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Painter:

Sandman, Jo 1931-  Search this

Medium:

Mixed media on canvas

Type:

Paintings

Owner/Location:

Johnson Collection, The 100 Dunbar Street, Suite 203 Spartanburg South Carolina 29306 Accession Number: 2022.04.01

Date:

Ca. 1960s

Topic:

Abstract  Search this

Control number:

IAP 68670863

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_480082

Sculptor:

Rothrock, Rick  Search this

Subject:

Sprauve, Julius E  Search this

Rockefeller, Laurance S  Search this

Stick, Frank L  Search this

Medium:

Sculpture: Brandywine granite; Base: concrete and bronze

Type:

Sculptures

Sculptures-Outdoor Sculpture

Owner/Location:

Virgin Islands National Park Cruz Bay Visitors Center St, John Virgin Islands

Date:

September 2016. Installed November 25, 2016. Dedicated: December 13, 2016

Topic:

Abstract  Search this

Portrait male  Search this

Control number:

IAS 78910010

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_480083

Creator:

Brown, Milton Wolf (Milton Wolf), 1911-1998  Search this

Names:

Archives of American Art  Search this

Armory Show 50th anniversary exhibition (1963 : New York, N.Y.)  Search this

Brooklyn College -- Faculty  Search this

Century Association (New York, N.Y.)  Search this

City University of New York -- Faculty  Search this

Whitney Museum of American Art  Search this

Brown, Blanche  Search this

Lawrence, Jacob, 1917-2000  Search this

Lozowick, Louis, 1892-1973  Search this

Lynes, Russell, 1910-1991  Search this

Meltzoff, Stanley  Search this

Panofsky, Erwin, 1892-1968  Search this

Prendergast, Charles, 1863-1948  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Sachs, Paul J. (Paul Joseph), 1878-1965  Search this

Extent:

26 Linear feet

0.225 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Travel diaries

Articles

Interviews

Essays

Drafts (documents)

Transcripts

Photographs

Notebooks

Lectures

Scripts (documents)

Date:

1908-1998

Summary:

The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 26.0 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.

Scope and Content Note:

The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 25.8 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.

Biographical material includes academic records, travel documents, financial documents, Brown's military records, and a transcript of a 1997 interview. Correspondence is with students, museums, universities, publishers, art organizations, and others. The bulk of these letters document Brown's professional activities, but also found are scattered letters from friends, artists, and colleagues such as Russell Lynes, Stanley Meltzoff, Louis Lozowick, Erwin Panofsky, and Paul Sachs.

This collection also contains 33 detailed travel journals written primarily by Milton Brown's wife, Blanche, documenting their travels in Europe, the United States, and other parts of the world. Within the writings series are notebooks from the period that Brown was a student and while traveling in Europe in 1959 and 1960; book project files, which include draft writings as well as related correspondence, research material, notes, photographs and other material. Files are found for American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography (1979), American Painting, From the Armory Show to the Depression (1955), The Story of the Armory Show (1963, 1988 2nd ed.), and other books. Among the writings are files for lectures written by Brown; essays, articles, and scripts written for various publications; general research notes and student writings; and writings by others sent to Brown for review and feedback.

Brown maintained a set of files documenting his work on the Prendergast Catalogue Raisonne Project, which consist of correspondence, drafts, reports, and research materials, including notes on twenty meetings with Mrs. Prendergast. Exhibition files document Brown's work as curator on several major exhibitions, including a Jacob Lawrence exhibition at the Whitney Museum, and his contributions to others. Also found here are three interviews of Milton Brown and Marcel Duchamp concerning the 50th Anniversary of the Armory Show and anniversary exhibition. Research files include notes, research material, and printed material on various art-related subjects that were maintained by Milton and Blanche Brown for regular use for lectures, teaching, and writing projects. Brown's teaching files contain scattered lecture notes, syllabi, correspondence, faculty records, and other materials from his time at CUNY, Brooklyn College, and other visiting professorships. Organization Files contain correspondence, reports, planning documents, and event materials. These records document his membership or advisory role in various organizations such as the Archives of American Art and Century Association.

This collection also contains printed material, such as exhibition announcements, newsletters, brochures, journals, event programs, and magazine and newspapers clippings compiled by Brown. Scattered photographs include nine photographs of Milton Brown, a few photographs of friends, and photographs of artwork.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, circa 1932-1998 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1908, 1934-1998 (Boxes 1-3; 1.8 linear feet)

Series 3: Travel Journals, 1941-1996 (Boxes 3-4; 1.6 linear feet)

Series 4: Writings, circa 1929-1990s (Boxes 4-13, 25; 8.7 linear feet)

Series 5: Prendergast Catalogue Raisonne Project, circa 1952-1990 (Boxes 13-14, 25; 1.8 linear feet)

Series 6: Exhibition Files, 1962-circa 1997 (Boxes 14-16, 28; 2.0 linear feet, ER01; 0.225 GB)

Series 7: Research Files, circa 1930s-1986 (Boxes 16-19; 3.0 linear feet)

Series 8: Teaching Files, circa 1946-1993 (Boxes 19-21; 2.0 linear feet)

Series 9: Organization Files, 1959-1995 (Boxes 21-22; 1.3 linear feet)

Series 10: Printed Material, 1925-1990s (Boxes 22-24, 26, 27; 3.2 linear feet)

Series 11: Photographs, circa 1956-1990s (Boxes 25, 27; 0.2 linear feet)

Biographical Note:

Milton Wolf Brown (1911-1998) was an art historian and educator in New York City.

Known to his friends as "Mainey," Brown was born in Brooklyn, New York, in 1911. At a young age he intended to be a painter and studied with Louis Lozowick. However, instead of attending art school, he entered New York University to study education and eventually received his master's and doctorate in art history from the Institute of Fine Arts. While there he took courses with Walter Friedlander, Erwin Panofsky, and Mayer Schapiro. He also received fellowships to the Courtauld Institute of Art in 1934 and Brussels in 1937, and studied from 1938-1939 at the Fogg Art Museum at Harvard University. In 1938 he married fellow student Blanche Levine. After serving in World War II, he began teaching in the art department at Brooklyn College in 1946. There he developed a specialization in American art history and his doctoral dissertation, American Painting from the Armory Show to the Depression, was published in 1955. In 1963 he participated in the fiftieth anniversary exhibition of the 1913 Armory Show. The publication of his book Story of the Armory Show coincided with this event.

In 1971 Brown established the graduate program in Art History at the City University of New York, which became preeminent in the areas of modern art and American art history. During the 1980s he remained a resident professor at CUNY, though he retired in 1979, and he held visiting professorships at Hebrew University in Jerusalem and the Center for Advanced Study in the Visual Arts at the National Gallery of Art. From 1983 to 1987 he had a senior fellowship at Williams College for the Prendergast Catalogue Raisonne Project.

Over the course of his career Brown curated exhibitions, including an exhibition on the works of Jacob Lawrence and The Modern Spirit: American Painting and Photography, 1908-1935, and wrote for numerous publications. He also served as an active member of several professional societies. Brown was close friends with art scholars and artists, such as Jack Levine, Moses and Raphael Soyer, Ad Reinhardt, and Paul Strand. In 1991 he returned to painting landscape watercolors, and had the opportunity to exhibit his work before his death in 1998.

Related Material:

Also at the Archives of American Art is an oral history interview with Milton Wolf Brown, conducted in 1976 by Paul Cummings.

