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Creator:

Lorne, Naomi, 1902-  Search this

Extent:

0.7 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1928-1964

Summary:

The scattered papers of painter and writer Naomi Lorne measure 0.7 linear feet and date from 1928 to 1964. Found are biographical materials, photographs of Lorne and her artwork, poetry, printed material, and a mixed-media scrapbook.

Scope and Contents:

The scattered papers of painter and writer Naomi Lorne measure 0.7 linear feet and date from 1928 to 1964. Found are biographical materials, photographs of Lorne and her artwork, poetry, printed material, and a mixed-media scrapbook.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Naomi Duckman Furth Lorne (1902-1964) was a painter and author in New York City, New York. Lorne attended the Art Students League, and City College of New York with A. T. Hibbard, George Bridgman, and Frederick J. Waugh.

Provenance:

Donated 1982 by Harold M. Le Roy.

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.

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:

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

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

Topic:

Women artists  Search this

Women painters  Search this

Women authors  Search this

Scrapbooks  Search this

Citation:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.lornnaom

See more items in:

Naomi Lorne papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bcfe76c7-b27a-4766-9281-b5b071ba6cba

EDAN-URL:

ead_collection:sova-aaa-lornnaom

Collection Creator:

Lorne, Naomi, 1902-  Search this

Container:

Box 2

Type:

Archival materials

Date:

1950-1964

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

See more items in:

Naomi Lorne papers

Naomi Lorne papers / Series 1: Naomi Lorne Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99370b365-ab8d-4450-87fc-b809bf1feb58

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref10

Collection Creator:

Lorne, Naomi, 1902-  Search this

Extent:

0.7 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

1928-1964

Scope and Contents:

Biographical material includes awards and certificates, a resume, and four letters concerning the publication of Lorne's poetry. Photographs depict Lorne, Lorne with her animals and her art, and works of art. Also found is one photo of an exhibition at the Carnegie Institute. Two dismantled notebooks were compiled by Lorne and include typed drafts of poetry written by her and by others as well as published clippings of Lorne's written pieces. Printed material includes scattered clippings and exhibition announcements and catalogs. One mixed media scrapbook contains clippings, correspondence, and exhibition material. Of note is a letter from sculptor Jane Wasey.

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.lornnaom, Series 1

See more items in:

Naomi Lorne papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw970f35391-46fa-46f4-9903-50f807d2e18f

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref3

Collection Creator:

Lorne, Naomi, 1902-  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

1955-1964

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

See more items in:

Naomi Lorne papers

Naomi Lorne papers / Series 1: Naomi Lorne Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96128a567-8601-4b2e-952b-758668a8a585

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref4

Collection Creator:

Lorne, Naomi, 1902-  Search this

Container:

Box 1, Folder 2

Type:

Archival materials

Date:

circa 1930-circa 1964

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

See more items in:

Naomi Lorne papers

Naomi Lorne papers / Series 1: Naomi Lorne Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ce7e7c9b-3af9-4d71-bf04-d178cda2e02d

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref5

Collection Creator:

Lorne, Naomi, 1902-  Search this

Container:

Box 1, Folder 3

Type:

Archival materials

Date:

circa 1960

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

See more items in:

Naomi Lorne papers

Naomi Lorne papers / Series 1: Naomi Lorne Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96211297a-a219-45b7-bddd-69747e36871b

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref6

Collection Creator:

Lorne, Naomi, 1902-  Search this

Container:

Box 1, Folder 4-5

Type:

Archival materials

Date:

1928-1960

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

See more items in:

Naomi Lorne papers

Naomi Lorne papers / Series 1: Naomi Lorne Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bea01d72-42da-437a-afe4-e03a7a7e6af3

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref7

Collection Creator:

Lorne, Naomi, 1902-  Search this

Container:

Box 1, Folder 6

Type:

Archival materials

Date:

circa 1945

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

See more items in:

Naomi Lorne papers

Naomi Lorne papers / Series 1: Naomi Lorne Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw924c4a80b-c6ec-4a04-98f7-3f52bc6601a3

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref8

Collection Creator:

Lorne, Naomi, 1902-  Search this

Container:

Box 1, Folder 7

Type:

Archival materials

Date:

circa 1950-1964

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:

Naomi Lorne papers, 1928-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

See more items in:

Naomi Lorne papers

Naomi Lorne papers / Series 1: Naomi Lorne Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw962ee8d35-06e8-48ef-8ff4-696efd2c7342

EDAN-URL:

ead_component:sova-aaa-lornnaom-ref9

Creator:

Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this

Names:

Saarinen, Eero, 1910-1961  Search this

White, Stanford, 1853-1906  Search this

Extent:

14.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Motion pictures (visual works)

Sound recordings

Interviews

Date:

1906-1977

Summary:

The Aline and Eero Saarinen papers measure approximately 14.2 linear feet and date from 1906 to 1977. The bulk of the collection consists of Aline Saarinen's papers which document her relationship with her husband Eero Saarinen and other aspects of their personal lives, as well as Aline's work as an art and architectural critic, author, and television correspondent. Papers include research files for published and planned books (in which can be found scattered original letters of Stanford White, John Quinn and Edward Root) and other projects, NBC correspondent files, writings, committee files, correspondence, photographs, printed material, and miscellaneous personal papers.

Scope and Content Note:

The Aline and Eero Saarinen papers measure approximately 14.2 linear feet and date from 1906 to 1977. The bulk of the collection consists of Aline Saarinen's papers which document her relationship with her husband Eero Saarinen and other aspects of their personal lives, as well as Aline's work as an art and architectural critic, author, and television correspondent. Papers include research files for published and planned books (in which can be found scattered original letters of Stanford White, John Quinn and Edward Root) and other projects, NBC correspondent files, writings, committee files, correspondence, photographs, printed material, and miscellaneous personal papers.

