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E.P. (Edgar Preston) and Constance Richardson papers, 1814-1996, bulk 1921-1996

Creator:
Richardson, Edgar Preston, 1902-1985  Search this
Richardson, Constance Coleman, 1905-2002  Search this
Richardson, Edgar Preston, 1902-1985  Search this
Subject:
Rutledge, Anna Wells  Search this
Simper, Fred  Search this
McDermott, John Francis  Search this
Speck, Walter  Search this
Stevens, William B.  Search this
Fredericks, Marshall M.  Search this
Castano, Giovanni  Search this
Soria, Regina  Search this
Lynes, Russell  Search this
Frankenstein, Alfred V. (Alfred Victor)  Search this
Hardy, Jeremiah Pearson  Search this
Pleasants, J. Hall (Jacob Hall)  Search this
Garrison, Eve Josephson  Search this
Bishop, Isabel  Search this
Allston, Washington  Search this
Woolfenden, William E. (William Edward)  Search this
Ripley, Sidney Dillon  Search this
Morse, John D.  Search this
Watkins, Franklin Chenault  Search this
Lewis, W. S. (Wilmarth Sheldon)  Search this
Marsh, Reginald  Search this
Sheeler, Charles  Search this
Kuniyoshi, Yasuo  Search this
Bostick, William A.  Search this
Jungwirth, Irene G. (Irene Gayas)  Search this
Oliver, Andrew  Search this
Simpson, Corelli C. W.  Search this
Andrews, Wayne  Search this
Valentiner, Wilhelm Reinhold  Search this
Middeldorf, Ulrich Alexander  Search this
Spark, Victor D. (Victor David)  Search this
Fleischman, Lawrence A. (Lawrence Arthur)  Search this
Sellers, Charles Coleman  Search this
Heil, Walter  Search this
Lee-Smith, Hughie  Search this
Bouché, Louis  Search this
Moser, Liselotte  Search this
Flexner, James Thomas  Search this
Vose, Robert C. (Robert Churchill)  Search this
Cohn, Harold  Search this
Aram, Siegfried F.  Search this
Mast, Gerald  Search this
Krentzin, Earl  Search this
Groce, George C.  Search this
Peale, Charles Willson  Search this
Culver, Charles B. (Charles Beach)  Search this
Wedda, John  Search this
Boyd, Julian P. (Julian Parks)  Search this
O'Keeffe, Georgia  Search this
Wyeth, Andrew  Search this
Hopper, Edward  Search this
Rockefeller, Nelson A. (Nelson Aldrich)  Search this
Rockefeller, John D.  Search this
Copeland, Lammot du Pont  Search this
Freeman, Michael W.  Search this
Allen, Joseph  Search this
Peale family  Search this
Castano Galleries (Boston, Mass.)  Search this
Historical Society of Pennsylvania  Search this
Macbeth Gallery  Search this
Archives of American Art  Search this
Philadelphia Museum of Art  Search this
National Collection of Fine Arts (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Pennsylvania Academy of the Fine Arts  Search this
White House (Washington, D.C.)  Search this
Detroit Institute of Arts  Search this
Henry Francis du Pont Winterthur Museum  Search this
Type:
Photographs
Manuscripts
Interviews
Diaries
Transcripts
Sketches
Lectures
Place:
Detroit (Mich.)
Topic:
Art -- Collectors and collecting  Search this
Painting, American  Search this
Art, American  Search this
Romanticism  Search this
Art -- History -- Study and teaching  Search this
Theme:
Diaries  Search this
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)10104
(DSI-AAA_SIRISBib)212990
AAA_collcode_richedga
Theme:
Diaries
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212990
Online Media:

Cecilia Beaux papers, 1863-1968

Creator:
Beaux, Cecilia, 1855-1942  Search this
Beaux, Cecilia, 1855-1942  Search this
Subject:
Andrew, A. Piatt (Abram Piatt)  Search this
Type:
Photographs
Poems
Diaries
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Art -- Economic aspects  Search this
Art -- Study and teaching  Search this
Theme:
Diaries  Search this
Sketches & Sketchbooks  Search this
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)5882
(DSI-AAA_SIRISBib)208722
AAA_collcode_beauceci
Theme:
Diaries
Sketches & Sketchbooks
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208722
Online Media:

Rebecca Beal papers, 1949-1982

Creator:
Beal, Rebecca J.  Search this
Beal, Rebecca J.  Search this
Subject:
Burchfield, Charles Ephraim  Search this
Eichholtz, Jacob  Search this
Poor, Henry Varnum  Search this
Topic:
Art -- Study and teaching -- Pennsylvania  Search this
Women artists  Search this
Women painters  Search this
Women art historians  Search this
Theme:
Lives of American Artists  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)7149
(DSI-AAA_SIRISBib)209283
AAA_collcode_bealrebe
Theme:
Lives of American Artists
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209283

Cecilia Beaux papers

Creator:
Beaux, Cecilia, 1855-1942  Search this
Names:
Andrew, A. Piatt (Abram Piatt), 1873-1936  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Poems
Diaries
Date:
1863-1968
Summary:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968. Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts.
Scope and Content Note:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968.

Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers.

Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found.

A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting.
Arrangement:
The collection is arranged into 6 series, with multiple subseries in Series 2:

Missing Title

Series 1: Biographical Materials, circa 1893-1943 (Box 1, OV 4-5; 0.3 linear feet)

Series 2: Correspondence, circa 1863-1968 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings, circa 1868-1954 (Boxes 2-3, OV 6; 0.8 linear feet)

Series 4: Personal Business Records, circa 1883-1936 (Box 3, OV 6; 0.2 linear feet)

Series 5: Printed Materials, circa 1874-1953 (Box 3, OV 6; 0.5 linear feet)

Series 6: Photographs, circa 1888-1919(Box 3; 0.3 linear feet)
Biographical Note:
Cecilia Beaux was born in Philadelphia in 1855. Her mother died just days after her birth, and Beaux and her sister went to live with their grandmother and aunts. Her adoptive family exposed her to fine art throughout her childhood and, once in school, Beaux excelled in her drawing classes and began training in the studio of Catherine A. Drinker, an artist and a cousin of her uncle Will Biddle. From 1881-1883 she attended life classes directed by William Sartain, who traveled to Philadelphia from New York to give criticisms. She also counted the Pennsylvania Academy of the Fine Arts master Thomas Eakins among her early influences, though she did not receive direct instruction from him.

Her first major success in painting was a double-portrait of her sister and nephew entitled Les Derniers Jours d'Enfance, exhibited first at the American Art Association, and in 1885 at the Pennsylvania Academy, where it won the Mary Smith Prize, the first of many prizes Beaux received during her lifetime. In 1887, the painting was exhibited at the Paris salon to critical acclaim. Beaux's reputation as a Philadelphia portraitist grew steadily with the execution of several portraits her in Chestnut Street studio, and in 1888 she traveled to Europe to continue her studio education.

In Paris, she joined the Academie Julien, where she received criticisms from Tony Robert Fleury and William Adolph Bougereau. She spent the summer in Concarneau, Brittany, where Alexander Harrison and Charles Lazar critiqued her work, and returned to Paris, where she attended the Academie Colarossi under and sought out private criticisms in the atelier of Benjamin Constant. She copied paintings and classical sculpture at the Louvre, and traveled throughout Europe to view the works of old masters. In England, she painted several portraits of her friends, the Darwins, before returning to Philadelphia in August of 1889. She traveled to Europe several more times in her life, including a trip in 1896 to see six of her paintings exhibited at the Salon de Champs de Mars. At the time this was an unprecedented number of paintings shown there by an American, and their strength earned her a membership in the Societé Nationale des Beaux-Arts.

