an Operation,"

Collection Creator:
Wood, Beatrice  Search this
Container:
Box 20, Folder 42
Type:
Archival materials
Date:
circa 1985
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:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Beatrice Wood papers
Beatrice Wood papers / Series 5: Diaries / 5.2: Transcripts with Annotations
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref1000

Annotated Excerpts from 1961-1975 Diaries - Entries Regarding Ram Singh

Collection Creator:
Wood, Beatrice  Search this
Container:
Box 20, Folder 43
Type:
Archival materials
Date:
circa 1985
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:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Beatrice Wood papers
Beatrice Wood papers / Series 5: Diaries / 5.2: Transcripts with Annotations
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref1001

Excerpts from 1924-1928 Diaries - Miscellaneous Notes

Collection Creator:
Wood, Beatrice  Search this
Container:
Box 20, Folder 44
Type:
Archival materials
Date:
circa 1985
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:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Beatrice Wood papers
Beatrice Wood papers / Series 5: Diaries / 5.2: Transcripts with Annotations
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref1002

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