The portion of the collection relating to personal aspects of Aline and Eero Saarinen's lives consists of: Aline Saarinen's diary, guest book, notebooks, personal writings, biographical material, awards and honorary degrees; scattered papers of Eero Saarinen, including biographical material, drawings of furniture designs, various sketches and drawings, and some project timelines and notes; correspondence between Aline and Eero Saarinen (the bulk of which dates from the year they met and married), as well as general and family correspondence received by Aline Saarinen and some miscellaneous and personal correspondence of Eero Saarinen; printed material, mostly clippings, documenting aspects of the life, work, and achievements of both Aline and Eero Saarinen; and photographs, including ones of Aline Saarinen, Eero Saarinen, Aline and Eero Saarinen together, and family members, as well as ones from various trips and of various residences, and various slides.

The bulk of the collection consists of material, including research and writing files, NBC correspondent files, and committee files, stemming from Aline Saarinen's various professional activities. Writings include manuscripts, typescripts, notes, notecards, and clippings of Aline Saarinen's various articles, lectures and speeches on art and architecture, scripts for television, creative and college writing. Research files include material for Saarinen's published book on art collectors, The Proud Possessors, and her planned, but never completed, biography of the architect, Stanford White. Research material for The Proud Possessors includes files of notes, manuscripts, correspondence, photographs and printed material on art collectors, and related material such as scrapbooks of correspondence and clippings in response to the book. Files also include scattered original material, such as correspondence and photographs, belonging to the collectors, John Quinn and Edward Root. Research material on Stanford White includes correspondence, notebooks, writings, printed material, photographs, and copies of architectural drawings. Also found is scattered original material belonging to Bessie White, Stanford White, and the firm of McKim, Mead and White. NBC material consists of files, including correspondence, printed material, notes, scripts, motion picture films and video transfers, and photographs, kept by Aline Saarinen while working as a television correspondent. Also found are miscellaneous research files on artists that may relate to television or other projects and files stemming from her involvement in various arts-related and other committees.

Arrangement:

The collection is arranged into two series:

Missing Title

Series 1: Aline and Eero Saarinen Personal Papers, 1928-1977 (Boxes 1-4, 15, OV 16; 3.7 linear feet)

Series 2: Aline Saarinen Professional Papers, 1906-1969 (Boxes 4-15, OV 16, FC 17-18; 10 linear feet)

Biographical Note:

Aline Bernstein Saarinen was born on March 25, 1914 in New York City. She attended Vassar College, where she took art courses and became interested in journalism, and graduated with a B.A. in 1935. She went on to receive her M.A. in the history of architecture from the Institute of Fine Arts at New York University in 1941. She married Joseph H. Louchheim in 1935, and they had two sons, Donald and Harry (or Hal). They divorced in 1951.

Aline joined the staff of Art News Magazine in 1944 and served as managing editor from 1946 to 1948. She edited and provided commentary for the book, 5000 Years of Art in Western Civilization, which was published in 1946. She served as associate art editor and critic at The New York Times from 1948 to 1953 and then as associate art critic from 1954 to 1959. She received awards for her newspaper work, including the International Award for Best Foreign Criticism at the Venice Biennale in 1951, the Frank Jewett Mather Award for best newspaper art criticism in 1953, and the American Federation of Arts Award for best newspaper criticism in 1956.

In 1953, Aline interviewed the architect Eero Saarinen for an article. Eero was born in 1910 in Kirkkonummi, Finland, and received his B.F.A. in Architecture from Yale University in 1934. He began work as an architect in his father Eliel Saarinen's firm and went on to start his own firm, Eero Saarinen and Associates. Among his best-known works are the Gateway Arch in St. Louis, Missouri, the Trans World Air Lines Terminal Building at John F. Kennedy Airport in New York, and Dulles International Airport in Chantilly, Virginia.

Aline and Eero became romantically involved shortly after they met and were married in December 1953. The following year, they had a son, Eames (named after Eero's friend, the designer and architect Charles Eames). After their marriage, Aline relocated to Bloomfield Hills, Michigan, where she continued to work as associate art critic for The New York Times and where she served as Director of Information Service in the office of Eero Saarinen and Associates (from 1954 to 1963).

In 1957, she received a Guggenheim Fellowship to work on a book about major American art collectors, The Proud Possessors, which was published by Random House in 1958. Thereafter, she began work on a biography of the architect, Stanford White, also for Random House; this work continued for several years, but the book was never completed. Over the years, she wrote numerous freelance articles on art, architecture, socio-cultural history, travel, and theater for magazines such as Atlantic Monthly, Vogue, Saturday Review of Literature, Reader's Digest, and Cosmopolitan.

After Eero's sudden death in 1961, Aline edited the book, Eero Saarinen on His Work (1962). She then embarked upon a new career in television, appearing on shows such as "Today" and "Sunday" where she reported on manners, morals, culture, and the arts, and eventually becoming, in 1964, an NBC News correspondent for such shows as "The Huntley-Brinkley Report" and "The Frank McGee Report" in addition to the shows on which she was already appearing. In 1971, she was appointed chief of the NBC News Paris Bureau, becoming the first woman to hold such a position in television.

In the 1960s, Aline served on various arts-related committees, including the Design Advisory Committee of the Federal Aviation Administration, the Fine Arts Commission, and the New York State Council of the Arts. She received honorary degrees from the University of Michigan in 1964 and Russell Sage College in 1967.

Aline Saarinen died from a brain tumor on July 13, 1972.

This biographical notes draws from the one on Aline Bernstein Saarinen by Seymour Brody in Jewish Heroes and Heroines of America: 150 True Stories of American Jewish Heroism, and from the one on Eero Saarinen in the Guide to the Eero Saarinen Collection at Yale University Library.