In the 1890s, Beaux earned a living painting commissioned portraits at her Philadelphia studio, while experimenting with and refining her style and technique with portraits of friends and family such as Sita and Sarita, of her cousin Sarah Leavitt with her cat, The Dreamer, of her friend Caroline Smith, and Ernesta with Nurse, of her niece, who was a favorite sitter of Beaux's throughout her life. Beaux became the first full-time female faculty member at the Pennsylvania Academy of the Fine Arts in 1895, and continued teaching there until 1915.

In the late 1890s, Beaux painted several works for which she would be repeatedly honored, including Mother and Daughter, a double-portrait of Mrs. Clement A. Griscom and her daughter Frances, which won four gold medals at international exhibitions, and The Dancing Lesson, a double-portrait of Dorothea and Francesca Gilder, the daughters of Richard Watson Gilder, editor of Century Magazine and himself a devoted friend and supporter of Beaux. The Gilders, and especially Dorothea, were steady companions as well as sitters for Beaux throughout her adult life. In 1901 and 1902, Beaux painted Mrs. Theodore Roosevelt and her daughter Ethel in the White House, and in 1903, she was elected to the National Academy of Design.

By 1905 Beaux was living and working primarily in New York during the winter, and at "Green Alley," a home she built in Gloucester, Massachusetts, in the summer. She was introduced to Gloucester by her friend, the Harvard economist A. Piatt Andrew, and entertained a steady stream of intellectual, literary, and artistic friends such as Isabella Stuart Gardner, William James, and Thornton Oakley. Beaux continued to amass prizes and honors for her artwork, including an honorary doctorate at the University of Pennsylvania in 1908. She had solo exhibitions at Macbeth Gallery in 1910, the Corcoran Gallery in 1912, and M. Knoedler Gallery in 1915 and 1917. She had regular public speaking appearances, published articles, and interviews on such subjects as art education, women in art, and modernist art, the pervasive influence of which she eschewed as a passing fad.

In 1919, she traveled to war-torn Europe as the official portraitist of the United States War Portraits Commission painted the portraits of three European war heroes: Cardinal Mercier, Admiral Beatty, and Georges Clemenceau. In 1924, she broke her hip in Paris, and although she continued to paint, she would never again be the prolific painter of her earlier years due to the injury. She wrote her autobiography Background with Figures in 1930, and in 1935-1936, the American Academy of Arts and Letters held the largest exhibition of her work that was mounted during her lifetime. Beaux died in 1942 in Gloucester, at the age of 87.
Related Material:
The Pennsylvania Academy of the Fine Arts holds additional papers related to Cecilia Beaux, particularly personal photographs. Portions of these papers were loaned to the Archives of American Art for microfilming in 1985 and were microfilmed on reel 3658.

The Archives of American Art also holds the Dorothea Gilder papers regarding Cecilia Beaux.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 3425 and 3658) including a sketchbook and other related papers. Lent materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Portions of the papers were first lent for microfilming by Harrison Cultra in 1968. The bulk of the collection was donated in1970-1971 by Catherine Drinker Bowen, Beaux's niece, and by Cultra. In 1985, the sketchbook on reel 3425 was lent for microfilming by art dealer Jeffrey Brown with additional material by The Pennsylvania Academy of Fine Arts. A palette was donated by Helen Seely Wheelwright, whose former husband, Paul Seeley, was an artist and friend of Beaux. Awards and diplomas were gifted in 1995 by Cecilia Saltonstall, a descendant of Beaux. Material and a poster reproduction of Beaux's portrait of Rear-Admiral Sampson advertising an article in Century Magazine, 1899, was donated in 1991 by Alfred J. Walker, a dealer who organized a Beaux exhibition. He received the material along with artwork he exhibited from the estate of Richard Barker, who had received them from Harrison Cultra. Cultra had inherited them from Beaux's niece, Ernesta Drinker Barlow.
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 -- Pennsylvania -- Philadelphia  Search this
Portrait painters -- Pennsylvania -- Philadelphia  Search this
Educators -- Pennsylvania -- Philadelphia  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Art -- Economic aspects  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Poems
Diaries
Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beauceci
Online Media:

Rebecca Beal papers

Creator:
Beal, Rebecca J.  Search this
Names:
Burchfield, Charles Ephraim, 1893-1967  Search this
Eichholtz, Jacob, 1776-1842  Search this
Poor, Henry Varnum, 1887-1970  Search this
Extent:
7.6 Linear feet ((on 11 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1949-1982
Scope and Contents:
Research material on Jacob Eichholtz; and letters.
REELS 3668-3678: Beal's research papers for her book on her great grandfather, painter, Jacob Eichholtz. Arranged in subject files and include research notes; correspondence; printed material; typescripts of the text; and two exhibition catalogs. Also includes photographs and negatives of portraits and paintings by Eichholtz; and publications (including the one Beal wrote) on Pennsylvania art and artists.
REEL 1079: 34 letters from Charles Burchfield and 6 letters from Henry Varnum Poor to Beal.
Biographical / Historical:
Art historian, patron; Pittsburgh, Pennsylvania. Jacob Eichholtz was a 19th century painter. Beal is his great granddaughter. She wrote a book about him, JACOB EICHHOLTZ, 1776-1842: PORTRAIT PAINTER OF PENNSYLVANIA, published in 1969.
Related Materials:
Documents of Rebecca J. Beal are also located at LancasterHistory.
Provenance:
Donated 1976 and 1988 by Rebecca J. Beal.
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:
Painters -- Pennsylvania  Search this
Art historians -- Pennsylvania  Search this
Topic:
Art -- Study and teaching -- Pennsylvania  Search this
Women artists  Search this
Women painters  Search this
Women art historians  Search this
Identifier:
AAA.bealrebe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bealrebe

Oral history interview with Paula Colton Winokur, 2011 July 21-22

Interviewee:
Winokur, Paula Colton, 1935-  Search this
Winokur, Paula Colton, 1935-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Subject:
Andre, Carl  Search this
Blai, Boris  Search this
Bobrowicz, Yvonne  Search this
Cunningham, Imogen  Search this
Cushing, Val M.  Search this
De Staebler, Stephen  Search this
Ferguson, Ken  Search this
Heizer, Michael  Search this
Higby, Wayne  Search this
Leon, Dennis  Search this
Long, Richard  Search this
Love, Arlene  Search this
Marks, Graham  Search this
McKinnell, James  Search this
Mestre, Enrique  Search this
Minter, Myrna  Search this
Moran, Lois  Search this
Natzler, Gertrud  Search this
Natzler, Otto  Search this
Nesbitt, Lowell  Search this
Notkin, Richard  Search this
Ólafur Elíasson  Search this
Randall, Theodore  Search this
Schulman, Norman  Search this
Sedestrom, Carol  Search this
Serra, Richard  Search this
Shores, Kenneth  Search this
Simon, Sandy  Search this
Slivka, Rose  Search this
Staffel, Rudolf  Search this
Takaezu, Toshiko  Search this
Vavrek, Ken  Search this
Winokur, Robert  Search this
Beaver College  Search this
Graphic Sketch Club (Philadelphia, Pa.)  Search this
Helen Drutt Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Council on Education for the Ceramic Arts (U.S.)  Search this
Philadelphia Museum of Art  Search this
Temple University.  Search this
Tyler School of Art  Search this
Type:
Interviews
Sound recordings
Place:
Alaska
Hungary
Iceland
Mesa Verde (Calif.)
Rocky Mountains
Stonehenge (England)
Topic:
Art -- Study and teaching  Search this
Ceramics -- Study and teaching  Search this
Painting -- Study and teaching  Search this
Women artists  Search this
Women ceramicists  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)15988
(DSI-AAA_SIRISBib)305477
AAA_collcode_winoku11
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_305477
Online Media:

Mabel Pugh papers, 1907-1975

Creator:
Pugh, Mabel, 1891-1986  Search this
Pugh, Mabel, 1891-1986  Search this
Type:
Sketchbooks
Topic:
Art -- Study and teaching -- North Carolina -- Raleigh  Search this
Women artists  Search this
Women educators  Search this
Women printmakers  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Art Materials, Techniques, and Studio Art Education  Search this
Record number:
(DSI-AAA_CollID)8787
(DSI-AAA_SIRISBib)210970
AAA_collcode_pughmabe
Theme:
Sketches & Sketchbooks
Women
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210970

Oral history interview with Paula Colton Winokur

Interviewee:
Winokur, Paula, 1935-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Beaver College -- Faculty  Search this
Graphic Sketch Club (Philadelphia, Pa.)  Search this
Helen Drutt Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Council on Education for the Ceramic Arts (U.S.)  Search this
Philadelphia Museum of Art  Search this
Temple University. -- Students  Search this
Tyler School of Art -- Students  Search this
Andre, Carl, 1935-  Search this
Blai, Boris, 1893-1985  Search this
Bobrowicz, Yvonne  Search this
Cunningham, Imogen, 1883-1976  Search this
Cushing, Val M.  Search this
De Staebler, Stephen, 1933-2011  Search this
Ferguson, Ken, 1928-  Search this
Heizer, Michael, 1944-  Search this
Higby, Wayne  Search this
Leon, Dennis, 1933-  Search this
Long, Richard, 1945-  Search this
Love, Arlene, 1953-  Search this
Marks, Graham, 1951-  Search this
McKinnell, James  Search this
Mestre, Enrique, 1936-  Search this
Minter, Myrna  Search this
Moran, Lois  Search this
Natzler, Gertrud  Search this
Natzler, Otto  Search this
Nesbitt, Lowell, 1933-1993  Search this
Notkin, Richard  Search this
Randall, Theodore, 1914-1985  Search this
Schulman, Norman, 1924-  Search this
Sedestrom, Carol  Search this
Serra, Richard, 1938-  Search this
Shores, Kenneth, 1928-  Search this
Simon, Sandy  Search this
Slivka, Rose  Search this
Staffel, Rudolf, 1911-2002  Search this
Takaezu, Toshiko  Search this
Vavrek, Ken  Search this
Winokur, Robert, 1933-  Search this
Ólafur Elíasson, 1967-  Search this
Extent:
9 Items (Sound recording: 9 sound files (6 hr., 24 min.))
171 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Alaska
Hungary
Iceland
Mesa Verde (Calif.)
Rocky Mountains
Stonehenge (England)
Date:
2011 July 21-22
Scope and Contents:
An interview of Paula Colton Winokur conducted 2011 July 21-22, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.
Paula speaks of taking drawing and painting classes at the Graphic Sketch Club (now the Fleischer Art Memorial) in Philadelphia at age 11; her first experience handling clay at 13 or 14 when taking a class at the Philadelphia Museum of Art; when her family agreed to send her to college, providing she became a teacher, and she attended the Tyler School of Art at Temple University as a painting major; the influence of her teacher Rudolf Staffel in her sophomore year when she took a ceramics class and fell in love with working in clay; meeting her husband Robert Winokur when they were students at Tyler, getting married in 1958, eventually having two sons; glaze testing to find a palette of glazes to use; moving to Massachusetts and starting Cape Street Pottery for their production pottery; her involvement with NCECA [National Council on Education for the Ceramic Arts] and other professional organizations; when she began a 30-year teaching career at Beaver College in 1973 (more recently known as Arcadia University), building their ceramics department; changing from using stoneware to porcelain in 1970; making boxes and architectural forms; how she stopped making functional items when her first child was born and began creating the things she wanted to; the decision in 1982 to make landscapes and how geology, the Artic, and threats to the environment influence her work; the process she uses when creating texture; selling exclusively through the Helen Drutt Gallery beginning in 1973 until the gallery closed in 2011; the important influences in her work of artists such as Michael Heizer, Carl Andre, Richard Long, Richard Serra, Olafur Eliasson, and Steven De Staebler and others; the immense the geologic formations of Mesa Verde, the Rocky Mountains, Stonehenge, Alaska and Iceland are inspiring; various lecturing opportunities and exhibits through the years, as well as a working residency she took advantage of in Hungary in 1994; slowly moving away from glazes and instead using metallic sulfates for color; that her intention is to express the relationship between the internal part of herself and the external world for other people to experience and find something in common; the importance of a liberal arts education for art students; her gelatin and clay prints; the concern over collectors of clay art dying off and no new ones taking their places; that galleries are closing and Internet galleries are the norm; meeting photographer, Imogen Cunningham, and seeing her as a wonderful role model; and the feeling that the high cost of fuel and the invention of newer materials may end ceramic classes. Paula also recalls Lowell Nesbitt, Myrna Minter, Arlene Love, Dennis Leon, Boris Blai, Ted Randall, Val Cushing, Norm Schulman, Jim McKinnel, Gertrud Natzler, Otto Natzler, Ken Ferguson, Rose Slivka, Enrique Mestre, Sandy Simon, Wayne Higby, Richard Notkin, Graham Marks, Toshika Takaezu, Yvonne Bobrowicz, Ken Vavrek, Carol Sedestrom, Lois Moran, and Ken Shores and others.
Biographical / Historical:
Paula Colton Winokur (1935- ) is a ceramist in Horsham, Pennsylvania. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded as 9 sound files. Duration is 6 hr., 24 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 administrators.
Occupation:
Ceramicists -- Pennsylvania  Search this
Topic:
Art -- Study and teaching  Search this
Ceramics -- Study and teaching  Search this
Painting -- Study and teaching  Search this
Women artists  Search this
Women ceramicists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.winoku11
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-winoku11

Mabel Pugh papers

Creator:
Pugh, Mabel, 1891-1986  Search this
Extent:
14 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1907-1975
Scope and Contents:
Correspondence; sketchbooks, drawings, catalogs, clipppings, diaries, photographs, and other material relating to Pugh's student and teaching career at Peace College, North Carolina, and the Pennsylvania Academy of Fine Arts.
Biographical / Historical:
Painter, illustrator, etcher, and educator; Raleigh, N.C. Taught at Peace College in Raleigh.
Provenance:
Donated 1972, 1974 and 1975 by Mabel Pugh.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Educators -- North Carolina -- Raleigh  Search this
Printmakers -- North Carolina -- Raleigh  Search this
Topic:
Art -- Study and teaching -- North Carolina -- Raleigh  Search this
Women artists  Search this
Women educators  Search this
Women printmakers  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.pughmabe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pughmabe

Paul and Nelli Bar Wieghardt papers

Creator:
Wieghardt, Paul, 1897-1969  Search this
Wieghardt, Nelli Bar, 1904-2001  Search this
Names:
Art Institute of Chicago. School  Search this
Bosworth, Francis  Search this
Extent:
1.5 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1925-1987
Scope and Contents:
Correspondence, mostly from Nelli Bar Wieghardt to Francis Bosworth relating to the Wieghardt's years as refugees and their attempt to settle in the United States; notebooks on art history and class materials compiled by Paul Wieghardt; biographical records; clippings which include early reviews from German and French papers; photographs of Paul Wieghardt teaching, installation views and of Paul and Nelli Bar Wieghardt's art work.
Biographical / Historical:
Paul Wieghardt (1897-1969) was a painter and sculptor in Chicago, Ill. and Philadelphia, Pa. Paul was a painter and his wife Nelli Bar was a sculptor. They taught at the Art Institute of Chicago and the Evanston Art Center.
Provenance:
Microfilmed in 1987 as part of AAA's Philadelphia Arts Documentation Project. Lent for microfilming by Nelli Bar Wieghardt.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Sculptors -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Sculptors -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Topic:
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Art -- Study and teaching -- Illinois -- Chicago  Search this
Refugees  Search this
Identifier:
AAA.wiegpaul
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wiegpaul

