Search Results

Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Names:

Courlander, Harold, 1908-1996  Search this

Guthrie, Woody, 1912-1967  Search this

Jenkins, Ella  Search this

Leadbelly, 1885-1949  Search this

Ramsey, Frederic, 1915-1995  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

841 Cubic feet

Type:

Collection descriptions

Archival materials

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Date:

1926-1986

bulk 1948-1986

Summary:

This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.

Scope and Contents:

The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.

Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.

The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.

Arrangement note:

The collection is arranged in 10 series:

Series 1: Correspondence, 1942-1987

Series 2: Folkways Production, 1946-1987

Series 3: Business Records, 1940-1987

Series 4: Woody Guthrie papers, 1927-1985

Series 5: Early Label Materials, 1940-1949

Series 6: Biographical Materials, 1926-1987

Series 7: Photographs

Series 8: Artwork

Series 9: Audio Recordings

Series 10: Film

At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.

Biographical/Historical note:

The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.

Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.

Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.

Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Provenance:

Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk music  Search this

Folk dance music  Search this

Electronic music  Search this

Oral interpretation of poetry  Search this

Oral interpretation of fiction  Search this

Music -- 20th century  Search this

Music -- 19th century  Search this

Music -- 18th century  Search this

Jazz  Search this

Folk music -- United States  Search this

World music  Search this

Sounds  Search this

Vocal music  Search this

Popular music -- 20th century -- United States  Search this

Genre/Form:

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH

See more items in:

Moses and Frances Asch Collection

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk533b8a927-559a-44ac-98d2-f32d871058b4

EDAN-URL:

ead_collection:sova-cfch-asch

Creator:

Byron Gallery  Search this

Names:

Galleria dell'Ariete  Search this

Antonakos, Stephen, 1926-2013  Search this

Calder, Alexander, 1898-1976  Search this

Consagra, Pietro, 1920-  Search this

Copley, Alfred L.  Search this

De Chirico, Giorgio, 1888-  Search this

Ernst, Max, 1891-1976  Search this

Friedeberg, Pedro, 1937-  Search this

Gilliam, Sam, 1933-2022  Search this

Goeritz, Mathias, 1915-1990  Search this

Grilo, Sarah  Search this

Matta Echaurren, Roberto Sebastián, 1911-  Search this

Meadmore, Clement  Search this

Nivola, Costantino, 1911-1988  Search this

Sleigh, Sylvia  Search this

Talman, Paul  Search this

Youngerman, Jack, 1926-2020  Search this

Extent:

16.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Date:

circa 1950s-1991

Summary:

The records of New York Byron Gallery measure 16.3 linear feet and date from circa 1950s-1991, with the bulk of the material dating from 1960-1971. The records document the gallery's representation and exhibition of Surrealist and contemporary American artists, as well as the occasional pre-Columbian and Old Masters artwork. Found are over ten linear feet of artists and subject files, fifty-seven exhibition scrapbooks, exhibition catalogs, and sales records. There are also exhibitions catalogs of the Milan Galleria Dell'Arieti.

Scope and Content Note:

The records of New York Byron Gallery measure 16.3 linear feet and date from circa 1950s-1991, with the bulk of the material dating from 1960-1971. The records document the gallery's representation and exhibition of Surrealist and contemporary American artists, as well as the occasional pre-Columbian and Old Masters artwork. Found are extensive artists and subject files, exhibition files and scrapbooks, exhibition catalogs, and sales records. There are also exhibitions catalogs of the Milan Galleria Dell'Arieti.

Artist and subject files comprise over one-half of the records and contain business correspondence, sales information, photographs and transparencies, catalogs, and exhibit reviews for each artist either represented or sold by the gallery, or participated in an exhibition organized by the gallery. Particularly rich files are found for Alcopley, Stephen Antonakos, Alexander Calder, Pietro Consagra, Giorgio De Chirico, Max Ernst, Pedro Friedeberg, Sam Gilliam, Mathias Goeritz, Sarah Grilo, Roberto Sabastiano Matta, Clement Meadmore, Constantino Nivola, Sylvia Sleigh, Paul Talman, and Jack Youngerman.

Fifty-seven exhibition scrapbooks in binder sleeves represent a complete documentary record of Byron Gallery exhibits from 1963-1970. The scrapbook contain a wide variety of materials, including correspondence, catalogs, price lists, installation photographs and slides, printed reproductions of exhibited art work, and newspaper clippings and reviews. Additional printed materials include exhibition catalogs and invitations. There is also a near-complete run of catalogs from the Galleria Dell'Arieti, a contemporary gallery in Milan, Italy, 1961-1970.

Financial and business records are contained in a series of invoices from 1963-1971, and a card file of artwork sold or returned.

Arrangement:

The collection is arranged as 5 series:

Missing Title

Series 1: Artist and Subject Files, circa 1950s-1991, undated (Box 1-10, 17; 10.2 linear feet)

Series 2: Exhibition Scrapbooks, 1963-1970 (Box 11-14, 17; 4.1 linear feet)

Series 3: Printed Material, 1961-1970 (Box 15; 0.5 linear foot)

Series 4: Invoices, 1963-1971 (Box 15; 0.5 linear foot)

Series 5: Card Files, circa 1960s-1970s (Box 16; 1 linear foot)

Historical Note:

The Byron Gallery was founded in 1961 by Charles Byron (b. 1918) and located on Madison Avenue in New York, New York. The gallery primarily showed Surrealist masters and up-and-coming contemporary American painters and sculptures, as well as an occasional ancient and Old Masters exhibit.

Among the artists represented by the gallery were Alcopley, Herbert Bayer, Albert Kotin, Clement Meadmore, Richard Merkin, Constantino Nivola, Brian O'Doherty, and Hans Richter. Additional artists handled by the gallery or given shows were Max Ernst, Sam Gilliam, Robert Sebastian Matta, Renee Magritte, Sylvia Sleigh, and Jack Youngerman. The gallery also sold work by artists represented by other galleries, or from the secondary market.