Related Material:

Also found in the Archives are: the Museum of Modern Art exhibition correspondence concerning Eero Saarinen, 1958-1959; the Lily Swann Saarinen papers, 1924-1974; an oral history interview with Lily Swann Saarinen, 1979-1981; and an oral history interview on Aline Saarinen with Charles Alan, 1973 February 17.

Other related material includes: Eero Saarinen Collection, Manuscripts and Archives, Yale University Library.

Separated Material:

Two exhibition catalogs and various clippings that were donated as part of the collection were transferred to the Smithsonian American Art Museum Library in 1981.

Provenance:

The Aline and Eero Saarinen papers were donated in 1973 by Charles Alan, Aline Saarinen's brother and executor of her estate, and microfilmed. In 1966 five photographs of Eliel Saarinen's home in Helsinki, Finland were donated by Florence Davis and were subsequently integrated into the collection. The NBC material was donated in 1974 by NBC Studios via Charles Alan. Additional material, which had originally been donated to the Parrish Museum by Aline Saarinen, was donated to the Archives in 1991 by the Museum.

Restrictions:

The collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

Rights:

NBC TV scripts or film prepared for television: Authorization to publish, quote or reproduce requires written permission from NBC Studios. Contact Reference Services for more information.

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:

Architectural historians -- Michigan  Search this

Topic:

Architecture -- United States  Search this

Architects -- Michigan -- Bloomfield Hills  Search this

Art -- Collectors and collecting -- United States  Search this

Women architectural critics  Search this

Women art critics  Search this

Women art historians  Search this

Genre/Form:

Photographs

Motion pictures (visual works)

Sound recordings

Interviews

Citation:

Aline and Eero Saarinen Papers, 1906-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.saaralin

See more items in:

Aline and Eero Saarinen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ab34d23d-c985-4fd3-a40e-682175cb4a4d

EDAN-URL:

ead_collection:sova-aaa-saaralin

Collection Creator:

Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this

Type:

Archival materials

Date:

1936-1970

Scope and Contents note:

Subseries consists of correspondence between Aline and Eero Saarinen, general and family correspondence received by Aline Saarinen, and some miscellaneous correspondence received by Eero Saarinen. Also found are some personal letters of Eero Saarinen detailing the demise of his marriage to his first wife (Lily Swann Saarinen) which seem to have been written as part of undergoing psychotherapy and are addressed to his psychiatrist, "Dr. B", as well as a letter ending his relationship to a woman named Sampe, which may be a draft or a copy, though it is unclear whether the letter was ever actually sent.

Correspondence between Aline and Eero Saarinen primarily dates from 1953, the year they met and married. Their correspondence documents the evolution of their relationship from time they met when Aline interviewed Eero for an article for The New York Times to Eero's divorce and their subsequent remarriage to each other. Also included are homemade birthday cards from Aline to Eero (of particular note is the one from 1953 which details the history of their romance). In addition to relationship matters, their correspondence typically concerns Aline's article on Eero, Eero's architectural projects (or as he puts it, "what goes on in my mind about work"), a forthcoming speech of his in Cleveland on which Aline assisted him, Aline's articles, Eero's divorce proceedings, their future plans, and sculpture for one of Eero's buildings. By and large, their correspondence from 1953 is undated according to month or day. Therefore, letters from that year are only arranged in rough chronological order.

Aline Saarinen's general correspondence includes letters from friends, editors, her literary agent, lawyers, architects and designers, writers, government and university departments, political figures, and television producers, concerning articles, book ideas, dedication of Saarinen buildings, patents for Saarinen furniture designs, television shows, and committee work, among other matters. Correspondents include: Meyer Schapiro, Charles Eames, Louise Mendelsohn, Wayne Andrews, Hoke Norris, Hiram Haydn, Donald S. Klopfer, Bernice Cozzens, Lincoln Kirstein, The New York Times, James Gould Cozzens, J. Irwin Miller, Dwight D. Eisenhower (?), McCall's, Henry Dreyfuss, Lyndon B. Johnson, New York State Department, Russell Sage College, U.S. Department of Interior, Lady Bird Johnson, Nelson Rockefeller, and Wolf Von Eckhardt. General correspondence is typically arranged in chronological order. More extensive correspondence from Clifford Odets (which includes some drawings by Odets) and Frank Lloyd Wright (which concerns the Guggenheim Museum) is arranged into files according to correspondent.

Eero Saarinen's miscellaneous correspondence includes copy of a letter to Huntington Hartford concerning the relationship between architecture and nature, and letters to and from S. Giedion regarding a plan for an International Exhibition of Modern Architecture, in addition to other scattered letters and the personal letters detailing his relationships with Lily and Sampe. Some or all of these letters may have been ones that Eero shared with Aline, which may be how they came to be amongst her papers.

Family correspondence is comprised mainly of letters from Aline Saarinen's first husband, Joseph Louchheim, when he was working in Liberia for two months in 1949, and from her two sons from her first marriage, Donald and Hal Louchheim. Also found are individual letters to Eero's son from his first marriage, Eric, and from their son, Eames.

Collection Restrictions:

The collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

Collection Rights:

NBC TV scripts or film prepared for television: Authorization to publish, quote or reproduce requires written permission from NBC Studios. Contact Reference Services for more information.