Provenance:

The Milton Wolf Brown papers were donated in 2000 and 2001 by Blanche R. Brown, Brown's widow. Three reel-to reel sound recordings were lent for duplication to cassette and transcript in 1986 by Milton Brown. A cassette copy of the Martha Deane interview was donated in 2006 by Milton Brown's estate, via Naomi Rosenblum. Additional material was donated in 2002 and 2004 by Naomi Rosenblum, executor for the estate of Blanche R. Brown, who died in 2002.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

Art museum curators -- New York (State) -- New York  Search this

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

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

Topic:

Art, American History Sources  Search this

Genre/Form:

Travel diaries

Articles

Interviews

Essays

Drafts (documents)

Transcripts

Photographs

Notebooks

Lectures

Scripts (documents)

Citation:

Milton Wolf Brown papers, 1908-1998. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.browmilt

See more items in:

Milton Wolf Brown papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c2f1a099-bc53-4b03-a5fd-61e0feca9db8

EDAN-URL:

ead_collection:sova-aaa-browmilt

Creator:

Sheeler, Charles, 1883-1965  Search this

Names:

Archives of American Art  Search this

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

Adams, Ansel, 1902-1984  Search this

Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this

Arensberg, Walter, 1878-1954  Search this

Bacon, Peggy, 1895-1987  Search this

Eidlitz, Dorothy  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Lane, William H.  Search this

Newhall, Beaumont, 1908-1993  Search this

Newhall, Nancy Wynne.  Search this

Rourke, Constance, 1885-1941  Search this

Sheeler, Musya, 1908-1981  Search this

Waters, George  Search this

Weston, Edward, 1886-1958  Search this

Williams, William Carlos, 1883-1963  Search this

Photographer:

Sheeler, Musya, 1908-1981  Search this

White, Minor  Search this

Extent:

4.9 Linear feet

Type:

Collection descriptions

Archival materials

Artifacts

Awards

Photographs

Journals (accounts)

Scrapbooks

Writings

Date:

circa 1840s-1966

bulk 1923-1965

Summary:

The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. Notable photographs include Sheeler with Edward Weston, Edward Steichen, and John Marin.

Scope and Content Note:

The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.

Arrangement:

The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Missing Title

Series 1: Biographical Materials, 1875, 1928-1965 (Boxes 1, 5, OV10; 0.6 linear feet)

Series 2: Correspondence, 1937-1966 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1930s-1965 (Boxes 1-2 ; 0.4 linear feet)

Series 4: Scrapbooks, 1930s-1960s (Boxes 2, 6; 0.4 linear feet)

Series 5: Printed Material, 1923-1966 (Boxes 2-4, 7; 1.5 linear feet)

Series 6: Photographs, circa 1840s-1963 (Box 4, OV11; 0.4 linear feet)

Series 7: Artwork, circa 1930s-1960s (Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)

Biographical Note:

Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.

Related Material:

The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.

Separated Material:

Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.

Provenance:

Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.

Restrictions:

The collection is open for research. Use requires an appointment.

Rights:

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

Topic:

Works of art  Search this

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

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

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

Industrial designers -- New York (State) -- New York  Search this

Genre/Form:

Artifacts

Awards

Photographs

Journals (accounts)

Scrapbooks

Writings

Citation:

Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.sheechar

See more items in:

Charles Sheeler papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97080c38f-51c0-443b-808a-a0c408c8352d

EDAN-URL:

ead_collection:sova-aaa-sheechar

Creator:

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Names:

American Federation of Arts  Search this

Archives of American Art  Search this

Corcoran Gallery of Art  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Kennedy Galleries  Search this

Kraushaar Galleries  Search this

M. Knoedler & Co.  Search this

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

Midtown Galleries (New York, N.Y.)  Search this

Milwaukee Art Center  Search this

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

National Gallery of Art (U.S.)  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

United States Information Agency  Search this

University of Michigan. Museum of Art  Search this

Whitney Museum of American Art  Search this

Allston, Washington, 1779-1843  Search this

Arms, John Taylor, 1887-1953  Search this

Bailey, Grace  Search this

Bailey, Truman E., 1902?-1959  Search this

Bohrod, Aaron  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Culver, Charles B. (Charles Beach), 1908-1967  Search this

Eakins, Thomas, 1844-1916  Search this

Evergood, Philip, 1901-1973  Search this

Fleischman, Barbara  Search this

Gentle, Esther, 1900-  Search this

Krentzin, Earl, 1929-  Search this

Marin, John, 1870-1953  Search this

Pollack, Peter, 1909-1978  Search this

Rattner, Abraham  Search this

Richardson, Constance, 1905-  Search this

Richardson, Edgar Preston, 1902-1985  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Sellers, Charles Coleman, 1903-  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Extent:

4.9 Linear feet

Type:

Collection descriptions

Archival materials

Typescripts

Photographs

Date:

1837-1984

bulk 1935-1979

Summary:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

Scope and Contents:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

One folder of biographical material includes a biographical account and a certificate of appreciation from the Common Council for the City of Detroit.

The bulk of the collection is comprised of correspondence documenting the Fleischman's art related activities and interests primarily during the 1950s and 1960s. Individual correspondents include Aaron Bohrod, Charles E. Burchfield, Charles B. Culver, Philip Evergood, Earl Krentzin, John Marin, Jr., Abraham Rattner and Esther Gentle, Peter Pollack, Edgar P. and Constance Richardson, Charles Coleman Sellers, and Franklin Watkins. One letter from Charles E. Burchfield includes four etching plates used to create the color print of Hot September Wind.

Arts organizations and galleries represented in the correspondence include the American Federation of Arts, the Archives of American Art, the Arts Commission of the City of Detroit, the Corcoran Gallery of Art, the Detroit Institute of Art, Kennedy Galleries, M. Knoedler and Co., Inc., Kraushaar Galleries, the Metropolitan Museum of Art, the Midtown Galleries, the Museum of Modern Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the School of the Society of Arts and Crafts, the United States Information Agency, the Whitney Museum of American Art, and the Winterthur Museum.

Autograph letters purchased by the Fleischmans include letters written by artists Washington Allston (addressed to Thomas Sully), Albert Pinkham Ryder, and John Taylor Arms.

Exhibition files document the various exhibitions of art work from the Lawrence and Barbara Fleischman Collection at the University of Michigan Museum of Art; the Detroit Institute of Art; in Central and South America; in Greece, Israel and Russia; and at the Milwaukee Art Center. The files contain letters, notes, printed material, and photographs.

Three folders of notes and writings include "Introduction to Earl Krentzin Catalog" by Lawrence Fleischman and "Selection of Excerpts from the Soviet Press and Radio Attacking U. S. Culture" by unidentified authors.

Scattered printed material includes miscellaneous clippings and catalogs not connected with the Exhibition Files series. There is also a book John Marin: The Man and his Work by E. M. Benson that was autographed by Marin to the Fleischmans in 1953.

Photographs include portrait photographs of Lawrence Fleischman, photographs of Lawrence and Barbara Fleischman with colleagues, of art work from the Fleischman Collection, of Truman and Grace Bailey in their studio, and a copy photograph of Thomas Eakins as a boy.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1958 (Box 1; 1 folder)

Series 2: Correspondence, 1949-1984 (Boxes 1-4, 7; 3.8 linear feet)

Series 3: Autograph Letters, 1837-1942 (Box 4; 4 folders)

Series 4: Exhibition Files, 1953-1960 (Boxes 4-5, 7; 0.5 linear feet)

Series 5: Notes and Writings, 1957-1962 (Box 5; 3 folders)

Series 6: Printed Material, 1935-1969 (Box 5-6; 6 folders)

Series 7: Photographs, 1953-1965 (Box 6; 13 folders)

Biographical / Historical:

Lawrence Fleischman (1925-1997) of New York City was an American art collector, patron, philanthropist, and benefactor. He and his wife, Barbara Greenberg Fleischman, assembled an impressive collection of art and artifacts that they shared with the public as part of their philanthropic activities aimed at fostering a wider appreciation of the arts around the world.