Several prescient group shows were organized by the gallery, including the Box Show in 1965, featuring the work of over 100 artists, including Arakawa, Lee Bontecou, Chryssa, Joseph Cornell, Alcopley, Walter De Maria, Dan Flavin, Donald Judd, Edward Kienholz, Sol Lewitt, Louise Nevelson, Constantino Nivola, Robert Rauschenberg, Michell Stuart, and Andy Warhol. The Paris Review show in 1965 was another stellar event, with contributions from Richard Anuszkiewicz, Allan D'Arcangelo, Jim Dine, Helen Frankenthaler, Robert Indiana, Alex Katz, Ellsworth Kelly, Lindner, Richard Robert Motherwell, Louise Nevelson, Estaban Vicente, and Andy Warhol. In 1964, the gallery also organized an exhibition of over 40 American landscape artists, American Landscapes. The gallery also exhibited two shows based on Pre-Columbian objects, and, in the late 1960s, held two major exhibitions, 400 Years of Italian Art: Florentine Relief Fund Art Show (1967) and Greek Gold Exhibition (1967-1968).

Provenance:

The Byron Gallery papers were donated to the Archives of American Art by gallery owner Charles Byron in 1999.

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.

Topic:

Surrealism  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Scrapbooks

Citation:

Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.byrogall

See more items in:

Byron Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bd7a7571-1027-4885-9bdb-30c575a99764

EDAN-URL:

ead_collection:sova-aaa-byrogall

Collection Creator:

Byron Gallery  Search this

Container:

Box 11, Folder 19

Type:

Archival materials

Date:

1964

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.

See more items in:

Byron Gallery records

Byron Gallery records / Series 2: Exhibition Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97afa37b2-ed94-4fb9-9131-e75d5fc07bac

EDAN-URL:

ead_component:sova-aaa-byrogall-ref1053

Collection Creator:

Byron Gallery  Search this

Container:

Box 6, Folder 8

Type:

Archival materials

Date:

1964-1971

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.

See more items in:

Byron Gallery records

Byron Gallery records / Series 1: Artist/Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw947e06a5d-a84e-4778-83bd-ccf50cd902ad

EDAN-URL:

ead_component:sova-aaa-byrogall-ref208

Collection Creator:

Byron Gallery  Search this

Container:

Box 6, Folder 9

Type:

Archival materials

Date:

1980-1982

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.

See more items in:

Byron Gallery records

Byron Gallery records / Series 1: Artist/Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cf64f6ac-a571-46c6-b818-5e7f01b2460d

EDAN-URL:

ead_component:sova-aaa-byrogall-ref209

Collection Creator:

Byron Gallery  Search this

Container:

Box 11, Folder 18

Type:

Archival materials

Date:

1964

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.

See more items in:

Byron Gallery records

Byron Gallery records / Series 2: Exhibition Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw976c96adc-535c-4ea3-ae49-69ddd9edb542

EDAN-URL:

ead_component:sova-aaa-byrogall-ref398

Collection Creator:

Byron Gallery  Search this

Container:

Box 15, Folder 22

Type:

Archival materials

Date:

1963-1967

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.

See more items in:

Byron Gallery records

Byron Gallery records / Series 4: Invoices

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw907547791-0ce9-4c51-b3f7-413764f46a72

EDAN-URL:

ead_component:sova-aaa-byrogall-ref476

Creator:

Shapiro, Dee, 1936-  Search this

Names:

Soho Center for Visual Artists  Search this

Castanis, Muriel, 1926-2006  Search this

Golden, Eunice  Search this

Kozloff, Joyce  Search this

Sleigh, Sylvia  Search this

Spero, Nancy, 1926-2009  Search this

Stevens, May  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Date:

1975-1976

Scope and Contents:

Dee Shapiro research material relating to women artists measures 0.2 linear feet and dates from circa 1975-1976. The collection documents Shapiro's research on women artists, some used for an exhibition and book "Breaking the Sex Barrier in the Visual Arts". Included are untranscribed audio recordings containing six interviews on 3 audio cassettes and 7 CDs conducted by Dee Shapiro with artists Joyce Kozloff, May Stevens, Sylvia Sleigh, Muriel Castanis, Nancy Spero and Eunice Golden; a panel discussion at the Soho Center for Visual Arts by Amy Goldin; correspondence, slides and artists biographies of women; and notes for " A Chronology of Women Artists' Movement" by Lucy Lippard.

Biographical / Historical:

Dee Shapiro (1936- ) is an artist in Great Neck, N.Y. Shapiro was a member of a women's cooperative gallery in New York when she conducted research into the lives of women artists.

Provenance:

Donated 2014 and 2020 by Dee Shapiro.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Topic:

Women artists  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.shapdee

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b15ce3c7-cec0-4c34-b017-0d23fb460222

EDAN-URL:

ead_collection:sova-aaa-shapdee

Creator:

Artists Talk on Art  Search this

Names:

Barnet, Will, 1911-2012  Search this

Bourgeois, Louise, 1911-2010  Search this

Christo, 1935-  Search this

De Niro, Robert, Sr., 1922-1993  Search this

Denes, Agnes  Search this

Goldberg, Michael, 1924-2007  Search this

Jeanne-Claude, 1935-2009  Search this

Longo, Robert  Search this

Mendieta, Ana, 1948-1985  Search this

Morris, Robert, 1931-2018  Search this

Murray, Elizabeth, 1940-  Search this

Neel, Alice, 1900-1984  Search this

Pavia, Philip, 1915-2005  Search this

Sleigh, Sylvia  Search this

Wilke, Hannah  Search this

Wojnarowicz, David  Search this

Extent:

64.4 Linear feet

317.43 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sound recordings

Scrapbooks

Transcripts

Video recordings

Date:

circa 1974-2018

Summary:

The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

Scope and Contents:

The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.

Arrangement:

The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)

Biographical / Historical:

Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.

Provenance:

The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.

Restrictions:

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

Rights:

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

Occupation:

Art critics  Search this

Art dealers  Search this

Art historians  Search this

Artists  Search this

Topic:

Art, American  Search this

Historians  Search this

Genre/Form:

Photographs

Sound recordings

Scrapbooks

Transcripts

Video recordings

Citation:

Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.artitalk

See more items in:

Artists Talk on Art records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c4de66ef-397b-4e6e-9fde-d6deca12fa3a

EDAN-URL:

ead_collection:sova-aaa-artitalk

Creator:

Semmel, Joan, 1923-  Search this

Names:

Bernstein, Judith, 1942-  Search this

Edelson, Mary Beth  Search this

Golden, Eunice  Search this

Grossman, Nancy  Search this

Hammond, Harmony  Search this

Hardy, John  Search this

Markson, David  Search this

Nieto, José Antonio  Search this

Schapiro, Miriam, 1923-2015  Search this

Sleigh, Sylvia  Search this

Stevens, May  Search this

Extent:

5.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Video recordings

Illustrations

Photographs

Date:

1949-2013

bulk 1960-2013

Summary:

The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist, and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.