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:

Aline and Eero Saarinen Papers, 1906-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.saaralin, Subseries 1.2

See more items in:

Aline and Eero Saarinen papers

Aline and Eero Saarinen papers / Series 1: Aline and Eero Saarinen Personal Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw985887299-4fbc-469c-b9e1-17969ff7da6e

EDAN-URL:

ead_component:sova-aaa-saaralin-ref49

Creator:

Baber, Alice  Search this

Extent:

3.6 Linear feet ((ca. 120 items))

Type:

Collection descriptions

Archival materials

Scrapbooks

Interviews

Photographic slides

Date:

1934-1983

Scope and Contents:

Reels 4030-4032 A passport, 1951; 5 biographical accounts; 2 lists of exhibitions; correspondence, 1958-1983; the will of Dexter Baber; an inventory of possessions; income tax returns; loan applications; price lists, 1966-1981; contracts, 1968-1980; consignment agreements, 1976-1981; miscellaneous business records, 1962-1982; notes on poetry; notebooks from classes on religion and writing; course outlines, 1972; notes on color forum, 1972; notes for "Age of Color" article; essays by Baber on Paul Jenkins, on color, and on organic found form; writings about Baber; reviews of Baber's work, 1963-1975;

a scrapbook of printed material, 1973-1978; clippings, 1957-1983; press releases, 1963-1978; exhibition announcements and catalogues, 1958-1983; reproductions of works of art; articles "Women Artists on Tenth Street," by Nancy Ungar, "Conference of Women in the Visual Arts," 1972, and "Report on the Status of Faculty Women at the University of Colorado at Colorado Springs," 1972; manuscript "Index for Nancy Hanks - Undistinguished Families" by Adin Baber; miscellaneous printed material, 1965-1978;

interview transcripts, "Reminiscences of the Tenth Street Days," with Charles Cajori and Lois Dodd, "American Women and Social Change - Women in Politics" with Mary Lou Burg, Jeane J. Kirkpatrick, and Patricia Lindh, "American Women and the Spirit of '76 - Women and Political Office" with Rita Hauser, and Magda Bleier, and "Women and the Law" with Marguerite Rawalt, Susan Ross, and Ruth Osborn;

photographs of Baber, 1957-1977, her family, Baber with Paul Jenkins, 1965, Baber participating in panel discussions and in the Professional Women Artists Project in Central Park, exhibition openings, installations, and of works of art and quilts;

Unfilmed material: untranscribed audio tape of a 1972 interview with Karl Fortess for the Archives of American Art; audio dub of a 1974 television program "Woman: the Artist," with Barbara Braathen; six video 1/2" video reels from "Funtioning in the Art World," 1977, with Sari Diemes, Isabel Bishop, C. Von Wiegand, Lil Picard, M. Citron, and Alice Neel; 61 slides of works of art; thirteen slides of a demonstration march; and twelve slides of a house.

Biographical / Historical:

Painter and printmaker; b. 1928, d. 1982.

Provenance:

Donated 1979-1985 by Alice Baber and Norbert Nelson.

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:

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

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

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Genre/Form:

Scrapbooks

Interviews

Photographic slides

Identifier:

AAA.babealic

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw914a6da4e-b925-47c5-b418-51638c1d9bf3

EDAN-URL:

ead_collection:sova-aaa-babealic

Creator:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

24.9 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1804-1986

bulk 1939-1972

Summary:

The papers of Joseph Cornell (1903-1972) measure approximately 24.9 linear feet and date from 1804 to 1986 with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.

Scope and Content Note:

The Joseph Cornell papers measure approximately 24.9 linear feet and date from 1804 to 1986, with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers (which comprise a series of biographical material). The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.

Cornell's correspondence is typically with family, friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired, "helpers," and various charitable institutions. Correspondence generally concerns the creation, exhibition, sale, and reception of Cornell's art work; his "explorations" and other research and collecting activities; his preoccupations with certain individuals and motifs; his usual practices of giving gifts of art work to those he liked or admired and making donations to charities in aid of those less fortunate; and his relationships and shared interests with family, friends, and colleagues. Also found is correspondence between and amongst various other members of the Cornell family, including, most notably, Robert Cornell's letters to his sisters, Elizabeth (typically addressed as Nell) and Helen.

Dating from 1941 to 1972, Cornell's diaries span almost the entirety of his career as an artist, which began in earnest when he left his job at the Traphagen textile studio in 1940 to pursue art full-time and ended with his death in 1972. The diaries record his day-to-day experiences (usually comprising his thoughts, feelings, impressions, and ideas); and reflect on his various art projects (boxes, films, and collages) and creative activities ("explorations," and various other research, collecting, and publishing ventures). They also explore many of the themes and underlying concerns of his art work; and document his intense preoccupations with certain individuals, his wide-ranging interests, and the interconnectedness of his ideas and activities. Cornell's style of writing in the diaries tends to be stream-of-conscious with entries being composed of phrases, rather than complete sentences and with the progression of passages being more poetic and associative than either logical or narrative. He tended to compose by hand, occasionally typing up his notes into more formal entries, and also to use abbreviations for oft-repeated words and initials for individuals. At times, his handwriting can be difficult to read, and his references can be difficult to decipher. It was also common practice for him to review or revisit previous entries at various points in time, often making revisions or comments on them with dated annotations in the margins or on the reverse side of a page.

Cornell's source material is largely comprised of files of newspaper and magazine clippings, cutouts, notes, writings, book excerpts, photostats (or stats), prints, postcards, art reproductions, and other printed material. Some files are devoted to people (ballerinas, actresses, singers, artists, and writers) and topics (astronomy, romantic and modern ballet, birds, films, literature, music, plants, and science, among others). Other files relate to specific art works, "explorations," publishing projects, and exhibitions. Source material documents Cornell's preoccupation with certain individuals (past and present), events, subjects, and motifs; the development of some of his major "explorations" and their influence on his various artistic and commercial projects; and his work on certain box constructions and collages, publishing ventures, and exhibition catalogues. Source material also sheds light on Cornell's efforts to gain access to the past; his interest in the symbolism of images and objects; the linkages he found between seemingly unrelated things; and the connections between his many creative endeavors.