Oral history interview with Harlan Butt, 2009 July 27-28

Interviewee:
Butt, Harlan, 1950-  Search this
Butt, Harlan, 1950-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Subject:
Brooks, Jan  Search this
Glantz, Ken  Search this
Japanese tea ceremony  Search this
Kington, L. Brent (Louis Brent)  Search this
Lechtzin, Stanley  Search this
Moty, Eleanor  Search this
Paley, Albert  Search this
Pijanowski, Eugene  Search this
Pijanowski, Hiroko Sato  Search this
Pujol, Elliot  Search this
Scanga, Italo  Search this
Shirk, Helen Z.  Search this
Snyder, Gary  Search this
Staffel, Rudolf  Search this
Winokur, Robert  Search this
American Craft Council  Search this
Arrowmont School of Arts and Crafts  Search this
Enamelist Society  Search this
Haystack Mountain School of Crafts  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Crafts  Search this
Rhode Island School of Design  Search this
San Diego State University  Search this
Society of North American Goldsmiths  Search this
Southern Illinois University at Carbondale  Search this
Tyler School of Art  Search this
University of North Texas  Search this
Type:
Interviews
Sound recordings
Place:
Australia -- description and travel
India -- description and travel
Japan -- Description and Travel
Topic:
Art, Asian  Search this
Art -- Study and teaching  Search this
Buddhism  Search this
Metal-workers -- Texas -- Interviews  Search this
Weaving -- Study and teaching  Search this
Record number:
(DSI-AAA_CollID)15907
(DSI-AAA_SIRISBib)296475
AAA_collcode_butt09
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_296475
Online Media:

E.P. (Edgar Preston) and Constance Richardson papers

Creator:
Richardson, Edgar Preston, 1902-1985  Search this
Richardson, Constance, 1905-  Search this
Names:
Archives of American Art  Search this
Castano Galleries (Boston, Mass.)  Search this
Detroit Institute of Arts  Search this
Henry Francis du Pont Winterthur Museum  Search this
Historical Society of Pennsylvania  Search this
Macbeth Gallery  Search this
National Collection of Fine Arts (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Museum of Art  Search this
White House (Washington, D.C.)  Search this
Peale family  Search this
Allen, Joseph  Search this
Allston, Washington, 1779-1843  Search this
Andrews, Wayne  Search this
Aram, Siegfried F.  Search this
Bishop, Isabel, 1902-1988  Search this
Bostick, William A.  Search this
Bouché, Louis, 1896-1969  Search this
Boyd, Julian P. (Julian Parks), 1903-  Search this
Castano, Giovanni, 1896-1978  Search this
Cohn, Harold  Search this
Copeland, Lammot du Pont  Search this
Culver, Charles B. (Charles Beach), 1908-1967  Search this
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Flexner, James Thomas, 1908-2003  Search this
Frankenstein, Alfred V. (Alfred Victor), 1906-1981  Search this
Fredericks, Marshall M., 1908-1998  Search this
Freeman, Michael W.  Search this
Garrison, Eve Josephson, 1903-2003  Search this
Groce, George C., 1899-  Search this
Hardy, Jeremiah Pearson, 1800-1889  Search this
Heil, Walter, 1890-1973  Search this
Hopper, Edward, 1882-1967  Search this
Jungwirth, Irene G. (Irene Gayas), 1913-  Search this
Krentzin, Earl, 1929-  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lee-Smith, Hughie  Search this
Lewis, W. S. (Wilmarth Sheldon), 1895-1979  Search this
Lynes, Russell, 1910-1991  Search this
Marsh, Reginald, 1898-1954  Search this
Mast, Gerald, 1908-1971  Search this
McDermott, John Francis, 1902-  Search this
Middeldorf, Ulrich Alexander, 1901-  Search this
Morse, John D., 1906-  Search this
Moser, Liselotte, 1906-1983  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Oliver, Andrew, 1906-  Search this
Peale, Charles Willson, 1741-1827  Search this
Pleasants, J. Hall (Jacob Hall), 1873-1957  Search this
Ripley, Sidney Dillon, 1913-2001  Search this
Rockefeller, John D., 1906-  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Rutledge, Anna Wells  Search this
Sellers, Charles Coleman, 1903-  Search this
Sheeler, Charles, 1883-1965  Search this
Simper, Fred, 1914-  Search this
Simpson, Corelli C. W.  Search this
Soria, Regina, 1911-  Search this
Spark, Victor D. (Victor David), 1898-1991  Search this
Speck, Walter, 1895-  Search this
Stevens, William B.  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Vose, Robert C. (Robert Churchill), 1911-1998  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Wedda, John  Search this
Woolfenden, William E. (William Edward), 1918-1995  Search this
Wyeth, Andrew, 1917-2009  Search this
Extent:
28.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Manuscripts
Interviews
Diaries
Transcripts
Sketches
Lectures
Place:
Detroit (Mich.)
Date:
1814-1996
bulk 1921-1996
Summary:
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Scope and Contents:
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.

There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.

Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keefe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.

E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.

Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.

Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.

Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.
Biographical / Historical:
Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.

E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966. Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.

While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).
Related Materials:
Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.

Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- Michigan -- Detroit  Search this
Art historians -- United States  Search this
Topic:
Art -- Collectors and collecting  Search this
Painting, American  Search this
Art, American  Search this
Romanticism  Search this
Art -- History -- Study and teaching  Search this
Genre/Form:
Photographs
Manuscripts
Interviews
Diaries
Transcripts
Sketches
Lectures
Citation:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.richedga
See more items in:
E.P. (Edgar Preston) and Constance Richardson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-richedga
Online Media:

Oral history interview with Paulus Berensohn

Interviewee:
Berensohn, Paulus  Search this
Interviewer:
Shapiro, Mark, 1955-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Bennington College -- Students  Search this
Columbia University -- Students  Search this
Goddard College -- Students  Search this
Juilliard School -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
New York Philharmonic  Search this
Pendle Hill (School : Wallingford, Pa.) -- Faculty  Search this
Penland School of Crafts -- Faculty  Search this
Swarthmore College -- Faculty  Search this
Yale University -- Students  Search this
Anderson, Ian, 1947-  Search this
Bennion, Joseph W., 1952-  Search this
Brown, Carolyn  Search this
Brown, William J. (William Joseph), 1923-1992  Search this
Callahan, Harry M.  Search this
Charlip, Remy  Search this
Cowles, Fleur  Search this
Cunningham, Merce  Search this
Dunn, Robert G.  Search this
Ekman, June  Search this
Garfinkel, Ron  Search this
Graham, Martha  Search this
Karnes, Karen, 1925-2016  Search this
Kokis, George  Search this
Mendes, Jerry  Search this
Oliver, Mary, 1935-  Search this
Peterson, Mary  Search this
Pieser, Jane  Search this
Raine, Yvonne  Search this
Richards, Mary Caroline  Search this
Stanford, Verne  Search this
Stannard, Ann  Search this
Supree, Burton  Search this
Takaezu, Toshiko  Search this
Williams, Gerald, 1926-2014  Search this
Extent:
60 Pages (Transcript)
7 Items (Sound recording: 7 sound files (4 hr., 13 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Australia -- Description and Travel
Date:
2009 March 20-21
Scope and Contents:
An interview of Paulus Berensohn conducted 2009 March 20-21, by Mark Shapiro, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Berensohn's home and studio, in Penland, North Carolina.
Berensohn speaks of growing up in New York City and his family; his brother Lorin Bernsohn, cellist with the New York Philharmonic; his problems with dyslexia as a child and yet his interest in reading and learning; an early interest in dance and the lack of support he received from his family; his admittance into Yale University, from where he quickly removed himself to attend Goddard College in Vermont; after Goddard attending Columbia University, Juilliard, and Bennington College while studying dance; studying under both Martha Graham and Merce Cunningham; his relationship with M.C. Richards; his first teaching job at Pendle Hill in Pennsylvania that lead to teaching at Swarthmore College for four years; his want to become a production potter while living on a farm in rural Pennsylvania where he created an artist commune; working with pinched pots and moving to Penland, North Carolina to teach workshops at the Penland School of Crafts; his book, "Finding Your Way With Clay," which started as a journaling and teaching project while at Penland; his interest in book art via his interest in journaling; the importance of clay as a healing material that connects humanity and the earth and his role as an advocate for clay; his work in and travels to Australia; recent photography projects and his busy and active schedule. Berensohn also recalls Remy Charlip, June Ekman, Fleur Cowles, John Cage, Robert Dunn, Yvonne Rainer, Carolyn Brown, Mary Oliver, Karen Karnes, Burt Supree, Toshiko Takaezu, Ann Stannard, Gerry Williams, George Kokis, Joe Bennion, Bill Brown, Jane Pieser, Ron Garfinkel, Jenny Mendes, Ian Anderson, Verne Stanford, Meg Peterson, and others.
Biographical / Historical:
Paulus Berensohn (1933-2017) was a poet, ceramic artist, dancer, and educator in Penland, North Carolina. Mark Shapiro (1955- ) is executive director of Lumina Art Gallery, in New York.
General:
Originally recorded on 4 SD memory cards. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 13 min.
Related Materials:
The Archives of American Art also holds the papers of Paulus Berensohn.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Artists  Search this
Topic:
Artists' books  Search this
Ceramicists -- North Carolina -- Interviews  Search this
Clay  Search this
Communal living  Search this
Dance -- Study and teaching  Search this
Diaries -- Authorship  Search this
Dyslexia  Search this
Photography  Search this
Poets -- North Carolina -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.berens09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-berens09

Sidney Simon papers

Creator:
Simon, Sidney, 1917-1997  Search this
Names:
Budd (Firm : New York, N.Y.)  Search this
Century Association (New York, N.Y.)  Search this
Colby College  Search this
Graham Gallery  Search this
Pennsylvania Academy of the Fine Arts  Search this
Skowhegan School of Painting and Sculpture -- Faculty  Search this
United States. Army. Corps of Engineers  Search this
Emmerich, André  Search this
Gonzalez, Xavier, 1898-1993  Search this
Gotfryd, Bernard  Search this
Hélion, Jacqueline  Search this
Jencks, Penelope  Search this
Kelly, Ellsworth, 1923- -- Photographs  Search this
King, William, 1925-2015  Search this
Meredith, Burgess, 1907-1997  Search this
Motherwell, Robert -- Photographs  Search this
Nevelson, Louise, 1899-1988 -- Photographs  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
8 Linear feet
2.21 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Date:
circa 1917-2002
bulk 1940-1997
Summary:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.
Scope and Contents:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

Biographical material chronicles Simon's academic training and professional activities through curriculum vitae, biographical accounts, and awards. Included are letters and memoranda, many from Forbes Watson pertaining to Simon's service as a combat artist in World War II. Also found is a transcript of an interview with Simon recounting his experiences in the Southwest Pacific. Simon's personal correspondence with colleagues, friends, and family includes scattered letters from Jacqueline Helion, Penelope Jencks, William King, Burgess Meredith, among others. Many letters are illustrated by Sidney Simon and others. General correspondence includes letters from artists, galleries, museums, public and religious institutions primarily relating to Simon's exhibitions and commissioned projects. Among the correspondents are Castle Hill, Truro Center for the Arts, Colby College, André Emmerich, Eric Makler Gallery, Xavier Gonzalez, Graham Gallery, and the Pennsylvania Academy of the Fine Arts. Interspersed among the files are letters of a personal nature. Other correspondence relates to Simon's faculty positions and his activities in professional organizations, e.g., Century Association, National Academy of the Fine Arts, and the Skowhegan School of Painting and Sculpture.

Writings and notes include Simon's 1943 diary entries recording his activities in the Army Corps of Engineers, draft versions of writings and lectures, and notes. Included are digital audio recordings of Simon's lectures at the Skowhegan School of Painting and Sculpture. Subject files provide documentation on Simon's commissioned projects, select exhibitions and competitions, as well as his faculty positions and memberships in several arts organizations. Printed material consists of clippings, invitations, announcements, newsletters, and programs. Exhibition catalogs are of Simon's solo and group shows at galleries, museums, and art organizations from 1959-1966. Photographs are of Simon by Budd Brothers, Richard Pousette-Dart, and Bernard Gotfryd. There are a number of photographs of the artist in his studio and outdoors as well as of Simon's family and friends, including group photographs with Ellsworth Kelly, André Emmerich, Robert Motherwell, and Louise Nevelson. Also found are three personal and family albums and twenty-one photograph albums of Simon's paintings and sculptures.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1940-1998 (Boxes 1, 9; 0.7 linear feet)

Series 2: Correspondence, 1936-2002 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Notes, 1943, circa 1960-1997 (Box 2; 0.4 linear feet, ER01-ER03; 2.21 GB)

Series 4: Subject Files, 1940-1941, 1951-1997 (Boxes 2-4, 9; 1.8 linear feet)

Series 5: Sketches, 1937-1942 (Box 4; 1 folder)

Series 6: Sketchbooks, 1939-1995 (Boxes 4-5, 9; 0.5 linear feet)

Series 7: Printed Material, circa 1933, 1942-1998 (Box 5; 0.3 linear feet)

Series 8: Scrapbooks, 1978-1995 (Box 5; 0.1 linear feet)

Series 9: Photographs, circa 1917-1997 (Boxes 5-11; 3.0 linear feet)
Biographical / Historical:
Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

In 1941, Simon enlisted in the U.S. Army and served in the Army Corps of Engineers. Assigned to MacArthur's headquarters as an official war artist for the Southwest Pacific Theater, Simon was chosen to paint the signing of the peace treaty between the U.S. and Japan aboard the U.S.S. Missouri. He was discharged from the army with a Bronze Star and five presidential citations. In 1945, along with Bill Cummings and Henry Varnum Poor, Simon co-founded the Skowhegan School of Painting and Sculpture, where he later served as a director and a member of the Board of Governors. By the mid-1950s, Simon's interest shifted from painting to sculpture, creating works in wood, clay, and other media. Over the years, Simon collaborated with architects on a number of public and private commissions, including the doorway for the Downstate Medical Center, the Jewish Chapel at West Point, a playground sculpture for Prospect Park, and the totemic column for the Temple Beth Abraham. In addition to serving on the faculty at Skowhegan School of Painting and Sculpture, Simon also taught at the Art Students League, Brooklyn Museum, and Parsons School of Design. An active champion of artists' rights, Simon established the New York Artists Equity Association. He participated in solo and group shows at the Graham Gallery, Provincetown Art Association and Museum, and the Sculptors Guild, among other venues.