Lawrence Fleischman was born on February 14, 1925 in Detroit, Michigan, the son of Stella and Arthur Fleischman, the owner of a large carpet business. He attended the Western Military Academy in Alton, Illinois, and studied engineering at Purdue University. In 1942, he interrupted his studies to volunteer for service in the U.S. Army during World War II. While serving in France, he met a doctor who further fostered Fleischman's ever growing interest in American art. Following the war, he graduated with a degree in physics from the University of Detroit. Fleischman met Barbara Greenberg in Detroit and they were married in 1948.

Beginning in the late 1940s, Fleischman established a fledgling television station, developed holdings in real estate, and began purchasing art work. Initially the Fleischmans collected undervalued 20th century American art and were friends with several artists, including John Marin, Charles Burchfield, Stuart Davis, and Ben Shahn. They also expanded the scope of their collection to include 19th century American works.

During the 1950s, Lawrence Fleischman realized how there were few American art historians and college departments, as well as a lack of primary source material. Fleischman worked with Edgar P. Richardson, then director of the Detroit Institute of Art, to raise funds and they founded the Archives of American Art at the Detroit Institute of Art in 1954. The Archives of American Art was, and still is, dedicated to the collection, preservation, and study of primary source records that document the history of the visual arts in the United States. Lawrence A. Fleischman is a founding Trustee of the AAA and served as the Chairman of the Board from 1958 to 1966. His wife, Barbara joined the Board of Trustees in 1997 and served as Chair from 2003 to 2007. She is a Trustee Emerita.

Lawrence Fleischman's business and philanthropic interests included the Arthur Fleischman Carpet Company, the Lee Plaza Hotel-Motel in Detroit, Art Adventurers, the Art School of the Society of Arts and Crafts in Detroit, the Friends of the Whitney Museum of American Art in New York, the Cultural Committee of the United States Information Agency, and the Art Commission of Detroit, which governed the Detroit Institute of Art. He also served as an officer of the Board for many of the arts-related organizations.

In 1996, the Fleischmans moved their family from Detroit to New York City, where Lawrence Fleischman became a partner in the Kennedy Galleries.

The Fleischmans philanthropic activities include generous support of the Metropolitan Museum of Art, the Detroit Institute of Art, the Cleveland Museum, the British Museum, the Vatican Museum, and lifelong support of the Archives of American Art.

Lawrence Fleischman died on January 31, 1997 in London, England. Barbara Fleischman lives in New York City and continues to be an active supporter of the visual arts.

Related Materials:

Among the Archives holdings are two oral history interviews with Lawrence A. Fleischman. The first was conducted by Paul Cummings in 1970 and the second conducted by Gail Stavitsky in 1994 . Both interviews have transcripts available.

Separated Materials:

The Archives of Art also holds microfilm of material lent for microfilming, the majority of which was later donated, except for five letters on reel D197. These include one postcard from Constance Richardson, 1956; one letter from Constance Richardson, 1957; one letter from Franklin Watkins, 1955; one letter from Lawrence Fleischman to Wilbur H. Hunter, 1960; and one letter from Richard D. Tucker, 1960. This material remains with lender and is not described in the collection container inventory.

Provenance:

The Lawrence and Barbara Fleischman papers were donated in several accretions by Lawrence and Barbara Fleischman from 1954 to 2007. Letters were also loaned for microfilming in 1965, but nearly all of them were subsequently donated.

Restrictions:

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

Rights:

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

Occupation:

Painters -- United States  Search this

Topic:

Painting, American  Search this

Art patrons Michigan Detroit  Search this

Artists' studios -- Photographs  Search this

Philanthropists  Search this

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

Genre/Form:

Typescripts

Photographs

Citation:

Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.fleilawr

See more items in:

Lawrence and Barbara Fleischman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92905ad60-9c85-493f-90b7-272f1486ef69

EDAN-URL:

ead_collection:sova-aaa-fleilawr

Painter:

Young, Kenneth 1933-2017  Search this

Medium:

Acrylic on canvas

Type:

Paintings

Owner/Location:

Johnson Collection, The 100 Dunbar Street, Suite 203 Spartanburg South Carolina 29306 Accession Number: 2022.03.02

Date:

1972

Topic:

Abstract  Search this

Control number:

IAP 68670862

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_480081

Creator:

Mason, Alice Trumbull, 1904-1971  Search this

Names:

American Abstract Artists  Search this

Kelpe, Paul, 1902-1985  Search this

Lassaw, Ibram, 1913-2003 -- Photographs  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketchbooks

Poetry

Date:

1921-1977

Summary:

The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.

Scope and Content Note:

The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.

Biographical material consists of resumes, passports, exhibition files, as well as documentation of her membership and active participation in art organizations, including her work as an officer in the American Abstract Artists group. Also found here are scattered personal financial and legal records. Personal and professional correspondence is with family members, including many detailed letters between her and her husband Warwood, fellow artists, including Paul Kelpe, art organizations, curators, museums, galleries, and others. Professional correspondence generally discusses selection of exhibition and awards, sale of artwork, and art events. Writings and notes, mostly from the 1920s and 1930s, consist of Mason's notes on art history and her creative writings, including poetry and "abstract writing." Also found are a few writings about abstract art and various notes and lists.

Printed material includes news clippings on topics of interest to Mason, and other miscellaneous items such as brochures, and exhibition announcements. Photographs include several portraits of Mason with her artwork, photographs of friends including artist Ibram Lassaw, photographs of an American Abstract Artists exhibition, and artwork by her and others. Original artwork found in this collection includes five sketchbooks belonging to Mason, including two that document her travels through Greece and Italy, and other loose drawings.

Arrangement:

The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Material, 1925-1968 (Box 1, OV 3; 0.2 linear feet)

Series 2: Correspondence, 1922-1977 (Box 1; 0.4 linear feet)

Series 3: Writings and Notes, 1921-1965 (Box 1; 6 folders)

Series 4: Printed Material, 1936-1974 (Box 1; 2 folders)

Series 5: Photographs, 1920s-1967 (Box 1, OV 3; 5 folders)

Series 6: Artwork, 1924-1963 (Box 1-2, OV 3; 0.4 linear feet)

Biographical Note:

Alice Trumbull Mason was born in 1904 in Litchfield, Connecticut. Her mother, Anne Leavenworth Train, was an accomplished artist before she met Alice's father, William Trumbull, a descendent of the Revolutionary War era painter, John Trumbull. Alice spent much of her childhood in Europe with her family. From 1921 to 1922 they lived in Florence and Rome where she studied at the British Academy. In 1923 she continued her studies with painter Charles W. Hawthorne at the National Academy of Design in New York and from 1927 to 1928 attended courses at the Grand Central Art Galleries taught by Arshile Gorky. Gorky inspired her interest in abstract painting, and Mason painted her first non-objective works in 1929. In 1928 she returned to Italy and Greece and was greatly influenced by ancient art, Byzantium, and Italian primitives. She married Warwood Mason, a merchant seaman, in 1930 and her daughter Emily was born in 1932 and her son Jonathan in 1933. During this period she stopped painting and devoted her creative energy to writing poetry inspired by American avant-garde writers.