Ephemera and artifacts include various objects, mementos, and items of memorabilia, some of which were accumulated by Cornell (in much the same way that he collected his source material) and some of which are of uncertain origin. For Cornell, items such as these were not merely inanimate objects, but were instead evocative of past worlds and capable of bringing the past into the present (an idea which he often expressed in his diaries as the "metaphysique d'ephemera"). He seems to have used some of these items in a layout he designed for Good Housekeeping. Other items may have been used as source material for some of his box constructions.

The collection also houses photographs of Cornell, his family, art work, other artists, and friends, as well as photographs taken by various individuals and publicity photographs from the New York City Ballet. Also found are scattered works of art, including collage fragments and Rorschachs (or ink blot drawings) by Cornell, collages by Cornell's sister, Betty Cornell Benton, on which he collaborated, and a box by Christine Kaufman, which was a gift to Cornell. The books in the collection most likely comprise the remainder of Cornell's library, which was transferred to the Joseph Cornell Study Center, and include some that seem to have belonged to his sister, Betty. Printed material includes various publications and clippings collected by Cornell apart from that which he collected as source material. Writings about Cornell include an article by the poet, Mina Loy, and copies of various theses, presentations, and articles by graduate students in art history received by Benton (who assisted them in their research).

The Joseph Cornell Estate Papers consist of correspondence relating to Betty Cornell Benton's administration of the part of Cornell's estate for which she was responsible and legal documents relating to her various legal disputes with the executors of the estate, as well as a limited amount of printed material, some of which was originally accumulated by Cornell and subsequently shared with Benton, and miscellaneous papers belonging to Benton and their mother, Helen S. Cornell. Estate Papers provide insight on the exhibition and sale of Cornell art works after his death; the disposition of his belongings (including art work, papers, books, records, and source material); and Benton's efforts to foster and safeguard the memory and legacy of Cornell. The Robert Cornell Papers include correspondence, writings, art works, photographs, printed material, and scattered financial and personal records, documenting the full and creative life Robert led despite being confined to a wheelchair. Their inclusion in the collection suggests the family's effort to foster Robert's memory.

Arrangement:

The collection is arranged into eleven series:

Missing Title

Series 1: Biographical Material, 1918-1972, 1975 (Box 1; 0.8 linear feet)

Series 2: Correspondence, 1909-1982 (Boxes 1-5, OV 31; 4.3 linear feet)

Series 3: Diaries, 1941-1973 (Boxes 6-10; 5 linear feet)

Series 4: Source Material, 1804-1972 (Boxes 11-18, 25-28, OV 29; 8.5 linear feet)

Series 5: Ephemera and Artifacts, 1858-1946 (Boxes 18, 23; 0.8 linear feet)

Series 6: Photographs, circa 1905-1972 (Boxes 18, 28, OV 30; 0.3 linear feet)

Series 7: Art Works, circa 1966-1971 (Boxes 19, 23; 0.2 linear feet)

Series 8: Books and Printed Material, 1806-1968 (Boxes 19, 23; 0.5 linear feet)

Series 9: Writings about Cornell, 1950, circa 1975-1980 (Box 19; 0.3 linear feet)

Series 10: Joseph Cornell Estate Papers, circa 1911, 1944-1986 (Boxes 19-22; 3.5 linear feet)

Series 11: Robert Cornell Papers, 1924-1965 (Boxes 24, 28; 0.4 linear feet)

Biographical Note:

Joseph Cornell, assemblagist, collagist, and filmmaker, was born on December 24, 1903 in Nyack, New York. He was the oldest son of Joseph I. Cornell, a textile salesman and designer, and Helen Storms Cornell, and had two younger sisters, Elizabeth (b. 1905), nicknamed Nell and later Betty, and Helen (b. 1906), and a younger brother, Robert (b. 1910), who suffered from cerebral palsy. Cornell shared close relationships with his siblings, and was especially attached to his brother whom he took care of as an adult. His fondest childhood memories included family Christmas celebrations, outings to Manhattan where he saw vaudeville shows and strolled around Times Square, and trips to Coney Island where he encountered penny arcade machines. These childhood memories, among others, inspired some of the themes later explored in his art work.

After his father's death in 1917, Cornell was sent to study at the Phillips Academy in Andover, Massachusetts. He remained there for four years, but left without receiving a diploma. During this time, the family moved from Nyack to Bayside, Queens, where they lived in a series of rented houses. Cornell rejoined his family in 1921, at which time he went to work as a salesman in the Manhattan office of a textile wholesaler, the William Whitman Company. He joined the Christian Science church in the mid-1920s, and in 1929, the family bought a house at 37-08 Utopia Parkway in Flushing, where he resided for the rest of his life, living there with his mother and brother after both his sisters married and moved away.

During the 1920s, Cornell developed his passion for walking the city streets and taking in their sights, sounds, and impressions; browsing in the secondhand bookshops along Fourth Avenue; and collecting material such as books, prints, postcards, and printed and three-dimensional ephemera. He cultivated his growing interest in culture and the arts by attending opera and ballet performances, seeing plays (the 1922 play Rain, which starred Jeanne Eagels, was among his favorites), visiting galleries and museums, reading, and going to the movies.

In 1931, Cornell began to frequent the Julien Levy Gallery, where he encountered Surrealist art for perhaps the first time. Around this time, he created his first works of art - a series of black-and-white collages composed from cutouts of nineteenth-century engravings - inspired by Max Ernst's collages, in particular his collage-novel, La Femme 100 tetes (1929). Cornell went on to create three-dimensional works of art such as pill boxes and a glass bell series (consisting of objects arranged under a bell jar). His work, including several collages and a glass bell, was first exhibited as part of the groundbreaking "Surrealisme" show at the Levy Gallery in January 1932. He also designed the cover of the show announcement. His first one-man show at the gallery, "The Objects of Joseph Cornell," followed in the fall of 1932. (It was seven years before his next solo show.) By this time, Cornell had been laid off from his job at Whitman's. He was out of work for several years before getting a job as a textile designer at the Traphagen Commercial Textile Studio in 1934. During the next several years, he continued to work on his art at night.