Scope and Contents:

The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.

Among the biographical materials are awards, educational records,and audiovisual recordings about Joan Semmel and her work.

Professional correspondence concerns exhibitions, publication permissions, panel discussions, symposia, and visiting artist and summer school appointments. Also included are letters of recommendation for colleagues and students. A scattering of personal letters are from novelist David Markson and José Antonio, both of whom had personal relationships with Semmel. There are also a few letters from friends of a purely social nature and a few letters concerning routine personal affairs.

There are two interviews with Joan Semmel on video recordings, one was conducted for a television broadcast and the other is unidentified.

Writings by Semmel include the manuscript, illustrations, research material, and letters relating to her unpublished book about women's erotic art. Also found are articles, artist's statements, and notes for talks about her work. The writings about Semmel consist of several student papers.

Project files relate to two exhibitions curated by Semmel, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds (2000). One file is related to a project in which Semmel was involved to document the role and status of women in the arts.

Scattered teaching files concern a course about contemporary women artists developed and taught by Semmel for the women's studies program at Rutgers University, circa 1978. Also documented are summer programs at Skowhegan and Sommerakademie in Austria where Semmel served as an instructor.

Binders (now unbound) of printed materials were compiled by Semmel consisting of exhibition catalogs and announcements for solo and group shows, reviews, posters, and miscellaneous printed matter.

Photographs of people include Joan Semmel, friends and colleagues. Among the individuals pictured are: writer David Markson, painter John Hardy, José Antonio Nieto; and feminist artists: Judy Bernstein, Mary Beth Edelson, Eunice Golden, Nancy Grossman, Harmony Hammond, Miriam Schapiro, Sylvia Sleigh, and May Stevens. There are slides, photographs, color photocopies and digital images of Semmel's paintings. Of particular interest are photographs, photocopies of photographs, and digital images that served as source material for paintings, including portrait commissions.

Arrangement:

The collection is arranged in 8 seres:

Missing Title

Series 1: Biographical Materials, 1949-2013 (Box 1; 0.6 linear feet)

Series 2: Correspondence, 1973-2013 (Boxes 1-2; 1.2 linear feet)

Series 3: Interviews, circa 1970s-1986 (Box 2; 0.2 linear feet)

Series 4: Writings, 1970s-2009 (Box 3; 0.7 linear feet)

Series 5: Project Files, 1972-2000 (Box 3; 3 folders)

Series 6: Teaching Files, 1970s-2000 (Box 3; 0.4 linear feet)

Series 7: Printed Material, circa 1960s-2013 (Boxes 4-6, OV 8; 2.2 linear feet)

Series 8: Photographic Materials, circa 1965-2013 (Boxes 6-7; 0.6 linear feet)

Biographical / Historical:

Joan Semmel (1932- ) is an abstract painter working in New York City and Easthampton, N. Y. Semmel's work explores erotic themes and the female body. She taught painting at the Mason Gross School of the Arts at Rutgers University from 1978-2000.

Born in New York City in 1932, Joan Semmel studied at the Cooper Union, the Art Students League of New York, and received her BFA in 1963 and MFA in 1972 from Pratt Institute. Semmel moved to Spain in 1963 and exhibited her abstract expressionist work in galleries and museums there before returning to New York in 1970.

Upon Semmel's return to New York, she became involved in the feminist art movement. One of the original Guerrilla Girls, Semmel was involved with several feminist activist art groups devoted to gender equality in the art world. Semmel spent years researching a book about women's erotic art. At the same time, her painting style shifted to incorporate more figurative imagery and she began working on series that explored the themes of the female body, desire, and aging. Each series consisted of 10-30 paintings, produced over several years, among them First and Second Erotic Series, Self Images, Portraits, Figure in Landscape, Gymnasium, Locker Room, Overlays, and Mannequins.

In addition to her teaching career at Rutgers University as a tenured Professor of Painting, Semmel taught briefly at the Brooklyn Museum Art School, Skowhegan, and the Summer Academy of Fine Arts in Salzburg, Germany. Over the years she served as a visiting artist, critic, and lecturer at many colleges, and participated in numerous symposia, panel discussions and conferences. She has received several grants and awards including Macdowell Colony and Yaddo residencies.

Semmel has exhibited widely and prolifically in the United States, Spain, the Netherlands, and South America, in addition to curating two exhibitions, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds - Art in General (2000). Her work is represented in the permanent collections of many museums including the Brooklyn Museum of Art, Chrysler Museum, Guild Hall, Museum of Women in the Arts, Parrish Art Museum, and Vassar College Museum.

Joan Semmel continues to live and work in New York City and Easthampton, NY.

Provenance:

Donated by Joan Semmel in 2014.

Restrictions:

Use of original material 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:

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

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

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

Topic:

Women and erotica  Search this

Women artists  Search this

Painting, Abstract  Search this

Feminism and art  Search this

Erotica  Search this

Art -- Political aspects  Search this

Genre/Form:

Interviews

Video recordings

Illustrations

Photographs

Citation:

Joan Semmel papers, 1949-2013, bulk circa 1960s-2013. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.semmjoan

See more items in:

Joan Semmel papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99aac2ce9-32e8-4fc5-b7d4-e95f090b5aa7

EDAN-URL:

ead_collection:sova-aaa-semmjoan

Interviewee:

Adrian, Dennis, 1937-  Search this

Interviewer:

Silverman, Lanny  Search this

Names:

Akron Art Museum  Search this

Art Institute of Chicago  Search this

Chicago Art and Artists: Oral History Project  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Madison Art Center  Search this