Mason began painting again in 1934 and was recognized as a key figure of American abstraction. In 1935 she met and became close friends with fellow artist Ibram Lassaw, and they, along with several other artists, began to meet on a regular basis which led to the first American Abstract Artists group exhibition in 1937. Mason remained very active in the group and served as treasurer in 1939, secretary from 1940 to 1945, and president from 1959 to 1963. She was also an activist for abstract art, protesting the decisions of the Museum of Modern Art several times for excluding abstract artists from exhibitions. During the 1940s her paintings and concept of "architectural abstraction" was influenced by the arrival of Piet Mondrian in New York. Also in the 1940s she had two one-woman shows, but throughout her career she felt there was a bias against women in the New York art world and most often she participated in AAA group shows. Her work would be viewed as an important bridge for future abstract and conceptualist artists. In 1958 her son died, and though she continued to paint and participate in exhibitions, she never recovered from this tragedy and in the late 1960s withdrew into seclusion until her death in 1971.

Related Material:

Also found in the Archives of American Art is a collection of interviews by Ruth Bowman of members of the American Abstract Artists group conducted between 1963-1965, that includes an interview with Alice Trumbull Mason. The Archives of American Art also houses 2.3 linear feet of the records of the American Abstract Artists group.

Separated Material:

A portion of the material donated by Alice Trumbull Mason in 1969 relating to her involvement with the American Abstract Artists was separated and filed with the American Abstract Artists records at the Archives of American Art. Files of news clippings and exhibition catalogs were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library after microfilming.

Provenance:

A portion of this collection was donated by Alice Trumbull Mason in 1969. Additional material was donated from 1972 to 1977 by Mason's daughter, Emily Mason Kahn.

Restrictions:

The collection is partially microfilmed. Use of material not microfilmed requires an appointment.

Rights:

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

Occupation:

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

Topic:

Women artists  Search this

Women painters  Search this

Women authors  Search this

Genre/Form:

Photographs

Sketchbooks

Poetry

Citation:

Alice Trumbull Mason papers, 1921-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.masoalic

See more items in:

Alice Trumbull Mason papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95e72c55c-ce27-48d3-a5d7-2904106402d0

EDAN-URL:

ead_collection:sova-aaa-masoalic

Painter:

Cain, Joseph 1904-2003  Search this

Medium:

Oil on masonite

Type:

Paintings

Owner/Location:

Johnson Collection, The 100 Dunbar Street, Suite 203 Spartanburg South Carolina 29306 Accession Number: 2022.11.05

Date:

Ca.1948

Topic:

Abstract  Search this

Waterscape--Wharf  Search this

Architecture--Boat  Search this

Object--Other--Flag  Search this

Object--Other--Weather vane  Search this

Control number:

IAP 68670859

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_480078

Sculptor:

Rothrock, Rick  Search this

Medium:

Vermont marble

Type:

Sculptures

Sculptures-Outdoor Sculpture

Owner/Location:

Arden Club 2126 The Highway Gild Hall Arden Delaware 19810

Date:

September 6, 2015. Installed April 21, 2016

Topic:

Abstract  Search this

Control number:

IAS 78910009

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_480076

Author:

Macel, Christine  Search this

Author:

Chauvelot-Moachon, Laurence  Search this

Centre Georges Pompidou  Search this

Physical description:

59 pages colour illustrations 27 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Catalogues d'exposition

Date:

2021

20th century

21st century

20e siècle

21e siècle

Topic:

Women artists  Search this

Art  Search this

Art, Abstract  Search this

Femmes artistes  Search this

Arts  Search this

Art abstrait  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1155911

Author:

Cameron, Dan  Search this

Galeria Joan Prats  Search this

Physical description:

[36] p. : col. ill. ; 28 cm

Type:

Exhibitions

Place:

California, Southern

Date:

[1989]

20th century

Topic:

Art, Abstract  Search this

Art, American  Search this

Call number:

N6530.C2.D42.1989

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_635462

Creator:

Zilczer, Judith  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Whitney Museum of American Art  Search this

Benton, Thomas Hart, 1889-1975  Search this

Coady, Robert J., 1881-1921  Search this

Dasburg, Andrew, 1887-1979  Search this

Dawson, Manierre, 1887-1969  Search this

Hartley, Marsden, 1877-1943  Search this

Hartmann, Sadakichi, 1867-1944  Search this

Linder, Richard  Search this

Munson, Gorham Bert, 1896-1969  Search this

Quinn, John, 1870-1924  Search this

Stieglitz, Alfred, 1864-1946  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1910-1995

bulk 1973-1995

Summary:

The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

Scope and Contents:

The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

This collection documents the correspondence and research of Judith Zilczer pertaining to her doctoral dissertation, The Aftermath of the Armory Show, 1913-1918, where she examines the arguments of both artists and critics over the question of abstraction in art during the early period of the twentieth century. Research files include information on Sadakichi Hartmann, Thomas H. Benton, Manierre Dawson, Andrew Dasburg, John Quinn, Alfred Stieglitz, Michael Brenner, Robert J. Coady and Gorham Munson. Project files document Synchromism, the Forum Exhibit and the Hartley Symposium at the Whitney Museum of American Art and the Richard Lindner Exhibition at the Hirshhorn Museum. Written transcripts include "Robert J. Cody, Man of the Soil" and "Musical Analogy". Researchers should note that this collection does not include a copy of her doctoral thesis.

Arrangement:

The collection is arranged as 2 series.

Series 1: Project Files, 1910-1995 (Box 1; 21 folders)

Series 2: Writings, circa 1980s (Box 1; 3 folders)

Biographical / Historical:

Judith Zilczer (1948-) was an art historian, author, and Curator Emerita of the Hirshhorn Museum and Sculpture Garden in Washington D.C. She organized more than two dozen exhibitions in her twenty-nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator. Her exhibition publications include Willem de Kooning from the Hirshhorn Museum Collection (1993), Richard Lindner: Paintings and Watercolors, 1948-1977 (1996), and Visual Music: Synaesthesia in Art and Music Since 1900 (2005). A 1975 graduate of the doctoral program of the University of Delaware, she wrote her thesis on The Aftermath of the Armory Show 1913-1918. She has received numerous awards, including the 2006 George Wittenborn Memorial Book Award of the Art Libraries Society of North America. Dr. Zilczer has written and lectured widely on modern and contemporary art and is a leading authority on the art of Willem de Kooning.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Paul Allen Reed conducted by Judith Zilczer, April 29, 1994.

Additionally, Papers relating to art commissioned for the Ronald Reagan Building and International Trade Center, 1992-1998, donated by Judith Zilczer, can be found at Archives of American Art.

The Smithsonian Institution Archives in Washington, D.C. holds a large collection of Judith K. Zilczer Papers, 1975-2003.

Provenance:

Creator Judith Zilczer donated her papers to the Archives of American Art in 2014.

Restrictions:

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

Occupation:

Art historians -- Washington (D.C.)  Search this

Authors -- Washington (D.C.)  Search this

Curators -- Washington (D.C.)  Search this

Topic:

Art, Abstract  Search this

Art, Modern -- 20th century  Search this

Synchromism (Art)  Search this

Genre/Form:

Photographs

Citation:

Judith Zilczer papers, 1910-1995, bulk 1973-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.zilcjudt

See more items in:

Judith Zilczer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91d3ed8fb-2459-49cf-9a13-836bd7628aa0

EDAN-URL:

ead_collection:sova-aaa-zilcjudt

Creator:

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Names:

American Ambulance Field Hospital (Juilly, France)  Search this

Greenwich House (New York, N.Y.)  Search this

Whitney Museum of American Art  Search this

Whitney Studio Club  Search this

Cushing, Howard Gardiner, 1869-1916  Search this

De Meyer, Adolf, Baron, 1868-1949  Search this

Miller, Flora Whitney  Search this

Strelecki, Jean de, count  Search this

Watson, Forbes, 1880-1960  Search this

Whitney, Harry Payne, 1872-1930  Search this

Extent:

36.1 Linear feet

Type:

Collection descriptions

Archival materials

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Date:

1851-1975

bulk 1888-1942

Summary:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Scope and Content Note:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).