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.
Related Materials:
The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
War artists  Search this
Topic:
Art -- Study and teaching  Search this
Sculptors -- New York (State) -- New York  Search this
World War, 1939-1945 -- Personal narratives  Search this
World War, 1939-1945 -- Campaigns -- Pacific Area  Search this
World War, 1939-1945 -- Art and the war  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Photographs
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.simosidn
See more items in:
Sidney Simon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-simosidn

Philip Leslie Hale papers

Creator:
Hale, Philip Leslie, 1865-1931  Search this
Names:
Panama-Pacific International Exposition (1915: San Francisco, Calif.)  Search this
Butler, Theodore Earl, 1861-1936  Search this
Cox, Kenyon, 1856-1919  Search this
Hale, Nancy, 1908-  Search this
Hart, William H., b. 1863  Search this
Kennedy, Albert J. (Albert Joseph), 1879-1968  Search this
Tarbell, Edmund Charles, 1862-1938  Search this
Extent:
7.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Sketchbooks
Sketches
Date:
1818-1962
bulk 1877-1939
Summary:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Scope and Contents note:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.

Biographical materials include financial and legal records; personal documents, such as educational records and biographical notes; printed material; and notes concerning art classes and teaching. Also included are scattered letters, invitations, schoolwork, and notebooks from his youth. Ten notebooks contain sketches, along with some class notes and essays.

Family, general, and business correspondence document the personal and professional life of Philip Leslie Hale and, to a lesser extent, several of his relatives. Family correspondence includes Hale's exchanges with various relatives, and some of their correspondence with others. General correspondence with friends, colleagues, and other artists is both personal and professional in nature. Correspondents include Theodore Butler, Kenyon Cox, Nancy Hale, William H. Hart, and Edmund C. Tarbell. Business correspondence concerns many aspects of Hale's career. Correspondents include students, arts institutions, models, and publishers.

Writings by Philip L. Hale consist of lectures on anatomy, art history, and various art topics; miscellaneous articles; notes on artists, esthetics and philosophy either for classroom use or his writings; character sketches, a play, poems, and political writings.

Artwork consists of 9 sketchbooks and loose sketches in pencil and ink of heads, figures, anatomical studies, landscapes, and miscellaneous subjects. A much smaller number of pastels, prints, and oil sketches are included. This series also includes a few items by other artists.

Research files and catalogs, compiled from 1932 to 1939 by Hale's friend Albert J. Kennedy for a never-published memorial volume, include extensive correspondence and notes of interviews with friends, relatives, colleagues, former students, and models recording their reminiscences of Hale. Kennedy collected exhibition catalogs and a variety of other printed material, along with biographical and genealogical information, and photographs of Hale's work. Many of his research notes consist of handwritten transcriptions of published articles by and about Hale.

Printed material about Philip L. Hale includes articles, reviews, and miscellaneous newspaper clippings mentioning him or containing reproductions of his work. Printed items by Hale consist of art reviews, miscellaneous articles on art topics, copies of his columns that appeared in Arcadia: A Journal Devoted to Music, Art and Literature, and the text of a speech.

The majority of photographs record works of art, mainly by Philip L. Hale, and also by Lilian Westcott Hale, Robert Payne, and Edmund C. Tarbell. Personal photographs include images of Hale, his relatives, and friends. There are also several group portraits of the 1915 Panama-Pacific Exhibition Jury, a group portrait with students, views of Hale at work in his studio and in the classroom, pictures of a summer house, and landscapes.
Arrangement note:
The collecion is arranged as 7 series:

Series 1: Biographical Materials, 1875-1939 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1818-1944 (2 linear feet; Boxes 1-3)

Series 3: Writings, circa 1910-1930 (0.8 linear feet; Boxes 3-4)

Series 4: Artwork, circa 1870-1930 (0.4 linear feet; Box 4)

Series 5: Memorial Book, circa 1862-1962 (2.8 linear feet; Boxes 4-8, OV 9)

Series 6: Printed Material, 1883-1951 (8 folders; Box 7)

Series 7: Photographic Material, 1868-1931 (12 folders; Box 7)
Biographical/Historical note:
Philip Leslie Hale (1865-1931) was the son of prominent Unitarian minister and well-known author, Edward Everett Hale. Members of this distinguished old Boston family included such ancestors as Revolutionary War hero Nathan Hale, influential preacher Lyman Beecher, educator Catherine Beecher, and Harriet Beecher Stowe, author of Uncle Tom's Cabin. From a young age Philip's talent and interest in drawing was encouraged by his parents, especially his mother. An older artist sister, Ellen Day Hale (1855-1940) and an aunt, Susan Hale (1834-1910), a trained painter, provided Philip with his first art lessons.

Family tradition and expectations decreed that after completing studies at the Boston Latin School and Roxbury Latin School, Hale would attend Harvard. After passing Harvard's entrance examination, as required by his father, Philip was free to pursue art. He enrolled in the School of the Museum of Fine Arts, Boston, in the fall of 1883, where he was an early pupil of Edmund C. Tarbell. The following year he continued his studies in New York at the Art Students League under J. Alden Weir and Kenyon Cox.

In early 1887, Hale went to Paris, adopted a bohemian lifestyle, and studied at the Ecole des Beaux-Arts and the Académie Julian. He became friends with fellow students Theodore Butler and William Howard ("Peggy") Hart. In the summer of 1888, the three made their first trip to Giverny, where they were among the first Americans to experiment with Impressionism. They met other American artists, including Theodore Robinson, John Leslie Breck, and Theodore Wendel, who also had been drawn to Giverny by the presence of Claude Monet. Hale returned to Boston in the summer of 1890, but was soon drawn back to Paris to be with his sweetheart Katharine Kinsella. He spent the summers of 1891-1893 continuing his experiment with Impressionism in Giverny, and during that period traveled to London, Paris, and Spain, periodically returning home and to the family's Rhode Island summer place.

In 1893 Hale began teaching cast drawing at the School of the Museum of Fine Arts, Boston, where he remained on the faculty until his death in 1931. Eventually he became the chief instructor of drawing, and also offered courses in life drawing, artistic anatomy, and art history. Hale also taught at the Worcester Art Museum (1898-1910), the Pennsylvania Academy of the Fine Arts (1913-1928), and Boston University (1926-1928).

Hale's first solo exhibition, held in 1899 at Durand-Ruel Galleries in New York City, consisted of Impressionist paintings and pastels that received mixed reviews. In subsequent years his work became increasingly academic and focused on figure paintings and portraits. He exhibited frequently in national and international shows, won numerous medals and prizes, and was elected an Associate National Academician of the National Academy of Design in 1917.

In 1902, Hale married former student, Lilian Westcott, a painter and portraitist whose success during some periods eclipsed that of her husband.

Philip Leslie Hale, like many of his relatives, was a noted writer and speaker. His column "Art in Paris" appeared regularly in the Canadian-based periodical Arcadia: A Journal Devoted to Music, Art and Literature between 1892 and 1893 and discussed Impressionism, Post-Impressionism, and Symbolism. Hale regularly contributed art columns, reviews, and miscellaneous articles to the Boston Daily Advertiser, Boston Commonwealth, Boston Herald, and Boston Evening Transcript during the first decade of the twentieth century.

Hale's teaching stressed the importance of learning Old Master's techniques. He had a life-long interest in Vermeer, and as a writer and critic he generated quite a bit of enthusiasm for that artist among the figurative painters of the Boston School, his own students, and others. Jan Vermeer of Delft, a highly regarded monograph by Philip Leslie Hale - the first on the subject published in the United States - appeared in 1913. He wrote several other books on art subjects, and his services as a lecturer on art topics were sought after by a variety of organizations both locally and nationally.