Museum of Contemporary Art (Chicago, Ill.)  Search this

New York University  Search this

Portland Art Museum (Or.)  Search this

University of Chicago -- Students  Search this

Acconci, Vito, 1940-  Search this

Achilles, Rolf  Search this

Alloway, Lawrence, 1926-1990  Search this

Anderson, Jeremy, 1921-1982  Search this

Artner, Alan G.  Search this

Barnes, Robert, 1934-  Search this

Baum, Don, 1922-  Search this

Botticelli, Sandro, 1444 or 1445-1510  Search this

Brown, Roger, 1941-1997  Search this

Carlson, Victor I.  Search this

Castelli, Leo  Search this

Conner, Bruce, 1933-2008  Search this

Coplans, John  Search this

Cornell, Joseph  Search this

Dubuffet  Search this

Florsheim, Lillian H.  Search this

Frumkin, Allan  Search this

Garver, Thomas H.  Search this

Golub, Leon, 1922-2004  Search this

Guston, Philip, 1913-1980  Search this

Hanson, Philip, 1943-  Search this

Hoffman, Rhona, 1934-  Search this

Ito, Miyoko, 1918-1983  Search this

Kind, Phyllis, 1933-2018  Search this

Leaf, June, 1929-  Search this

Lee, Sherman E.  Search this

Maxon, John, 1916-  Search this

Mies van der Rohe, Ludwig, 1886-1969  Search this

Newman, Muriel Kallis Steinberg  Search this

Nicholson, Natasha, 1945-  Search this

Parker, Dorothy, 1893-1967  Search this

Pearlstein, Philip, 1924-  Search this

Petlin, Irving, 1934-2018  Search this

Ramberg, Christina  Search this

Rossi, Barbara, 1940-  Search this

Schulze, Franz, 1927-2019  Search this

Sleigh, Sylvia  Search this

Spero, Nancy, 1926-2009  Search this

Swinton, Tilda  Search this

Voulkos, Peter, 1924-2002  Search this

Warhol, Andy, 1928-1987  Search this

Westermann, H. C. (Horace Clifford), 1922-  Search this

Wilde, Oscar, 1854-1900  Search this

Wiles, Bertha Harris, 1896-  Search this

Extent:

4 Items (Sound recording: 4 sound files (4 hr., 18 min.), digital, wav)

173 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2015 October 8-9

Scope and Contents:

An interview with Dennis Adrian conducted 2015 October 8-9, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Adrian's home in Seaside, Oregon.

Adrian speaks of growing up in Astoria; traveling to Chicago and New York; Cannon Beach; aging and getting older; his origins; curators and curating; visual sensibilities; the Portland Public Library; opera; his parents, grandparents, and family; Finnish sensibility and humor; Portland Art Museum and classes for children; curator as voyeur; credit and accomplishments; hands on experiences; Artforum; art history; attending University of Chicago; homosexuality and coming out; looted European masterworks; Botticelli; exposure to real art; connoisseurship; collectors and collecting; a Robert Louis Stevenson letter; violin making; growing into yourself; Chicago; war; New York University; Frumkin Gallery; New York; the art world; Madison Art Center; Akron Art Museum; friendship and role models; Art Institute of Chicago; meeting Mies van der Rohe; meeting idols; education; Oscar Wilde and Dorothy Parker; Museum of Contemporary Art, Chicago; Monster Roster; traveling; Chicago art politics; writing and critics; Eurocentric curators; Chicago as an undervalued city; Dog Day Afternoon; discovering art; New York sightings; and experiences running into artists. Adrian also recalls Roger Brown, Ruth Horwich, Gilda Buchbinder, Don Baum, Sherman Lee, Victor Carlson, Peter Voulkos, Lawrence Alloway, Rhona Hoffman, Allan Frumkin, June Leaf, Leon Golub, Jeremy Anderson, Robert Barnes, Tom Garver, Bruce Conner, Natasha Nicholson, H. C. Westermann, Franz Schulze, Bertha Harris Wiles, Muriel Newman, Aaron James Spire, Lillian Florsheim, John Maxon, Greg Knight, P.B. Maryan, Philip Pearlstein, Sylvia Sleigh, Nancy Spero, Irving Petlin, John Coplans, Alan Artner, Alice Shaddle, Phyllis Kind, Andy Warhol, Joseph Cornell, Tilda Swinton, Leo Castelli, Philip Guston, Dubuffet, Pussy Pepke, Bumpy Rogers, Barbara Rossi, Christina Ramberg, Philip Hanson, Miyoko Ito, Mark Jackson, Rolf Achilles, and Vito Acconci.

Biographical / Historical:

Dennis Adrian (1937- ) is an art critic, educator, and curator in Chicago, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Art critics -- Illinois -- Chicago -- Interviews  Search this

Topic:

Art, American -- Illinois -- Chicago  Search this

Art -- Collectors and collecting  Search this

Art -- History  Search this

Art -- Study and teaching  Search this

Art thefts -- Europe  Search this

Curators -- Illinois -- Chicago -- Interviews  Search this

Educators -- Illinois -- Chicago -- Interviews  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Terra Foundation for American Art.

Identifier:

AAA.adrian15

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a4b4e01e-5985-41e2-9eac-996bf9e8d51e

EDAN-URL:

ead_collection:sova-aaa-adrian15

Creator:

David, Don Raymond, 1910-  Search this

Golbin, Andrée, 1923-2006  Search this

Names:

Donneson, Seena  Search this

Konzal, Joseph, 1905-1994  Search this

Lippard, Lucy R.  Search this

Lockspeiser, Eleanore, 1900-1986  Search this

Rosenberg, Harold, 1906-1978  Search this

Sleigh, Sylvia  Search this

Stefanotti, Robert, 1947-  Search this

Vogel, Dorothy  Search this

Vogel, Herbert  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

1930-1980

Scope and Contents:

Biographical information, correspondence, writings, financial records, works of art, photographs, and printed material regarding the careers of painter Don Raymond David and illustrator Andrée Golbin.

Biographical information includes an address book and date books. Correspondence is with Joseph Konzal, Lucy Lippard, Harold Rosenberg, Dorothy and Herbert Vogel, Seena Donneson, Sylvia Sleigh, Eleanor Lockspeiser, Robert Stefanotti, and others. Writings include essays, Golbin's diaries, notes, and notebooks primarily dealing with art. Financial records consist of receipts, contracts, bills, and account books. Works of art, by both David and Golbin, include drawings, prints, geometric sketches, and sketchbooks, some with notations and illustrations by Golbin for publications. Printed material includes announcements, catalogs, and clippings.

Biographical / Historical:

Don Raymond David (1910- ) is a painter and instructor in New York, N.Y. David's wife, Andrée Golbin, is an illustrator from Germany.

Provenance:

Donated 1977 by Don David and 1981 by David and Golbin.

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.

Occupation:

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

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

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Drawings

Sketchbooks

Identifier:

AAA.davidon

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99086f3c9-0410-48d2-9b7a-7a69ee46ad67

EDAN-URL:

ead_collection:sova-aaa-davidon

Creator:

Gordon, Elizabeth, 1906-2000  Search this

Names:

Claiborne, Craig  Search this

Gordon, Elizabeth, 1906-2000  Search this

Leach, Bernard, 1887-1979  Search this

Extent:

3 Linear feet

Type:

Collection descriptions

Archival materials

Periodicals

Photographs

Correspondence

Personal papers

Place:

Japan

Date:

1958-1987

Summary:

Papers, 1959-1987, of Elizabeth Gordon, editor of the periodical, House Beautiful from 1941-1964, mostly related to her research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; notes; drafts for articles and lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; drawings of paper and foil art; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.