Arrangement:

The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)

Biographical/Historical note:

New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.

Related Archival Materials note:

Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.

Provenance:

The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Rights:

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

Occupation:

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

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

Topic:

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

Women artists  Search this

Women sculptors  Search this

World War, 1914-1918  Search this

Genre/Form:

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Citation:

Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.whitgert

See more items in:

Gertrude Vanderbilt Whitney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e

EDAN-URL:

ead_collection:sova-aaa-whitgert

Creator:

Thompson, Bob, 1937-1966  Search this

Names:

Billiard Place  Search this

David Anerson Gallery  Search this

Donald Morris Gallery  Search this

Sluggs Jazz Club  Search this

The Billard Palace  Search this

Whitney Museum of American Art  Search this

Baraka, Amiri, 1934-2014  Search this

Beskind, Dorothy Levitt  Search this

Bridwell, Margaret  Search this

Covi, Dario A.  Search this

Crodel, Charles, 1894-1973  Search this

Cruz, Emilio, 1938-  Search this

Ginsberg, Allen, 1926-  Search this

Martin, Mary, 1913-  Search this

May, Mary Spencer  Search this

Ratcliff, Carter  Search this

Schapiro, Meyer, 1904-  Search this

Spellman, A. B., 1935-  Search this

Thompson, Bessie  Search this

Thompson, Carol  Search this

Wilke, Ulfert, 1907-1987  Search this

Wilson, Judith, 1952-  Search this

Young, Kenneth, 1933-  Search this

Extent:

2 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Photographs

Date:

1949-2005

Summary:

The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.

Scope and Contents:

The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.

Biographical material includes certificates, school memorabilia, biographical chronologies, a memorial program and obituaries, and a transcript of "Bob Thompson: His Life and Friendships" panel discussion with several notable artists commenting on Thompson. There is also a video recording copy of a 1965 film by Dorothy Levitt Beskind titled Bob Thompson Happening which was made to accompany a 1999 exhibition at the Whitney Museum of Art.

Carol Thompson's correspondence is with various galleries, dealers, and friends primarily concerning Bob Thompson's artwork and posthumous exhibitions. There is correspondence with art historian Judith Wilson, the artist's mother Bessie Thompson, David Anderson Gallery, and Donald Morris Gallery.

Writings by Bob Thompson include church speeches, a letter to the editor of Louisville Courier Journal, a poem, and an artist statement. There are also writings about Thompson by others, including his mother Bessie Thompson, wife Carol Thompson, and artists and friends, including Margaret Bridwell, Dario Covi, Carl Crodel, Emilio Cruz, Allen Ginsberg, LeRoi Jones, Mary H. Martin, Mary Spencer May, Carter Ratcliff, Meyer Schapiro, A. B. Spellman, Ulfert Wilke, and Ken Young. The writings by friends are mostly in the form of recollections by friends that were gathered as a memorial tribute to Thompson.

Exhibition files consist of material related to posthumous group and solo exhibitions of Bob Thompson's work.

The majority of the personal business records are posthumous and include inventories, loan and consignment forms, sales and appraisal records, and scattered correspondence.

Printed material includes exhibition catalogs, magazine and newspaper clippings about Bob Thompson, blank postcards of artwork, posters, and press releases.

There are photographs of Bob Thompson, family, and friends, including many artists, shot in various locations in New York City and Provincetown, as well as in Spain, France, and Italy. There are images of Thompson's Rivington Street studio, the Billiard Palace and the Slugs Jazz Club in New York City, exhibitions, events, street scenes, and artwork. There are four photographs albums, one of the Thompson's wedding, two of exhibitions (one is disbound), and one personal album with many photographs of friends and family, including the artist's mother Bessie Thompson and wife Carol Thompson.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1953-2003 (0.2 linear feet; Box 1)

Series 2: Carol Thompson's Correspondence, 1971-2000 (0.1 linear feet; Box 1)

Series 3: Writings, 1949-1998 (0.1 linear feet; Box 1)

Series 4: Exhibition Files, 1978-2001 (0.1 linear feet; Box 1)

Series 5: Personal Business Records, 1965-2001 (0.1 linear feet; Box 1)

Series 6: Printed Material, 1960-2005 (0.7 linear feet; Boxes 1-2, 4, OV 5)

Series 7: Photographs, 1951-2000 (0.7 linear feet; Boxes 2-4)

Biographical / Historical:

Bob Thompson (1937-1966) was an African American figurative painter who worked primarily in New York City.

Thompson was born in Louisville, Kentucky in 1937. He attended Boston University as a pre-med student, but quit the program and returned to Kentucky to attend the University of Louisville and study painting under German expressionist artist Ulfert Wilke. As a student, he spent a summer in Provincetown, Massachusetts and immersed himself in the art communities there. In 1958, Thompson moved to New York City and reunited with several artists he had met in Provincetown and participated in some of the earliest "happenings," somewhat informal art events or gatherings usually involving performance art and music, in 1960. He became a regular at the jazz clubs The Five Spot and Slugs and became friends with several jazz musicians. Many of Thompson's paintings reflect his interest in jazz. He also formed friendships with writers Allen Ginsberg and LeRoi Jones. In 1960, he had his first solo exhibition at the Delancy Street Museum.

The same year as his first solo exhibition, Thompson married Carol Plenda and the couple lived in Paris from 1961-1962 after he received a Whitney Foundation fellowship. They lived in Ibiza, Spain the following year. Thompson painted prolifically while abroad, and when he returned to New York City in 1963, he brought many paintings with him. He quickly found representation by Martha Jackson Gallery and the gallery featured Thompson's work in solo exhibitions in 1963-1965. His reputation grew and more exhibitions across the country followed.

In late 1965, Thompson and his wife traveled to Rome, Italy, where he continued to study art and paint. Thompson died in Rome in 1966 at the age of 28 from a drug overdose not long after receiving gall bladder surgery.

Provenance:

The collection was donated by Elaine Plenda, the artist's sister-in-law, in 2006, 2010, 2011, and 2012.

Restrictions:

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

Rights:

"Bob Thompson Happening" (1965) video: Permission to publish, quote or reproduce requires written permission from Joanne Elkin. 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:

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

Topic:

African American artists  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Video recordings

Photographs

Citation:

Bob Thompson papers, 1949-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.thombob

See more items in:

Bob Thompson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95cbba908-2706-4ba6-8bb0-58c271c29d62

EDAN-URL:

ead_collection:sova-aaa-thombob

Creator:

Constant, George  Search this

Names:

Art Institute of Chicago  Search this

Audubon Artists (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Carnegie Institute  Search this

Dayton Art Institute  Search this

Federation of Modern Painters and Sculptors  Search this

Ferargil Galleries  Search this

Heckscher Museum  Search this

Lyman Allyn Art Museum  Search this

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

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

Parrish Art Museum  Search this

Spanish Refugee Aid (Organization)  Search this

United States. Works Progress Administration  Search this

Whitney Museum of American Art  Search this

Avery, Milton, 1885-1965  Search this

Avery, Sally  Search this

Burliuk, David, 1882-1967  Search this

Caparn, Rhys, 1909-1997  Search this

Carnell, Julia Shaw Patterson, 1863-1944  Search this

Davidson, Morris, 1898-1979  Search this

Eaton, Charles Warren, 1857-1937  Search this

Gecan, Vilko, 1894-1973  Search this

Kanaga, Consuelo, 1894-  Search this

Landgren, Marchal E.  Search this

Neuberger, Roy R.  Search this

Pach, Walter, 1883-1958  Search this

Perret, Nell, 1916-  Search this

Preston, Georgette  Search this

Putnam, Wallace, 1899-1989  Search this

Extent:

4.6 Linear feet

Type:

Collection descriptions

Archival materials

Christmas cards

Photographs

Video recordings

Sound recordings

Interviews

Date:

1912-2007

bulk 1932-1978

Summary:

The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.