Philip Leslie Hale died following emergency surgery in Dedham, Massachusetts, on February 2, 1931.
Related Archival Materials note:
The Archives of American Art also holds a separately cataloged collection of Philip Leslie Hale drawings on microfilm reel 3766 and two collections related to the Hale family, including the Ellen Hale and Hale family papers and the Edward Everett Hale letter to an unidentified person.
Provenance:
The Philip Leslie Hale papers were donated to the Archives of American Art in 1962 by the artist's daughter, Nancy Hale Bowers. Additionally, notes written by Mrs. Nathan Hale were donated by Lilian Westcott Hale in 1963.
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:
Art teachers -- Massachusetts -- Boston  Search this
Art critics -- Massachusetts -- Boston  Search this
Topic:
Art -- History  Search this
Art -- Study and teaching  Search this
Painting, American  Search this
Painters -- Massachusetts -- Boston  Search this
Authors -- Massachusetts -- Boston  Search this
Function:
Artists' studios -- Massachusetts
Genre/Form:
Photographs
Interviews
Sketchbooks
Sketches
Citation:
Philip Leslie Hale papers, 1818-1962, bulk 1877-1939. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halephil
See more items in:
Philip Leslie Hale papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halephil
Online Media:

Oral history interview with Roy Moyer

Interviewee:
Moyer, Roy, 1921-2007  Search this
Interviewer:
Barrie, Dennis  Search this
Names:
American Federation of Arts  Search this
Columbia University -- Students  Search this
UNICEF  Search this
United States. Army  Search this
University of Oslo -- Students  Search this
University of Toronto -- Faculty  Search this
Weyhe Gallery  Search this
Dickinson, Martha  Search this
Neuberger, Roy R.  Search this
Schapiro, Meyer, 1904-  Search this
Trilling, Lionel, 1905-1975  Search this
Weyhe, Erhard  Search this
Extent:
4 Items (Sound recording: 4 sound files (4 hr., 16 min.), digital, wav file)
82 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Greece -- description and travel
Date:
1975 September 17-23
Scope and Contents:
An interview of Roy Moyer, conducted September 17-23, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution at Moyer's New York City apartment.
Moyer speaks of his childhood, parents, and early music and art training in Allentown, Pennsylvania; his education at Columbia University and the University of Oslo; joining the Army during World War II; teaching English in Greece during its civil war; teaching at the University of Toronto; consulting on educational TV programs; working in the Weyhe Gallery; his management practices and overseeing exhibitions, the film program, and various other initiatives as director of the American Federation of Arts; his painting practice; the growth in the number of art organizations in the 1960s and '70s; and his transition to working for UNICEF. Moyer also recalls Lionel Trilling, Meyer Schapiro, Martha Dickinson, Erhard Weyhe, Roy Neuberger, and others.
Biographical / Historical:
Roy Moyer (1921-2007) was a painter and art administrator from New York, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 16 min.
Provenance:
These interviews are 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.
Restrictions:
Use requires an appointment.
Topic:
Art -- Study and teaching  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Music -- Instruction and study  Search this
Painters -- New York (State) -- Interviews  Search this
Painting, Modern -- 20th century  Search this
World War, 1939-1945  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.moyer75
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moyer75

Ed Colker papers

Creator:
Colker, Ed, 1927-  Search this
Names:
Atelier Desjobert  Search this
Haybarn Press  Search this
United States. Army  Search this
Barnet, Will, 1911-2012  Search this
Johnson, J. Curtis  Search this
Konner, Melvin  Search this
Norris, Kathleen, 1947-  Search this
Pease, Deborah  Search this
Takaezu, Toshiko  Search this
Walker, Jeanne Murray  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Video recordings
Date:
1944-2020
Summary:
The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.
Scope and Contents:
The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.

Biographical materials include official letters regarding Colker's performance in the Army, caricatures of him, diplomas, resume, awards, and certificates.

Correspondence, mainly professional in nature with a few scattered personal letters, concerns Colker's academic and artistic work, Haybarn Editions, exhibitions, projects, and various interests. Poet correspondents are J. Curtis Johnson, Kathleen Norris, Deborah Pease, and Jeanne Walker; translators include Melvin Konner and others.

Interviews with Ed Colker, conducted between 1982 and 2008 for various purposes, are preserved as 1 sound cassette and published transcripts. Also found are 1 sound cassette, 1 videocassette, and a published transcript of interviews Colker conducted with Will Barnet and Toshiko Takaezu in 1981 and 1994 respectively.

Among Colker's writings are the published versions of several articles and the manuscript of an unpublished one; two proposed books for students of design and typography; lectures delivered to students (3 videocassettes), miscellaneous writings, notes, and 1 videocassete of readings by artists from one of Colker's Haybarn Press poetry portfolios.

Subject files document many of Colker's professional interests, activities, projects, and relationships. Also of note are files about Haybarn Press.

The bulk of the printed material consists of exhibition catalogs, announcements, and school catalogs. Almost all is about or mentions Colker, or features reproductions of his work. Of note is the first and only issue of Re-Art: A Reflection of Current Ideas on the Arts (1954), published by Colker and Gene Feldman.

Photographs are of Colker and his family; Colker at events related to his artistic, academic, and publishing activities; artwork by Colker, and his work as reproduced in Haybarn Editions. Also found are an exterior view of the barn studio and one of printers working at Desjobert Press.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Materials, 1946-circa 2011 (Box 1; 1 folder)

Series 2: Correspondence,1954-2011 (Box 1; 0.3 linear feet)

Series 3: Interviews, 1981-2008 (Box 1; 0.2 linear feet)

Series 4: Writings, 1961-1990s (Box 1; 0.5 linear feet)

Series 5: Subject files, 1952-2013 (Boxes 2-3; 1.3 linear feet)

Series 6: Printed Material,1944-2011 (Box 3; 0.7 linear feet)

Series 7: Photographs, circa 1960s-2010 (Box 4; 0.2 linear feet)

Series 8: Unprocessed Addition, circa 1963-2020 (Box 5; 0.2 linear feet)
Biographical / Historical:
Ed Colker (b. 1927) is a painter, printmaker, educator, and administrator who has worked in Chicago, Philadelphia, and New York City. Colker founded the not-for-profit fine art publisher Haybarn Press. He is married to artist Elaine Galen and resides in Mt. Kisco, NY.

After high school, Colker was awarded a scholarship and began his art education at the Pennsylvania Museum School of Industrial Arts. He interrupted his studies to serve in the U.S. Army (1944-1946). He graduated in 1949, by which time the school had become the Philadelphia Museum School of Art; today it is the University of the Arts. He taught art in the Philadelphia area before moving to New York City in 1956. Later, Colker earned degrees from New York University (B.S. Ed, 1964; M.A., 1985).

Colker taught art and design courses at the University of Pennsylvania, University of Illinois at Chicago Circle, Cornell University, Pratt Institute, and Philadelphia College of Art. By the 1980s, he had become an administrator as well as a professor. Throughout his academic career, Colker published and lectured widely, served as a visiting artist, acted as a consultant, and participated in professional organizations. He occasionally organized exhibitions and served on exhibition juries.

Since 1960, under the imprints Editions du Grenier, Haybarn Editions, and Haybarn Press, Colker has published limited edition books, portfolios, broadsides, individual pages, and folders of poetry. Most are accompanied by Colker's etchings and lithographs inspired by the texts. Haybarn Press, under the Ambor Edition imprint, also produced four portfolios with text and drawings by Elaine Galen, 1996-2008. From its inception, the work of Haybarn Press has been featured in many exhibitions of book arts. Colker also participated in group shows throughout the United States and enjoyed solo exhibitions of his paintings and prints. Haybarn Press productions and Colker's prints and paintings are in the permanent collections of Brown University, Cornell University, Harvard University, Library of Congress, Museum of Modern Art, New York Public Library, University of Arizona Museum of Art, and others.