Scope and Contents:

The Elizabeth Gordon Papers measure 4.5 linear feet and span the years 1959-1987. The collection mainly documents Ms. Gordon's research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; research notes and materials; articles; lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; article materials; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.

Arrangement note:

This collection is organized into eight series. 1. Biographical data, 2. Shibui research, 3. Shibui issues of, House Beautiful, 4. Correspondence, 5. Shibui promotion, 6. Exhibition files, 7. Printed materials, and 8. Photographs.

Biographical Information:

Born in Logansport, Indiana in 1906, Elizabeth Gordon served as editor of House Beautiful magazine 1941 to 1964. Ms. Gordon first became interested in Japanese aesthetics during the mid-1950s. As a result she began to read and study Japanese art, history and culture. In 1959, Gordon travelled to Japan with three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize. In August and September, 1960, House Beautiful, under the editorial control of Ms. Gordon, published two extremely popular issues devoted to the subject of "shibui". Due to the popularity of the issues, museum exhibits devoted to the concept of "shibui" travelled around the United States. Ms. Gordon died in Adamstown, Maryland in 2000.

Biographical Overview

1906 -- Born in Logansport, Indiana

1920s -- Attended the University of Chicago

1930s -- Moved to New York to work as a promotional copywriter for several newspapers

1930s -- Syndicated columnist on home maintenance for The New York Herald Tribune

1930s -- Editor at Good Housekeeping (here for 8 years)

1937 -- More House for your Money by Elizabeth Gordon and Dorothy Ducas published by W. Morrow and Company: New York.

1937 -- Married Carl Hafey Norcross

1939 -- Appointed editor of House Beautiful

1964 -- Left the magazine world

1972 -- Published a special issue on Scandinavian design and awarded the insignia of a knight, first class, in the Finnish Order of the Lion

1987 -- American Institute of Architects made her an honorary member

1988 -- Carl Hafey Norcross died

September 3, 2000 -- Died in Adamstown, MD

(The following biography of Elizabeth Gordon comes courtesy of curator Louise Cort. Written in consultation with Elizabeth Gordon, October 23, 1987)

The research papers, memoranda, magazines, books, photographs and color transparencies and other materials in this archives are related to the publication by Elizabeth Gordon (Mrs. Carl Norcross), editor of House Beautiful from 1941 to 1964 and creator of the August, 1960 issue of the magazine on the special theme of the Japanese aesthetic concept of "shibui". The "shibui issue" was followed by the September, 1960, issue of the same publication on the theme, "How to be shibui with American things." As a by-product of the issues, a "Shibui Exhibition" travelled to eleven museums in the United States during 1961-1964. Each exhibition was opened with a slide lecture by Elizabeth Gordon.

Miss Gordon first became curious about Japanese aesthetics in the mid-1950s when she began to see Japanese objects being displayed and used in the homes of Americans who had spent time in Japan during the Occupation and Japanese influence began to appear in wholesale showrooms of home furnishings manufacturers. It was clear that the time had come: she HAD to go to Japan!

She read for five years before going to Japan - history, social mores, art history. (Many of the books on Japan that she collected during this time have been presented to the library at the University of Maryland, College Park.)

An important bit of advice came from Alice Spaulding Bowen, owner of Pacifica, the highest quality shop of Asian antiquities in Honolulu, who told her, "Be sure to read, The Tale of Genji - then you'll understand everything."

She made her first trip to Japan in April, 1959, accompanied by three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Miss Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize.

Miss Gordon came home, planning to spend the summer researching "shibui" with the aid of the Japan Society. But she found virtually nothing written in English on the concept. So she returned to Japan in December, 1959 together with staff member Marion Gough, to dig deeper and to work out details and get better educated with Eiko Yuasa. One of their devices was to walk through department stores and discuss with sales personnel whether objects for sale were "shibui", or were "jimi" or "hade", and why. Between themselves, they did the same for the costumes of women they saw on the streets.

Lacking printed sources for information on "shibui", Miss Gordon sought out and interviewed experts, including Douglas Overton, head of the Japan Society in New York. In Japan in December, 1959, she met Yanagi Soetsu, founder of Japan's Folk Craft Movement and head of the Craft Museum in Tokyo (with an introduction from Tonomura Kichinosuke, head of the Craft Museum in Kurashiki). She met the chef Tsuji Kaichi, who was commissioned to write an article on "kaiseki" (that could not be used because of an inadequate English translation) and Frances Blakemore. She met several times with Bernard Leach and attended his lecture at Bonnier's while he was in New York in March, 1960. (He would later write a "fan letter" for the issue)

As the concept of "the shibui issue" began to take shape, a third trip in the spring of 1960 focused on photography - to produce the shooting script decided on the preceding December. This was executed by the noted photographer Ezra Stoller of Rye, New York, and John DeKoven Hill, House Beautiful's Editorial Director. (Mr. Hill worked with Frank Lloyd Wright except for the ten years that he was a member of the House Beautiful editorial staff)

Miss Gordon was back in Japan in Mid-August 1960 as the "shibui issue" was causing a sensation. Altogether she spent sixteen months in Japan.

As one of the experiences that influenced her strong interest in Japanese costumes and textiles, Miss Gordon remembers a spectacularly thorough exhibition at the Tokyo National Museum in Ueno on, 1200 Years of Japanese Costume. She saw it on the last day of its exhibition (possibly 1964).

The August 1960 issue sold out quickly. Copies of the magazine, which sold for fifty cents, were sold on the "black market" for ten dollars.

The publication of the August 1960 issue was followed by an unprecedented avalanche of "fan mail". Many department heads in colleges and universities, including the Harvard-Yenching Institute and the Oriental Institute of the University of Chicago (where Miss Gordon had worked as an undergraduate) wrote to comment on the issue. Many people in other fields of endeavor wrote: heads of firms concerned with interior design, landscape architecture, and related areas expressed their interest in the concept of "shibui" Other writers include Bernard Leach, Gertrude Natzler, Laura Gilpin, Mainbocher, the architect Yoshimura Junzo, the textile artist Marianne Strengell, Walter Kerr, Craig Claiborne, and Oliver Statler.