Scope and Contents note:

The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.

Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.

Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.

Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.

Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.

Arrangement note:

The collection is arranged into 4 series:

Missing Title

Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)

Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)

Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)

Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)

Biographical/Historical note:

Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.

Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.

From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.

Provenance:

The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.

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:

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

Art -- Philosophy  Search this

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

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

Genre/Form:

Christmas cards

Photographs

Video recordings

Sound recordings

Interviews

Citation:

George Constant papers, 1912-2007, bulk 1932-1978. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.consgeor

See more items in:

George Constant papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cec7527c-1946-423b-aab7-e7728da8a072

EDAN-URL:

ead_collection:sova-aaa-consgeor

Creator:

Warner, Keith, 1895-1959  Search this

Names:

"291" (Gallery)  Search this

American Place (Gallery)  Search this

Whitney Museum of American Art  Search this

Calder, Alexander, 1898-1976  Search this

Dorcely, Roland  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Marin, John, 1870-1953  Search this

Mondrian, Piet, 1872-1944  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Rosenburg, Paul  Search this

Russell, Morgan, 1886-1953  Search this

Stieglitz, Alfred, 1864-1946  Search this

Weber, Max, 1881-1961  Search this

Extent:

0.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Illustrated letters

Sketches

Date:

1935-1975

Summary:

The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.

Scope and Contents:

The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.

Warner's relationships with artists are documented in extensive letters which make up the bulk of the collection. Subjects range from exhibitions, the art market, artists' methods and works, art criticism, and collecting to personal subjects. Letters from Roland Dorcely and Alexander Calder include illustrated letters and postcards. Letters from Calder discuss a mix of business and personal matters, including a discussion of the design of jewelry commissioned for Warner's wife, Edna. Letters from Dorcely document Warner's cultivation, criticism, and collection of Dorcely's work, as well as the hardships of Haitian artists and Dorcely's views on art. The letters are in French with some English translations.

Correspondence with Alfred Stieglitz documents his common endeavor with Warner in collecting the paintings of John Marin, and Stieglitz's gallery, An American Place. Letters associated with An American Place continue after Stieglitz's death in 1946. Found with Alfred Stieglitz's letters are two letters from Georgia O'Keeffe. Max Weber letters include comments on his painting and sculpting, his retrospective show at the Whitney, the art press, national politics, and also refer to Stieglitz and Marin. An extensive group of correspondence with Stanton MacDonald-Wright is mostly undated; MacDonald-Wright writes freely about Stieglitz, the "291" group of artists, and his partner in Synchromism, Morgan Russell. Also included are letters from Piet Mondrian related to collecting, as well as letters from unidentified correspondents.

Warner's collecting files consist of diverse materials concerning his research, writing, and relationships with artists whose paintings he collected, particularly Roland Dorcely and Stanton MacDonald-Wright. Included are biographical sketches; writings about and by the artists, including manuscripts and published materials; newspaper and magazine clippings; exhibition announcements and catalogs; and photographs of works of art. Writings by Roland Dorcely, on the subject of his artistic process and perspective, include handwritten essays in French as well as typed English translations. Published articles from Script magazine (1945-1946) by Stanton MacDonald-Wright document his career as an art critic. Writings on Alexander Calder and Paul Rosenburg, taken from Warner's journal on Calder, and on the early relationship of Alfred Stieglitz and Georgia O'Keeffe, documented on a visit with Stieglitz on May 3, 1944, are also present.

Artwork consists of work by Alexander Calder and Roland Dorcely. Calder's work includes sketches proposing mobiles with notations as to material, scale, and cost. Dorcely's work includes sketches in graphite and ink of abstract figures and objects.

Arrangement:

The collection is arranged as 3 series.

Missing Title

Series 1: Correspondence, 1940-1963 (0.4 linear feet; Box 1-2)

Series 2: Collecting Files, circa 1940-1975 (12 folders; Box 2, OV 3)

Series 3: Artwork, circa 1945-circa 1965 (2 folders; Box 2)

Biographical / Historical:

Keith Warner (1895-1959) was an American art collector. Warner was born and lived in Gloversville, New York, and maintained a manufacturing business that took him to New York City intermittently. Warner began collecting Chinese porcelains after World War I, and a few years later his interest shifted to American abstract painting. Warner retired from business in 1944. His collection was sold gradually after his death, mostly to private collectors, though some works are in museums in the United States and Japan.

Provenance:

The Keith Warner papers were donated in 1992 by Edna K. Allen, wife of Keith Warner.

Restrictions:

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

Rights:

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

Topic:

Art -- Collectors and collecting -- New York (State)  Search this

Artists -- United States  Search this

Art -- Haiti  Search this

Art, Abstract -- Collectors and collecting  Search this

Art criticism  Search this

Art, Modern -- 20th century -- Collectors and collecting  Search this

Synchromism (Art)  Search this

Art, American  Search this

Genre/Form:

Photographs

Illustrated letters

Sketches

Citation:

Keith Warner papers, 1935-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.warnkeit

See more items in:

Keith Warner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97cf79e0a-b1cc-4c06-bf03-80608f90eb97

EDAN-URL:

ead_collection:sova-aaa-warnkeit

Creator:

Bishop, Isabel, 1902-1988  Search this

Names:

American Society of Painters, Sculptors and Gravers  Search this

New Society of Artists (New York, N.Y.)  Search this

Arms, John Taylor, 1887-1953  Search this

Bacon, Peggy, 1895-1987  Search this

Blume, Peter, 1906-1992  Search this

Brooks, Van Wyck, 1886-1963  Search this

Canaday, John, 1907-1985  Search this

Chappell, Warren, 1904-  Search this

Ciardi, John, 1916-  Search this

Cunningham, Merce  Search this

Delevante, Sidney, 1894-  Search this

Deutsch, Babette, 1895-1982  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Evergood, Philip, 1901-1973  Search this

Ferber, Edna, 1887-1968  Search this

Folinsbee, John Fulton, 1892-1972  Search this

Force, Juliana, 1876-1948  Search this

Hoffman, Malvina, 1887-1966  Search this

Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this

Johnson, Una E.  Search this

Kearns, James  Search this

Kitaj, R. B.  Search this

Kroll, Leon, 1884-1974  Search this

Laning, Edward, 1906-1981  Search this

Lattimore, Richmond Alexander, 1906-1984  Search this

Leighton, Clare, 1899-  Search this

Marsh, Reginald, 1898-1954  Search this

Moore, Marianne, 1887-1972  Search this

Mumford, Lewis, 1895-1990  Search this

Neel, Alice, 1900-1984  Search this

Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this

Porter, Fairfield  Search this

Rattner, Abraham  Search this

Schmidt, Katherine, 1898-1978  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Soyer, Raphael, 1899-1987  Search this

Tooker, George, 1920-2011  Search this

Van Veen, Stuyvesant  Search this

Vonnegut, Kurt  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Westcott, Glenway  Search this

Zorach, William, 1887-1966  Search this

Extent:

2.6 Linear feet

Type:

Collection descriptions

Archival materials

Watercolors

Sketches

Photographs

Prints

Sketchbooks

Illustrated letters

Date:

1914-1983

Summary:

The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. There are scattered biographical documents, correspondence with fellow artists such as Peggy Bacon, Warren Chappell, Edward Laning, and R. B. Kitaj, and with writers, curators, museums, galleries, arts organizations, and others. Also found are arts organization files, Bishop's writings about Warren Chappell and friend Reginald Marsh, notes, exhibition catalogs, news clippings, and other printed material, photographs of Bishop and her artwork, and photographs of Reginald and Felicia Marsh. Original artwork includes 8 sketchbooks, loose sketches, prints, and watercolor figure studies.