Around this time, Cornell began collecting movies and movie stills, and embarked upon various film-related projects. In 1933, he wrote a scenario for a silent movie, Monsieur Phot. A few years later, he made his first film, Rose Hobart (1936), comprised of re-edited footage from the B-movie, East of Borneo (1931), which starred the actress, Rose Hobart. And he began work on a trilogy of collage-films - The Children's Party, Cotillion, and The Midnight Party (circa 1937). He then took a break from making films until the mid-1950s, but continued to collect film-related material, which he began to incorporate into his other art work.

In 1936, Cornell constructed his first glass-fronted shadow box, Untitled (Soap Bubble Set), which was included that same year in the "Fantastic Art, Dada and Surrealism" exhibition at the Museum of Modern Art, along with a cabinet box and several glass bells. In creating some of his other early boxes, he began the practice of using photo reproductions of images which he located in books and magazines, or in the Picture Collection at the New York Public Library, among other places. In his tribute boxes to actresses (1930s), he made use of publicity shots, and in the box, Dressing Room for Gilles (1939), he employed a photostat (or stat) of a reproduction of Jean-Antoine Watteau's painting, Gilles (1718).

Over the years, Cornell came into contact with various figures of the art, dance, and literary worlds. In the 1930s and 1940s, he met the artists, Max Ernst, Marcel Duchamp, and Salvador Dali, and befriended the artists, Lee Miller and Dorothea Tanning. His formative friendships during 1940s were with the artist, Pavel Tchelitchew, the writers, Charles Henri Ford (founder of the avant-garde periodical, View), Parker Tyler, and Donald Windham, and the balletomane, Lincoln Kirstein (founder of Dance Index). His other friends included the artists, Roberto Matta Echaurren and Robert Motherwell, the dancer and actress, Tilly Losch, and the poets, Mina Loy and Marianne Moore. In the 1950s, he associated with artists from the Abstract Expressionist movement, including Willem de Kooning, Jack Tworkov, and Mark Rothko. Beginning in the mid-1950s, he befriended many young artists, including Lee Bontecou and Carolee Schneeman, and young actresses, including Lois Smith, Gwen Van Dam, and Suzanne Miller, whom he sought to appear in his films. And in the early 1960s, he met the Pop artists, Robert Indiana, James Rosenquist, and Andy Warhol.

Beginning in 1940, Cornell developed a keen interest in dance, particularly ballet. Ballerinas from the Romantic era, such as Marie Taglioni and Fanny Cerrito, especially captured his imagination, inspiring such works as the box, Taglioni's Jewel Casket (1940), and the Portrait of Ondine "exploration," which comprised a portfolio of material relating to Cerrito and her famous role in the ballet, Ondine. Cornell was also fascinated with the modern counterparts of the Romantic ballerinas. In 1940, he befriended the Russian ballet dancer, Tamara Toumanova, and over the years produced many works in homage to her, including swan boxes (inspired by her role in Swan Lake), boxes made with scraps from her costumes, and scrapbooks of clippings, stats, and memorabilia. In 1949, he became enamored of the French dancer, Renee "Zizi" Jeanmarie, after seeing her perform in Carmen and meeting her backstage, and he created several dance-related boxes in her honor. In 1957, he met the ballerina, Allegra Kent. After meeting again in 1964, they became friends, and she served as the subject of several works based on images reproduced from a Parmigianino painting.

In December 1940, Cornell left his job at the Traphagen textile studio to pursue art full-time. He set up a workshop in the basement of the house on Utopia Parkway, which served as a combination studio and storage space. While he spent most days at home, he continued to make regular trips into Manhattan to wander around the city, visit with friends, and hunt for material. Around this time, he began to keep a diary, recording his day-to-day experiences (usually comprising his thoughts, feelings, impressions, ideas) on scraps of paper (including used envelopes, paper bags, napkins, and ticket stubs, among other fragments). He would then type up some of these notes into more formal diary entries, but most of them remained, in his word, "scribblings." Diary keeping eventually became one of his primary activities, along with box construction, collage, research, and collecting.

By this time, his art work was beginning to sell, yet he was not able to live from these sales alone. During the 1940s, he primarily supported himself by doing freelance work for magazines such as Vogue, Harper's Bazaar, and Good Housekeeping, supplying illustrations from his picture collection and designing covers and layouts. He also regularly contributed pieces to View and Dance Index. His notable contributions to View included "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (December 1941), "Story Without a Name - for Max Ernst" (April 1942), and "The Crystal Cage [portrait of Berenice]" (January 1943). His projects for Dance Index included various collage-covers, essays, and thematic issues, such as the Summer 1944 issue, which comprised a 22-page tribute to the Romantic ballerinas, Taglioni, Carlotta Grisi, Cerrito, and Fanny Elssler. To supplement his income, Cornell also held brief positions at an electronics plant, the Allied Control Company, Inc. (in 1943), and at a nursery, the Garden Centre (in 1944).

In 1942, Cornell created one of his more memorable works, Medici Slot Machine, embarking upon a large series of Medici boxes in which he utilized reproductions of portraits by Italian Renaissance artists, such as Sofonisba Anguissola and Pinturicchio. His other boxes from this time period explored themes ranging from ballet, as in A Pantry Ballet (for Jacques Offenbach) (1942), to doomed love, as in Paolo and Francesca (1943-48), to nature, as in the Sand Boxes (1940s) and Sand Fountains (1950s). Cornell often created boxes in series, producing variations on a theme with variants that differed significantly or only slightly. Over the years, series included: Pink Palaces, Pharmacies, Habitats, Aviaries, Dovecotes, Hotels, Observatories, and Night Skies, among others.