The "shibui issue" was followed immediately by the September issue dealing with the use of non-Japanese objects to express the concept of "shibui." (Miss Gordon convinced her advertisers, who had been skeptical about the potential success of the August issue, by promising the September issue dealing with American products.) Four American firms were involved in the production of an integrated line of paints, wallpaper, furniture and carpets expressive of the concept. Products were designed by the firms' designers following the clues offered by objects and fabrics purchased by Miss Gordon in Japan in December 1959 and spring 1960. Miss Gordon has expressed her dissatisfaction with the September issue, although public opinion was positive. She feels that some of the firms failed in the "shibui" project, though some "caught" the message: namely the paint company and the fabric/wallpaper company.

In response to strong public interest, the House Beautiful staff prepared a travelling exhibition to introduce the concept of "shibui" through a series of vignettes, mixing fabrics and objects, colors and textures. The museum installation was designed by John Hill of House Beautiful. Japan Air Lines underwrote shipping costs.

The exhibition began in Philadelphia in late 1961. Ezra Stoller was sent to photograph the installation in considerable detail at the Dallas Museum of Fine Arts in January, 1962, so that his photographs cold serve as guidelines for installations at the other museums, which included the San Francisco Museum of Art (April 1962), the Newark Pubic Library, and the Honolulu Academy of Art. Miss Gordon presented a lecture on "shibui" at each of the museum installations.

In appreciation of her work to introduce Americans to the concept of "shibui", the city of Kyoto presented a bolt of especially "shibui" kimono fabric executed by a Living National Treasure textile artist. Miss Gordon eventually tailored the fabric into a dress and jacket. She received the 1961 Trail Blazer Award from the New York Chapter of the National Home Fashions League, Inc. In June, 1987, Miss Gordon was named an honorary member of the American Institute of Architects, with her introduction of the concept of "shibui" and her promotion of an understanding of other culture cited as her major contributions to American architecture.

Provenance:

Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.

Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.

Restrictions:

Collection is open for research.

Rights:

No restrictions on use.

Topic:

Interior decoration -- Periodicals  Search this

Landscape gardening  Search this

Art, Japanese  Search this

Aesthetics, Japanese  Search this

House funishings  Search this

Interior decoration  Search this

Museum exhibits  Search this

Interior decorators  Search this

Gardens -- Japan  Search this

Genre/Form:

Periodicals -- 1940-1970

Photographs

Correspondence

Personal papers -- 1950-2000

Citation:

The Elizabeth Gordon Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Elizabeth Gordon, 1988

Identifier:

FSA.A1988.03

See more items in:

Elizabeth Gordon Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3bd5683e5-f956-4a04-9d0c-4565a6b761b7

EDAN-URL:

ead_collection:sova-fsa-a1988-03

Creator:

Smith, Myron Bement, 1897-1970  Search this

Names:

Aga-Oglu, Mehmet, 1896-1949  Search this

Ettinghausen, Richard  Search this

Field, Henry  Search this

Herzfeld, Ernst, 1879-1948  Search this

Kuban, Dogan  Search this

Moe, Henry Allen  Search this

Pope, Arthur Upham, 1881-1969  Search this

Former owner:

Blake, Marion Elizabeth  Search this

Extent:

192 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1910-1970

Summary:

The Myron Bement Smith collection consists of two parts, the papers of Myron Bement Smith and his wife Katharine and the Islamic Archives. It contains substantial material about his field research in Italy in the 1920s and his years working on Islamic architecture in Iran in the 1930s. Letters describe the milieu in which he operated in Rochester NY and New York City in the 1920s and early 1930s; the Smiths' life in Iran from 1933 to 1937; and the extensive network of academic and social contacts that Myron and Katharine developed and maintained over his lifetime. The Islamic Archives was a project to which Smith devoted most of his professional life. It includes both original materials, such as his photographs and notes, and items acquired by him from other scholars or experts on Islamic art and architecture. Smith intended the Archives to serve as a resource for scholars interested in the architecture and art of the entire Islamic world although he also included some materials about non-Islamic architecture.

Scope and Contents:

The Myron Bement Smith Collection consists of two parts, the papers of Myron Bement Smith and his wife Katharine and the Islamic Archives. The papers include some biographic material about Myron but little about his wife. Information on his academic and professional experience is sketchy and his diaries and appointment books often contain only sporadic entries. The papers contain substantial material about his field research in Italy in the 1920s and his years working on Islamic architecture in Iran in the 1930s. Correspondence comprises the largest and most potentially useful part of the papers. Letters describe the milieu in which he operated in Rochester, NY and New York City in the 1920s and early 1930s; the Smiths' life in Iran from 1933 to 1937; and the extensive network of academic and social contacts that Myron and Katharine developed and maintained over his lifetime.

The Islamic Archives, formally entitled The Archive for Islamic Culture and Art, was a project to which Smith devoted most of his professional life. It includes both original materials, such as his photographs and notes, and items acquired by him from other scholars or experts on Islamic art and architecture. Most of the latter consists of photographs and slides. Smith intended the Archives to serve as a resource for scholars interested in the architecture and art of the entire Islamic world although he also included some materials about non-Islamic architecture. The core collection of the Archives consists of Smith's original photographs and architectural sketches of Iranian Islamic monuments made during his field research in the 1930s. He meticulously photographed the interior and exterior of monuments, including their decorative detail. Some of the photographic materials subsequently loaned, purchased, or donated to the Archives may enable scholars to document sites over time but in many cases the materials are poorly preserved or reproduced. A notable exception to this is the glassplate negatives and prints of 19th century Iranian photographer Antoin Sevruguin.

Arrangement:

The collection is arranged into 2 major series with further subseries. A third series inventories the outsized and miscellaneous materials.