Scope and Content Note:

The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. Scattered biographical documents include awards and a file on her participation in art juries.

Bishop was friends with many artists and cultural figures and her correspondence includes letters to and from artists such as John Taylor Arms, Peggy Bacon, Peter Blume, Warren Chappell (many letters from Chappell are illustrated), Sidney Delevante, Edwin Dickinson, Philip Evergood, John Folinsbee, Malvina Hoffman, Jo Hopper, James Kearns, Leon Kroll, Clare Leighton, Jack Levine, Alice Neel, Hobson Pittman, Fairfield Porter, Abraham Rattner, Katherine Schmidt, Henry Schnakenberg, Raphael Soyer, George Tooker, Stuyvesant Van Veen, Franklin Watkins, Mahonri Young, and William Zorach. Bishop not only corresponded with artists but also many poets, authors, historians, and dancers, such as Van Wyck Brooks, John Canaday, John Ciardi, Merce Cunningham, Babette Deutsch, Edna Ferber, Richmond Lattimore, Marianne Moore, Lewis Mumford, Kurt Vonnegut, and Glenway Westcott. Also found are letters from many galleries, museums, and schools which exhibited or purchased her work, including curators Juliana Force and Una Johnson.

Bishop kept files from her affiliations with the American Society of Painters, Sculptors, and Gravers and the New Society of Artists, containing mostly membership and financial records, and a file on a UNESCO conference. Unfortunately, files documenting her membership and vice presidency of the National Institute of Arts & Letters are not found here.

A small amount of Bishop's writings and notes include essays about friends and artists Reginald Marsh and Warren Chappell. Printed material consists of exhibition catalogs and announcements, news clippings, magazines, and a design by G. Alan Chidsey for a book about Bishop. Photographs depict Bishop with her husband and in her studio, her artwork, and also include three photographs of her friend, Reginald Marsh.

Original artwork includes eight small sketchbooks, loose pen and ink sketches, intaglio prints, watercolor figure studies, and a drawing of Bishop by Aaron Bohrod.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1943-1975 (Box 1; 4 folders)

Series 2: Correspondence, 1939-1983 (Box 1; 0.6 linear feet)

Series 3: Organization Files, 1924-1937, 1951-1952 (Box 1; 0.2 linear feet)

Series 4: Writings & Notes, 1937-1960s (Box 1; 4 folders)

Series 5: Printed Material, 1930-1979 (Box 2; 0.6 linear feet)

Series 6: Photographs, 1914, circa 1920s-1975 (Box 2, OV 5; 0.2 linear feet)

Series 7: Artwork, circa 1940s-1970s (Box 2-4, OV 5; 0.4 linear feet)

Biographical Note:

Isabel Bishop (1902-1988) was born in Cincinnati, Ohio to John Remsen Bishop and Anna Bartram Newbold Bishop. Shortly after her birth the family moved to Detroit, Michigan. As a child Bishop took art classes and had a growing interest in drawing. In 1918 at the age of 16 she left home and moved to New York City where she enrolled in the School of Applied Design for Women to be an illustrator. However, her real interest was in painting, not the graphic arts, and she enrolled in the Art Students League in 1920. There she studied with Kenneth Hayes Miller and Guy Pene du Bois and met many young artists, including Reginald Marsh and Edwin Dickinson, both of whom became close friends. She took classes until 1924 and rented a studio and living space on 14th Street in a neighborhood where many artists maintained studios at the time.

Bishop began exhibiting her work and participated in artist groups, including the Whitney Studio Club and the New Society of Artists. During the 1920s and 1930s she developed a realist style of painting, primarily depicting women in their daily routine on the streets of Manhattan. Her work was greatly influenced by Peter Paul Rubens and other Dutch and Flemish painters that she had discovered during trips to Europe. In 1932 Bishop began showing her work frequently at the newly opened Midtown Galleries, where her work would be represented throughout her career.

In 1934 she married Harold Wolff, a neurologist, and moved with him to Riverdale, New York. Bishop kept her studio in Manhattan, moving from 14th Street to Union Square. She remained in her Union Square studio for fifty years (1934-1984). From 1936 to 1937 she taught at the Art Students League and in 1940 her son Remsen was born. In 1941 she was named a member of the National Academy of Design and from 1944 to 1946 she was the Vice President of the National Institute of Arts & Letters, the first woman to hold an executive position with that organization. She wrote articles and joined other artists in speaking out in support of realist painting and against the abstract style that was dominating the New York art scene.

During her long career which lasted into the 1980s, Bishop exhibited in numerous group and solo exhibitions, traveled throughout the U. S. as an exhibition juror, and won many awards for her work, including the award for Outstanding Achievement in the Arts presented by President Jimmy Carter in 1979.

Related Material:

Also found at the Archives of American Art are three oral history interviews with Isabel Bishop, April 15, 1959, May 29, 1959, and November 12-December 11, 1987.

The Whitney Museum of American Art and Midtown Galleries loaned additional Bishop papers to the Archives for microfilming on reels NY59-4 and NY59-5. These items were returned to the lenders after microfilming and are not described in the container listing of this finding aid.

Provenance:

The collection was donated in several installments by Isabel Bishop from 1959 to 1983.

Restrictions:

The collection has been digitized and is available online via AAA's website.

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

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

Book illustrators -- New York (State) -- New York  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Realism  Search this

Genre/Form:

Watercolors

Sketches

Photographs

Prints

Sketchbooks

Illustrated letters

Citation:

Isabel Bishop papers, 1914-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.bishisab

See more items in:

Isabel Bishop papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9509a0a9a-9a45-4bf3-973e-4699c03f6ed8

EDAN-URL:

ead_collection:sova-aaa-bishisab

Creator:

Sharrer, Honoré, 1920-2009  Search this

Names:

American Academy of Arts and Letters  Search this

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

Handmacher-Vogel, Inc.  Search this

Terry Dintenfass, Inc.  Search this

Women's Caucus for Art  Search this

Blume, Peter, 1906-1992  Search this

Bridaham, Lester Burbank  Search this

Caiserman-Roth, Ghitta, 1923-  Search this

Calderwood, Kathy, 1945-  Search this

Carpenter, Mary  Search this

Crutchfield, Mary  Search this

Goodwin, Betty  Search this

Kirstein, Lincoln, 1907-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Oda, Mayumi, 1941-  Search this

Poland, Reginald  Search this

Sachs, Honoré  Search this

Sharrer, Madeleine  Search this

Tooker, George, 1920-2011  Search this

Zagorin, Adam  Search this

Zagorin, Perez  Search this

Extent:

9.45 Linear feet

1.12 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Photographs

Date:

circa 1920-2007

Summary:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Scope and Contents:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Biographical material includes biographical notes and resumés, awards, paintbrushes used by Sharrer, and sales records, as well as comprehensive documentation, compiled 2004-2007 by her husband, Perez Zagorin, and her son, Adam Zagorin, of Sharrer's artwork in their possession. Included are digital images of Sharrer's artwork.