In late 1945, Cornell joined the Hugo Gallery, which was run by Alexander Iolas, and a year later mounted the show, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell" (December 1946). He designed the exhibition catalog for this show, which consisted of portraits - box constructions, objects, and "dossiers" - of the opera singers, Giuditta Pasta and Maria Malibran, the ballerinas, Taglioni and Cerrito, and the actresses, Eleanora Duse, Jeanne Eagels, Greta Garbo, and Jennifer Jones, and which also featured one of his most famous boxes, Untitled (Penny Arcade Portrait of Lauren Bacall) (1945-46).

In 1949, Cornell joined the Egan Gallery, which was run by Charles Egan. Around this time, he began creating his series of Aviary boxes, which explored the symbolism of birds and birdcages. He showed twenty-six of these box constructions in his first exhibition at the Egan Gallery, "Aviary by Joseph Cornell" (December 1949-January 1950). He created other series of whitewashed boxes, including the Dovecote series and a small group relating to the poet, Emily Dickinson. He then went on to explore the themes of astronomy and celestial navigation in the Observatory, Night Skies, and Hotel series. Works from these series were featured in his two remaining shows at the Egan Gallery, "Night Songs and Other Work" (December 1950-January 1951) and "Night Voyage" (February-March 1953). In the fall of 1953, sparked by seeing the painting, Figure Seated in a Cafe (1914), Cornell embarked upon a major series of bird constructions dedicated to the Cubist artist, Juan Gris. Notably, these were the only boxes he explicitly dedicated to another artist.

Over the next couple of years, Cornell's work was exhibited across the country. In 1955, he joined the Stable Gallery, which was run by Eleanor Ward. His first one-man show there, in the winter of 1955-56, was "Winter Night Skies," which featured various box constructions based on constellations. During the mid-1950s, he embarked upon a series of Sand Fountains (vertical standing boxes featuring a broken glass and sand that flowed through it when turned upside down), elaborating upon his earlier Sand Boxes (1940s). These boxes along with some of his other latest works, including the Bleriot boxes and the Space Object boxes (which comprised his final box series), were exhibited in his second and last show at the Stable Gallery, "Selected Works" (December 1957).

After leaving the Stable Gallery, Cornell had several dealers handle his work rather than allowing any one to assume too much control. Dealers included Richard Feigen (in Chicago and then in New York) and Irving Blum (in California), among others. Throughout his career, Cornell never liked selling his boxes. He was always reluctant to let his work go and became increasingly uneasy about the growing status of his work as a commodity. He preferred instead to make gifts of his art work to friends and individuals he admired (especially female ones).

In the mid-1950s, Cornell returned to making films. Rather than just splicing together found images as he had in his films of the 1930s, he began to collaborate with others to shoot original footage. He worked with the experimental filmmaker, Stan Brakhage, on two films, one about the Third Ave El which was about to be torn down ( Wonder Ring or Gnir Rednow) and the other about an old house in Cornell's neighborhood that was slated for demolition ( Centuries of June). Cornell then went on to make nine films with the filmmaker, Rudy Burckhardt, including Aviary, A Legend for Fountains, and Nymphlight, among others. In the late 1960s, he enlisted the help of Larry Jordan, who was also a filmmaker, in completing the trilogy of collage-films that he had begun in the 1930s.

Along with creating works of art and making films, Cornell was involved in a host of other creative endeavors throughout his career as an artist. These included: keeping a diary, which was for him another medium for exploring and expressing the themes, ideas, and concerns recurrent in his art work; carrying out "explorations," which typically involved conducting research, collecting material, and compiling files on persons or topics of interest to him; and other projects, such as publishing pamphlets (or brochures) dedicated to the nineteenth-century opera singers, Malibran and Giulia Grisi. Cornell's "explorations" clearly informed his artwork, but they were also works of art in and of themselves. He continually sought to share this work with an audience and twice had the opportunity to do so, when he exhibited versions of his Portrait of Ondine "exploration" at the Museum of Modern Art in 1945 and at the Wittenborn Bookstore in 1956.

Around the mid-1950s, Cornell returned to making collages as independent works of art. Unlike his earlier ones, which were composed from cutouts of black-and-white engravings, his latest collages were made with color images cut out of contemporary magazines and books. In these collages, he explored many of the same themes and preoccupations of his box constructions, including birds, as in Couleur de Peche (1967) and Untitled (Vierge Vivace) (1970), children's games, as in the Penny Arcade series (1960s), and actresses, as in The Sister Shades (1956). Towards the end of his career, collage became his principal medium.

By this time, Cornell was taking fewer trips into Manhattan. Instead, he spent more time at home or traveled only so far as downtown Flushing, where he frequented the public library, hunted for material in stores, such as Woolworth's, and passed time in the coffee-shops on Main Street. From this time on, he kept his diary with increasing regularity, taking down notations with more frequency and creating entries of greater length.

In 1961, fourteen of Cornell's boxes, including Medici Slot Machine, were exhibited as part of the "The Art of Assemblage" show at the Museum of Modern Art. As his biographer notes, Cornell came to view this show "as a turning point in his creative life," marking the "[fall] off in his work" that took place in the sixties (Solomon 271-2). He continued to work on boxes that he had begun long before, but, after this time, rarely if ever constructed new ones. Instead, he focused on making collages and became increasingly concerned with other projects, such as organizing his basement workshop, for which he hired various "helpers" or assistants (mostly young women) over the years. He also became more and more prone to obsessions (or preoccupations, as he called them) with various young women that he encountered both in fantasy (actresses on stage or in films) and in real life (working girls in the city, "teeners" on Main Street, or his female visitors and "helpers" at home). These preoccupations infused his diary writings, and inspired the keeping of "dossiers" on particular individuals and the creation of various collages dedicated to others, including most notably the Penny Arcade series dedicated to Joyce Hunter (or "Tina," as he referred to her in his writings).