Series 1: Papers

Subseries 1.1: Biographic Materials

Subseries 1.2: Professional Experience

Subseries 1.3: Notebooks, Journals and Appointment Books

Subseries 1.4: Correspondence

Subseries 1.5: Published and Unpublished Materials

Subseries 1.6: Italy Research 1925, 1927-1928

Subseries 1.7: Iran Research 1933-1937

Subseries 1.8: Katharine Dennis Smith Papers and Correspondence

Series 2: The Islamic Archives

Subseries 2.1: Islamic Archives History, Collection Information

Subseries 2.2: Resource Materials Iran

Subseries 2.3: Resource Materials Other Islamic World and General

Subseries 2.4: Myron Bement Smith Architectural Sketches, Plans and Notes, Iran, 1933-1937

Subseries 2.5: Myron Bement Smith Iran Photographs, Notebooks and Negative Registers

Subseries 2.6: Country Photograph File

Subseries 2.7: Lantern Slide Collection

Subseries 2.8: Myron Bement Smith 35 mm Color Slides

Subseries 2.9: Country 35 mm Color Slide File

Subseries 2.10: Myron Bement Smith Negatives

Subseries 2.11: Country Photograph Negatives

Subseries 2.12: Antoin Sevruguin Photographs

Series 3: Outsize and Miscellaneous Items

Subseries 3.1: Map Case Drawers

Subseries 3.2: Rolled Items

Subseries 3.3 Items in Freezer

Subseries 3.4 Smithsonian Copy Negatives

Biographical Note:

Myron Bement Smith was born in Newark Valley, New York in 1897 and grew up in Rochester, New York. He died in Washington D.C. in 1970. He showed an early interest in drawing, and after graduation from high school, he worked as a draftsman for a Rochester architect. He served in the US Army Medical Corps in France during World War I and on return again worked as an architectural draftsman. He studied at Yale University from 1922 to 1926, earning a Bachelor of Fine Arts degree. During summer vacations, he worked as draftsman or designer for architectural firms in New York City. After graduation, he received a John Simon Guggenheim Memorial Foundation grant and spent two years in Italy doing research on northern Italian brick and stone work. He used photography as an tool for his research and published several well-illustrated articles. On return he joined an architectural firm in Philadelphia and in 1931 became a registered architect in New York. He enrolled in Harvard University graduate school in 1929 pursuing a Master of Fine Arts degree.

In April 1930, Smith was appointed Secretary of the newly created American Institute for Persian Art and Archaeology founded by Arthur Upham Pope and located in New York City. He had no prior academic or work experience in Islamic art or architecture, and his job entailed designing publications, arranging lectures, organizing exhibitions and fund raising. That summer he arranged an independent study course at Harvard University on Persian art and subsequently studied Persian language at Columbia University and attended graduate courses at the Institute of Fine Arts at New York University. His work and academic credentials enabled him to compete successfully for a research fellowship from the American Council of Learned Societies in 1933 to study Iranian Islamic architecture.

Accompanied by his new bride Katharine Dennis, Smith left for Iran in 1933. They suffered a horrendous motor vehicle accident in Iraq en route and required a lengthy recuperation in Lebanon and Cyprus. The Smiths eventually arrived in Isfahan, Iran, where they established their "Expedition House," as Smith called it, in a rented faculty house at Stuart College. Smith's research consisted of meticulous photographic documentation of Islamic monuments and architectural sketches and drawings of many of them. He concentrated on the Isfahan area but also documented monuments elsewhere in Iran. Smith outfitted his station wagon as a combination camper and research vehicle in which he and his staff traveled widely. Katharine sometimes traveled with him but generally she remained in Isfahan managing the household and logistics for the "expedition." The Smiths left Iran in 1937.

Smith published several articles about Iran's Islamic monuments based on his field research and in 1947 completed his PhD thesis for The Johns Hopkins University on the vault in Persian architecture. His professional career from 1938 until his death in 1970 consisted of a series of temporary academic positions, contract work and government or academic sponsored lecture tours and photographic exhibits. He had a long lasting relationship with the Library of Congress where he served as an Honorary Consultant from 1938 to 1940 and again from 1948 to 1970; from 1943 to 1944 he was Chief of the Iranian Section at the Library. Despite his lack of published material, Smith was well-known among academic, government and private citizens who worked, traveled or were otherwise interested Iran and the Islamic world.

Smith developed an extensive network of professional and social contacts that dated from his early student days and increased markedly during his time at the Persian Institute and later in Iran. He kept in touch with them and they touted him to others who were interested in Iran or Islamic art and architecture. This network served him well in realizing his ambition of creating a resource for scholars that relied on photographs to document Islamic architecture. The Islamic Archives began with his own collection of photographs from his Iran research and grew to include all manner of photographic and other materials not only on the Islamic world but also other areas. Creating and managing the Archives became the main focus of Smith's professional life and career. In 1967 he received a grant from the National Endowment for the Humanities to revise his PhD thesis as a publishable manuscript but died before he could complete it.

Related Materials:

The Antoin Sevruguin Photgraphs

Ernst Herzfeld Papers

Lionel B. Bier Drawings

Lionel D. Bier and Carol Bier Photographs

Provenance:

Gift of Katherine Dennis Smith, transfered from National Anthropological Archives.

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Islamic architecture  Search this

Islamic Architecture-Turkey  Search this

Iran-description and travel  Search this

Iran-History 20th Century  Search this

Islamic Architecture-Middle East  Search this

Iran-social life and customs  Search this

United States-Social life and customs  Search this

Mosques  Search this

Architecture -- Iran  Search this

Citation:

The Myron Bement Smith Collection. FSA.A.04. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of Katherine Dennis Smith.

Identifier:

FSA.A.04

See more items in:

Myron Bement Smith Collection

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3c8c950fe-250b-40df-b8c7-bcf788073968

EDAN-URL:

ead_collection:sova-fsa-a-04

Provenance:

Green Tree Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Pickerel Run (Milwaukee, Wisconsin)

United States of America -- Wisconsin -- Milwaukee County -- Milwaukee

Scope and Contents:

The folder includes a work sheet, site plans, and narrative description.

General:

The decorative arts and architecture from 17th century New England served as inspiration for this garden. The site for the garden was prepared in fall of 1981 and built in spring 1982. The layout of the raised geometric beds, gravel paths, and picket fence was modeled after early Colonial designs. The central beds are devoted to herbs. The outer beds hold perennial flowers, similar to those of Colonial New England. By contrast, the garden beds around the house are filled with native plants. A knot garden of green velvet boxwood, inspired by an inlay design on an early 18th century Pennsylvania chest, was added to the kitchen terrace. The beds adjacent to the knot garden, composted only of green and white white, service as a "restful haven under the shade of the the surrounding giant oak trees."

Persons and firms associated with the garden include: Aimee Scott Sheets (horticulturist, 2001-?).