Correspondence is with family members including Sharrer's mother, Madeleine Sharrer, and her second husband, Reginald Poland; husband Perez Zagorin; son Adam Zagorin; and daughter-in-law, Mary Carpenter Also found is correspondence with artists including Peter Blume, Lester Burbank Bridaham, Gitta Caiserman-Roth, Kathy Calderwood, Mary Crutchfield, Betty Goodwin, Lincoln Kirstein, Mayumi Oda, and George Tooker. Other professional correspondents include galleries, museums, and other art institutions such as American Academy of Arts and Letters, Terry Dintenfass, Forum Gallery, Handmacher-Vogel, Inc., M. Knoedler & Co., Dorothy Miller relating to the 1946 Fourteen Americans exhibition at the Museum of Modern Art, and the Women's Caucus for Art.

Writings and notes comprise drafts of several essays on art by Sharrer, preliminary notes for Tribute to the American Working People, and a mock-up for an unpublished book, "One White Christmas," written by Sharrer's grandmother, Honoré Sachs, and illustrated by Sharrer.

Research and source files consist of source material used throughout the course of Sharrer's career, including printed and photographic material used in the creation of Tribute to the American Working People, and later work dating up to, and including, the last decade of her life.

Printed material comprises announcements and catalogs for exhibitions and events featuring Sharrer, including a catalog for Fourteen Americans, as well as clippings about her and others, such as the Life Magazine cover story "Nineteen Young Americans."

Artwork and sketchbooks include studies for paintings and illustrations, and other preliminary sketches, as well as 14 sketchbooks of pencil and ink sketches dating from circa 1960s t0 2003.

Photographic material consists of photos of Sharrer, her family, friends, colleagues, exhibition installations, and houses. Also found are photos, negatives, and transparencies of Sharrer's artwork, as well as photos of artwork by Madeleine Sharrer and Lester Burbank Bridaham.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1941-2007 (0.44 linear feet; Boxes 1, 10, 1.12 GB; ER01-ER10)

Series 2: Correspondence, 1938-2006 (1.84 linear feet; Boxes 1-3, 10)

Series 3: Writings and Notes, circa 1940s-circa 1990s (5 folders; Boxes 3, 10)

Series 4: Research and Source Files, circa 1920s-2005 (3.43 linear feet; Boxes 3-6, 10-11)

Series 5: Printed Material, circa 1930s-2005 (0.85 linear feet; Boxes 6-7, 11, OV 13, OV 17)

Series 6: Artwork, 1941-circa 1990s (0.8 linear feet; Boxes 7, 11-12, OV 13

Series 7: Sketchbooks, 1960s-2003 (0.55 linear feet; Boxes 7, 12)

Series 8: Photographic Material, circa 1930s-circa 2000 (1.83 linear feet; Boxes 8-9, 12, OVs 13-16)

Biographical / Historical:

Realist painter Honoré Sharrer (1920-2009) lived and worked in New York, Massachusetts, London, Montreal and Charlottesville, Virginia. She was best known for her five-panel painting, Tribute to the American Working People, completed in 1951 and first shown at M. Knoedler & Co. in New York to wide critical acclaim.

Sharrer was born in 1920 in West Point, New York, where her father was an Army officer, and grew up in the United States, the Philippines, Paris, and La Jolla, California. She studied at the Yale University School of Art and the San Francisco Art Institute, and worked as a welder in shipyards in California and New Jersey during World War II. She moved to New York in the 1940s and lived subsequently in Amherst, Massachusetts, London, and Montreal.

Sharrer's Workers and Paintings (1943) was included in the landmark Museum of Modern Art exhibition, Fourteen Americans, in 1946, and her painting, Man at Fountain, was featured in the 1950 Life Magazine cover story, "Nineteen Young American Artists." Tribute to the American Working People, which depicted a factory worker surrounded by smaller scenes of ordinary life, was considered her masterwork, but in the years that followed it's unveiling at M. Knoedler & Co., Sharrer was noticeably absent from the art scene; between 1951 and 1969 she did not have a single solo exhibition. While many of her contemporaries immersed themselves in Abstract Expressionism, Sharrer continued to paint, in meticulous detail, the daily experiences of ordinary working people, and her later work often dealt with female perspectives and was imbued with humor and elements of magical realism.

In 2007 the Smithsonian American Art Museum held an exhibition titled Anatomy of a Painting: Honoré Sharrer's 'Tribute to the American Working People,' which was devoted exclusively to her most famous work, now in the Smithsonian's permanent collection, and the source material she used when painting it. Sharrer's works can also be found in the Metroplitan Museum of Art, the Museum of Modern Art, and the Pennsylvania Academy of Fine Arts.

Sharrer settled in Charlottesville, Virginia, in the early 1990s. She was married to her second husband, historian Perez Zagorin, for 61 years, before her death in 2009. Her mother, Madeleine Sharrer, was also a painter who married Reginald Poland, Director of the Fine Arts Gallery, San Diego, following the death of Sharrer's father, Robert Allen Sharrer.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Perez Zagorin, 2007, January 17-18, and the Madeleine Sharrer papers, 1954-1988.

Provenance:

The Honoré Sharrer papers were donated in 2006 and 2007 by Perez Zagorin, Sharrer's husband. A small addition was donated by Adam Zagorin, Sharrer's son, in 2018.

Restrictions:

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

Rights:

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

Occupation:

Painters -- Virginia  Search this

Painters -- New York (State)  Search this

Topic:

Painting -- Equipment and supplies  Search this

Realism  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sketchbooks

Photographs

Citation:

Honoré Sharrer papers, circa 1920-2007. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.sharhono

See more items in:

Honoré Sharrer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c06a9fc-29d0-42ee-9a3a-d6d2558dfc77

EDAN-URL:

ead_collection:sova-aaa-sharhono

Artist:

Lee Bontecou, born Providence, RI 1931-died FL 2022  Search this

Publisher:

Universal Limited Art Editions  Search this

Printer:

Universal Limited Art Editions  Search this

Medium:

color lithograph on paper

Dimensions:

image: 36 5/8 x 27 7/8 in. (92.9 x 70.7 cm)

Type:

Graphic Arts-Print

Date:

1964

Topic:

Abstract  Search this

Credit Line:

Smithsonian American Art Museum, Museum purchase

Object number:

1971.84.73

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7364c98a3-0eef-443d-898d-b6e22f920663

EDAN-URL:

edanmdm:saam_1971.84.73

Artist:

Lee Bontecou, born Providence, RI 1931-died FL 2022  Search this

Publisher:

Universal Limited Art Editions  Search this

Printer:

Universal Limited Art Editions  Search this

Medium:

etching and aquatint on paper

Dimensions:

plate: 26 1/8 x 16 1/8 in. (66.3 x 40.8 cm)

Type:

Graphic Arts-Print

Date:

1967

Topic:

Abstract  Search this

Credit Line:

Smithsonian American Art Museum, Museum purchase

Object number:

1972.120

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7733da406-1215-4679-bb32-c615bdfbbfbf

EDAN-URL:

edanmdm:saam_1972.120