Resume; of 6 letters from Electra Carlin of Carlin Galleries, Fort Worth, Tex., Leonard Baskin and others; copies of letters sent to Sharon King and Carolyn Wade; of Bristow's poems and writings, 1958-1981, "Conversation With a New York Painter," "Dedicated to Alexander Calder," "On Visiting Arlington Cemetery," "The Lincoln Memorial," "Remembered Spring," "Myself," and "Casting Light"; a poem, "Bristow," by David G. Buttrick, 1968; 25 newspaper clippings; 7 exhibition invitations, announcements, and catalogs, printed material about Bristow and Trinity University; 4 photographs of his paintings; and a sketchbook, July 1975, documenting a trip to New England and containing sketches of New York.
Biographical / Historical:
Painter, educator; San Antonio, Texas. Taught at Trinity University 1960- present.
Provenance:
Donated and lent 1983 by Bill Bristow. Microfilmed as part of AAA's Texas Arts Documentation Project.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Rights:
Sketchbook: Authorization to publish, quote, or reproduce requires written permission from Bill Bristow. 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.
Biographical material, including a birth certificate and a resume; correspondence, 1973-1984 including mail art; 2 journals, 1982-1983 and 1983-1984, containing notes, printed material and mail art; 4 subject files, undated and 1978-1983, entitled: Creative New Yorkers, House Portraits, Intergalactic Communication Show, and Shown-Davenport Gallery, containing correspondence, printed material and contracts; exhibition announcements and catalogs, clippings, and publications containing Shown's illustrations; 4 scrapbooks, 1978-1983, containing printed material and photographs, including those relating to Shown's set designs and one-man shows; photographs of Shown, his family and his works of art; and 3 sketches.
Biographical / Historical:
Collage artist, set designer; San Antonio, Tex.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1984 by John Shown.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Letters; photographs; printed material; and miscellany.
REEL 3316: An invitation and catalog, 1972, for an exhibition of Mood's stitcheries, ceramics, sculpture and photography at the University of Texas Medical School at Houston; 4 newspaper clippings; a letter to Roger and Mary Louise Mood from Martha and Beau Mood, 1965; and an undated photograph of Mood.
REEL 3449: Material gathered by Martha Mood's agent, Lester Kierstead Henderson, including photocopies of letters to Henderson from Ansel Adams, Ronald Reagan and others, thanking him for the book THE SUBLIME HERITAGE OF MARTHA MOOD, by Henderson and Shirley Koploy; printed material about ordering Martha Mood dye transfer reproductions, stichery greeting cards, and calendars; clippings; 2 calenders MANY MOODS, 1984 and 1985, illustrated with stitcheries by Mood; 4 photographs of Mood, Henderson, and ceramic works by Mood.
Biographical / Historical:
Tapestry artist, ceramist, sculptor; San Antonio, Tex. Married name Martha Mood Lehmann.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project. Material on reel 3449 donated 1982 by Lester K. Henderson, Martha Mood's agent. Material on reel 3316 lent for microfilming 1983 by W. Roger Mood, Mood's cousin by marriage.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
An interview of Amy Freeman Lee conducted 1980 Sept. 15, by Sandra Curtis Levy, for the Archives of American Art.
Lee speaks of her youth in Seguin, Tex.; her education; the development of her interest in art; her philanthropic activities; starting out as a water colorist; influences on her painting style; her experiments with neon; Texas as an artistic community; her decision not to do abstract expressionist painting; her philosophy of life.
Biographical / Historical:
Amy Freeman Lee (1914-2004) was a painter, lecturer, and critic from San Antonio, Tex. Studied at University of Texas, Austin, and Incarnate Word College. She is active in supporting and furthering the cause of the fine arts in the southwest United States.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 2 hrs., 19 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
A resume; clippings and articles about Elder as an artist, gay rights activist and mayoral candidate in San Antonio; reviews and reports on cultural events written by Elder; letters of protest; a file containing printed material on the Time Capsule exhibit Elder curated for the San Antonio Museum of Art; and records from the MUD gallery.
Biographical / Historical:
Conceptual artist, painter; San Antonio, Tx.
Provenance:
Donated by Elder, 1984, as part of the Archives of American Art's Texas project.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Conceptual artists -- Texas -- San Antonio Search this
A birth certificate and resumes; correspondence; clippings, newsletters, exhibition catalogs and announcements; a scrapbook containing clippings, exhibition announcements and catalogs; a sketchbook of Italy; and photographs of Pace and her work.
Biographical / Historical:
Painter and sculptor; San Antonio, Texas. Married name is Willson.
Provenance:
Lent for microfilming by Pace-Willson 1984 as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Letters, 1973-1983, to Crow from art organizations; newspaper clippings; exhibition announcements, invitations and catalogs; awards and citations, from various art organizations; newsletters; and photographs of works by Crow.
Biographical / Historical:
Collagist; San Antonio, Texas.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1983 by Cecille Crow.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
4 scrapbooks, 1942-1958, containing letters from art associations and societies, notifying Casebier that his works won exhibition awards; loan agreements and receipts; clippings; exhibition catalogs; and photographs. Also included are letters, telegrams and greeting cards from friends, museums and art organizations, 1945-1966; typescripts of 2 essays; printed material; photographs of Casebier, his stained glass works and paintings, 1951-1960; printed material and book covers illustrating Casebier's work; and miscellany.
Biographical / Historical:
Painter, stained glass artist, and educator; San Antonio, Texas.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1982 by Cecil Lang Casebier.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