Related Materials:

Pickerel Run related holdings consist of 1 folder (22 35 mm. slides)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Wisconsin -- Milwaukee  Search this

Raised bed gardening  Search this

Formal gardens  Search this

Herb gardens  Search this

Woodland gardens  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File WI037

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Wisconsin

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6f2fc2669-b301-43b2-a06d-12f0417ef893

EDAN-URL:

ead_component:sova-aag-gca-ref11677

Former owner:

Cran, C. R.  Search this

Sherry, Avery  Search this

Beverung, William  Search this

Landscape architect:

Griggs, Judson  Search this

Consultant:

Sproule, Michael  Search this

Gardener:

Johnson, Kyle  Search this

Johnson, Trevor  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Tatterdemalion (Oconomowoc, Wisconsin)

United States of America -- Wisconsin -- Waukesha County -- Oconomowoc

Scope and Contents:

The folder includes a worksheet and narrative description, a copy of the garden plan, and a plant list. The garden is noted for its Edwardian strolling garden, boxwood plantings, and roses, all complementing the arts and crafts style lakeside cottage.

General:

The gardens of Tatterdemalion, situated on a two-acre site, are designed to complement this 1907 arts and crafts style lakeside cottage. The wrap-around porch is surrounded by a stone terrace edged with tea roses and a lavender hedge. Steps to the west lead across the drive to an Edwardian strolling garden, bordered by an antique 1850 wrought iron fence, acquired in Madison, Indiana. Gently curving paths radiate from a circular path which encloses a weeping crabapple tree surrounded by lamb's ears. A low box hedge curves around in a flowing line to define the lawn. A semi-circle of purple lilacs and white Blanc Double de Coubert roses frame a bronze statue of Mercury.

Hemlocks and viburnums screen the adjoining property and form the backround for antique rose bushes, the mainstay of the garden. Flowering continues throughout the summer with the addition of pastel old-fashioned flowers. A dooryard fern garden on the north side of the house faces a small orchard. To the east is a Victorian reflecting pool centered in a semi-circular enclosure of shrubs. A wisteria and rose-covered arbor frames the view into the garden.

Persons associated with the property include: C. R. Cran (former owner, 1907-1939); Avery Sherry (former owner, 1939-1957); William Beverung (former owner, 1957-1986); Judson Griggs (landscape architect, 1987-1998); Michael Sproule (consultant, 1995-1997); Kyle Johnson (hardscape gardener, 1998); and Trevor Johnson (hardscape gardener, 1998).

Related Materials:

Tatterdemalion related holdings consist of 1 folder (29 35 mm. slides)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Wisconsin -- Oconomowoc  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File WI025

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Wisconsin

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6032e5722-d790-4b94-940f-e5e9adb91e5f

EDAN-URL:

ead_component:sova-aag-gca-ref11680

Photographer:

Sproule, John  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col., 35 mm.)

Type:

Archival materials

Slides

Place:

Tatterdemalion (Oconomowoc, Wisconsin)

United States of America -- Wisconsin -- Waukesha County -- Oconomowoc

Date:

1998 Oct.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Wisconsin -- Oconomowoc  Search this

Houses  Search this

Cottages  Search this

Trees  Search this

Lawns  Search this

Picket fences  Search this

Shrubs  Search this

Porches  Search this

Entrances  Search this

Walkways  Search this

Walls, stone  Search this

Stairs  Search this

Gates  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item WI025002

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Wisconsin / WI025: Oconomowoc -- Tatterdemalion

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb691095dfe-c94c-4a30-8548-e6379f6c3a4e

EDAN-URL:

ead_component:sova-aag-gca-ref11779

Photographer:

McGlothin, Ariel C.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Digital image (color, JPEG)

Type:

Archival materials

Digital images

Place:

Gardens -- Wyoming -- Wilson

United States of America -- Wyoming -- Teton County -- Wilson

Riverview Ranch (Wilson, Wyoming)

Date:

2018 August 2

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Log cabins  Search this

Birdhouses  Search this

Art metal-work  Search this

Greenhouses  Search this

Plants, Protection of  Search this

Garages  Search this

Porches  Search this

Stairs, stone  Search this

Succulent plants  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item WY002019

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Wyoming / WY002: Wilson -- Riverview Ranch

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6bfcef5d7-fb2d-4be5-b534-bbe6d34fa5e6

EDAN-URL:

ead_component:sova-aag-gca-ref32820

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

See more items in:

The Garden Club of America collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb653f5a4fa-71fe-4259-ab23-a33248a801d5

EDAN-URL:

ead_component:sova-aag-gca-ref32850

Provenance:

Green Tree Garden Club  Search this

Landscape architect:

Stark, Judith Z.  Search this

Lipp, Franz, 1897-1996  Search this

Owner:

Bryson, Olive V. D.  Search this

Photographer:

Sandy, Dawson  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Deep Dene (Fox Point, Wisconsin)

United States of America -- Wisconsin -- Milwaukee County -- Fox Point

Scope and Contents:

1 folder and 14 digital images. Images 001-014 were photographed by Sandy Dawson.

General:

Located on approximately five acres overlooking Lake Michigan, the owner of this garden had been gardening on the property since she was five years old. The original design included formal gardens, beds of iris and phlox, wildflowers in the surrounding ravines, and a large vegetable garden. Landscape architect Franz Lipp designed a circle of yews, two large hedged gardens, a boundary garden and a stone wall, all placed at a distance from the house to be visited as a pastime. In 1990 a garden room with French doors was built so a new rose garden could be seen and enjoyed from inside. A nine-foot tall dark green lattice fence was installed to protect the rose garden from deer. The design is formal with four parterres each centered by a rose standard with multiple bushes in each quadrant, climbing hydrangea on the fence, and a small central pool with a statue. Lush annual, perennial and shrub borders are maintained alongside the terrace, stone wall and another fountain with mature maple and crab apple dotting the lawns.

Favorite roses include Mr. Lincoln, Double Delight, Chicago Peace, Legends, and Drop Dead Red. The garden borders include day lilies and Asiatic lilies, peonies, boxwood, hosta, zinnias, dusty miller, marigolds, geraniums and more roses. Visitors include art students and members of the Garden Conservancy.

Persons associated with the garden include: Helen and William Van Dyke (former owners, 1926-1972); Olive V. D. Bryson (owner, 1972- ); Franz Lipp (1897-1996) (landscape architect, dates unknown); Judith Stark (landscape architect, 1990).

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Wisconsin -- Deep Dene  Search this

Rose gardens  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File WI058

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Wisconsin

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6a6f2e073-a823-461d-a15d-e08ae586c462

EDAN-URL:

ead_component:sova-aag-gca-ref33212