After Robert's death in February 1965, Cornell created a series of collages in his memory, many of which incorporated his brother's drawings of animal characters. In January 1966, he exhibited some of these collages, alongside a selection of Robert's drawings, in a show at the Robert Schoelkopf Gallery, "Robert Cornell: Memorial Exhibition." In 1967, there were two retrospective exhibitions of Cornell's work, "An Exhibition of Works by Joseph Cornell" at the Pasadena Art Museum and "Joseph Cornell" at the Guggenheim Museum. By now, Cornell was receiving considerable public recognition for his work. He had received his first profile (by Howard Griffin) in the December 1957 issue of Art News and, ten years later, was treated to a 12-page spread (by David Bourdon) in the December 1967 issue of Life magazine. He was also the recipient of various prizes for his art work, including the M.V Kohnstamm Prize at the Art Institute of Chicago's "62nd American Exhibition of Painting and Sculpture" in 1957 and the winning prize in India's first Triennale of Contemporary World Art in 1968.

In the last years of his life (especially from the time of his mother's death in the fall of 1966), Cornell suffered from severe depression and loneliness, and withdrew even further from the outside world. However, he still maintained relationships with various young friends and artists, who frequently visited Utopia Parkway and/or served as one of his assistants. He became more and more interested in sharing his work with a younger audience and his last two exhibitions in 1972 were expressly for children, "A Joseph Cornell Exhibition for Children" at the Cooper Union School of Art and Architecture and "Joseph Cornell - Collages and Boxes" at the Albright-Knox Art Gallery in Buffalo, New York.

Cornell continued to work until the end of his life, "refurbishing" earlier boxes and creating memorial collages. Following prostate surgery in June 1972, he spent several months recuperating with family in Westhampton before returning to Utopia Parkway in November. He died of heart failure at home on December 29, 1972.

The biographical note draws heavily from Deborah Solomon's biography, Utopia Parkway: The Life and Work of Joseph Cornell (New York: Farrar, Strauss, and Giroux, 1997), and Diane Waldman's book, Joseph Cornell: Master of Dreams (New York: Harry N. Abrams, Inc., 2002).

Related Material:

The Archives holds several collections of different provenance that relate to Joseph Cornell, including the small collections of Allison Delarue (comprised of two letters from Cornell, available on reel 2803), Muriel Streeter Schwartz (comprised of two letters from Cornell, available on reel 4283), Wayne Andrews (comprised of letters from Cornell and printed material), and Marion Netter (comprised of items received from Cornell). In addition, photographs of Cornell can be found amongst the Hans Namuth photographs and papers. Also found within the Archives is a transcribed interview of Cornell's sister, Elizabeth Cornell Benton, conducted on April 21, 1976 as part of the oral history program.

Separated Material:

The bulk of Cornell's source material resides in the Joseph Cornell Study Center, Smithsonian American Art Museum, along with his library and record collection. Cornell's sister, Betty Cornell Benton, donated a portion of this material directly to SAAM (then known as the National Museum of American Art), occasioning the creation of the Study Center circa 1978. The bulk of the source material and library that she donated to AAA, including approximately 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books, was transferred to the Study Center in 1994 and 1995.

Originals of loaned material returned to the donor after microfilming include: some unidentified and miscellaneous correspondence; significant correspondence between Joseph Cornell and Helen S. Cornell; significant correspondence between Helen S. Cornell, family members and others; and some of Joseph Cornell's family correspondence and general correspondence from the Robert Cornell papers. The loaned material is available on microfilm reels 1055-1058 but is not described further in the Series Descriptions/Container Listing of this finding aid.

Provenance:

The Joseph Cornell papers were donated and microfilmed in several installments from 1974 to 1989 by Joseph Cornell's sister, Betty Cornell Benton. Most, but not all, of the correspondence, which was loaned for microfilming in 1974, was subsequently donated in 1989. Additional material was donated in 2004 by the Joseph and Robert Cornell Memorial Foundation.

Restrictions:

Use of the 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.

Topic:

Celebrities  Search this

Assemblage (Art)  Search this

Found objects (Art)  Search this

Art, Modern -- 20th century -- United States  Search this

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

Works of art  Search this

Genre/Form:

Photographs

Citation:

Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.cornjose

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Joseph Cornell papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ff67e8a6-6a88-40f0-9df4-537c9826eed7

EDAN-URL:

ead_collection:sova-aaa-cornjose

Collection Creator:

Cornell, Joseph  Search this

Container:

Box 1, Folder 49

Type:

Archival materials

Date:

1946-1972

undated

Collection Restrictions:

Use of the 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:

Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Joseph Cornell papers

Joseph Cornell papers / Series 2: Correspondence / 2.1: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ef47f01b-fbf1-44da-8bcd-d3218c2d0de2

EDAN-URL:

ead_component:sova-aaa-cornjose-ref60

Creator:

Smithsonian Education  Search this

Type:

Lectures

YouTube Videos

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SmithsonianEducation

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Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2014-03-13T19:57:15.000Z

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Education  Search this

Topic:

Education  Search this

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Smithsonian Education

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SmithsonianEducation

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edanmdm:yt_nrJsGaRKpgQ

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Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2014-11-21T21:24:13.000Z

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Entertainment  Search this

Topic:

Transcription  Search this

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Smithsonian Institution

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SmithsonianTranscription

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edanmdm:yt_KgmM23fDXek

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Smithsonian American Art Museum  Search this

Type:

Symposia

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americanartmuseum

EDAN-URL:

edanmdm:yt_F__N8B-iXfQ

Creator:

Smithsonian American Art Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-04-19T23:49:41.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_L5LiZS-cn5s

Creator:

Smithsonian American Art Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2013-11-06T15:07:29.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_YfZInL_X4wk