Now retired from university administration and teaching, Colker continues to operate Haybarn Press and occasionally serves as an exhibition juror and visiting artist.
Provenance:
Donated by Ed Colker in 1991, 2013 and 2020.
Restrictions:
Use of original material 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.
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:
Arts administrators -- United States  Search this
Painters -- United States  Search this
Topic:
Printmakers -- United States  Search this
Painting, Modern -- 20th century -- United States  Search this
Printing  Search this
Art -- Study and teaching  Search this
Transcripts  Search this
Design  Search this
Educators -- United States  Search this
Genre/Form:
Interviews
Sound recordings
Video recordings
Identifier:
AAA.colked
See more items in:
Ed Colker papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-colked

Oral history interview with Harlan Butt

Interviewee:
Butt, Harlan W., 1950-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Arrowmont School of Arts and Crafts -- Faculty  Search this
Enamelist Society  Search this
Haystack Mountain School of Crafts -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Crafts -- Faculty  Search this
Rhode Island School of Design -- Faculty  Search this
San Diego State University -- Faculty  Search this
Society of North American Goldsmiths  Search this
Southern Illinois University at Carbondale -- Students  Search this
Tyler School of Art -- Students  Search this
University of North Texas -- Faculty  Search this
Brooks, Jan  Search this
Glantz, Ken  Search this
Japanese tea ceremony  Search this
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Lechtzin, Stanley, 1936-  Search this
Moty, Eleanor  Search this
Paley, Albert  Search this
Pijanowski, Eugene, 1938-  Search this
Pijanowski, Hiroko Sato, 1942-  Search this
Pujol, Elliot  Search this
Scanga, Italo, 1932-2001  Search this
Shirk, Helen Z., 1942-  Search this
Snyder, Gary, 1930-  Search this
Staffel, Rudolf, 1911-2002  Search this
Winokur, Robert, 1933-  Search this
Extent:
7 Items (Sound recording: 7 sound files (5 hr., 19 min.), digital, wav)
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Australia -- Description and Travel
India -- description and travel
Japan -- Description and Travel
Date:
2009 July 27-28
Scope and Contents:
An interview of Harlan W. Butt conducted 2009 July 27-28, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Butt's studio, in Ptarmigan Meadows, Colorado.
Harlan Butt speaks of the influence of Asian art on his work; the use of text and imagery in his work; the use of pattern in his work; his undergraduate minor in weaving; the influence of Asian religion and mythology; series The Earth Beneath Our Feet , Garden Anagogies, and Snakes in Heaven; his childhood growing up in Hopewell, New Jersey, near Princeton; undergraduate work at Tyler School of Art, Philadelphia, Pennsylvania; discovery of Buddhism and Eastern religions; his mother's death when he was 20; studying with Stanley Lechtzin and Elliot Pujol at Tyler; graduate school at Southern Illinois University, Carbondale; interest in Japanese tea ceremony; more exploration of Zen Buddhism; use of color in his work; studying with L. Brent Kington; reliquary series; move to Connecticut in 1974; second trip to Japan in 1984 to co-curate Kyoto Metal: An Exhibition of Contemporary Japanese Art Metalwork; introduction to Japanese system of artisan apprenticeship; early efforts as a writer and poet; the influence of poet Gary Snyder; summer teaching position at Rhode Island School of Design, Providence; teaching job at San Diego [California] State University in the mid-1970s; rattles and pipes series; exploring the Western landscape; the power of the snake image; taking a teaching position at University of North Texas, Denton (1976- ); first trip to Japan in 1980; differences in artisanal/metalworking practices in Japan and the United States; teaching workshops at various craft schools, Penland School of Crafts, Penland, North Carolina; Haystack School of Crafts, Deer Isle, Maine; and Arrowmont School of Arts and Crafts, Gatlinburg, Tennessee, compared with teaching in a university; the pros and cons of the gallery system; work with the Nancy Yaw Gallery, Birmingham, Michigan; the challenge of commission work; National Parks Project, Denton Center for the Visual Arts, Denton, Texas; the role of haiku and text in his pieces; series 1,001 Views of Mt. Mu; series Snakes in Heaven; the influence of his wife and children; trip to India and organizing Colour & Light: The Art and Craft of Enamel on Metal, National Gallery of Modern Art, Mumbai, 2001; trip to Australia; involvement with the Society of North American Goldsmiths, Enamelist Society, and American Craft Council; subtle issues of environmentalism in his work; his affinity for metalsmithing and enameling. He also recalls [Rudolf] Staffel, Robert Winokur, Italo Scanga, Jan Brooks, Mike Riegel, Rachelle Thiewes, Eleanor Moty, Albert Paley, Shumei Tanaka, Ken Glantz (Ken Chowder), Randy Thelma Coles, Sandy Green, Mickey McCarter, Gene Pijanowski, Hiroko Pijanowski, Toshihiro Yamanaka, Helen Shirk, Ana Lopez, and Sarah Perkins.
Biographical / Historical:
Harlan W. Butt (1950- ) is an artist, metalsmith, and educator in Denton, Texas. Mija Riedel (1958- ) is a writer and independent scholar in San Francisco, California.
General:
Originally recorded on 4 sound mini discs. Reformatted in 2010 as 7 digital wav files. Duration is 5 hr., 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 administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art teachers -- Interviews  Search this
Topic:
Art, Asian  Search this
Art -- Study and teaching  Search this
Buddhism  Search this
Metal-workers -- Texas -- Interviews  Search this
Weaving -- Study and teaching  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.butt09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-butt09

Oral history interview with Thomas Adrian Fransioli

Interviewee:
Fransioli, Thomas Adrian, 1906-1997  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
National Gallery of Art (U.S.)  Search this
University of Pennsylvania -- Students  Search this
Brown, Margaret E., d. 1957  Search this
Eggers, O. R. (Otto Reinhold), 1882-1964  Search this
Feiss, Carl  Search this
Finley, David E. (David Edward)  Search this
Klauder, Charles Z. (Charles Zeller), 1872-1938  Search this
Pope, John Russell, 1874-1937  Search this
Walker, John, 1906-1995  Search this
Extent:
2 Items (Sound recording: 2 sound files, digital, wav file)
37 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1981 April 21
Scope and Contents:
Interview of Thomas Adrian Fransioli, conducted April 21, 1981, by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Wenham, Massachusetts.
Fransioli speaks of his upbringing in Seattle, Washington; training and friendships at architectural school at the University of Pennsylvania; working in North Carolina, Virginia, Philadelphia, and Cleveland as an architect, interior designer, and draftsman; his commission for a grand country house in Virginia, 1932-1934; his work for John Russell Pope on the National Gallery of Art in Washington, D.C.; work in photographic reconnaissance for the U.S. Army during World War II; visiting Hiroshima after the atomic bomb; his training at the Art Students League; his paintings of cityscapes and houses; the promotion of his career by Margaret Brown of Boston; and influences upon him. Fransioli also recalls Charles Klauder, Margaret Brown, Carl Feiss, Otto Eggers, John Walker, David Finley; and others.
Biographical / Historical:
Thomas Adrian Fransioli (1906- 1997) was an architect and painter from Massachusetts. He was born in Seattle, Washington.
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.
Topic:
Architects -- Massachusetts -- Interviews  Search this
Architecture -- Study and teaching  Search this
Interior decorators -- Massachusetts -- Interviews  Search this
Painters -- Massachusetts -- Interviews  Search this
World War, 1939-1945 -- Japan -- Hiroshima  Search this
World War, 1939-1945 -- Photography  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.fransi81
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fransi81

Oral history interview with Roswell Weidner

Interviewee:
Weidner, Roswell, 1911-1999  Search this
Interviewer:
Pacini, Marina  Search this
Names:
Barnes Foundation  Search this
Pennsylvania Academy of the Fine Arts  Search this
United States. National Youth Administration  Search this
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Curran, Mary  Search this
De Mazia, Violette, 1899-  Search this
Garber, Daniel, 1880-  Search this
Harding, George, 1882-1959  Search this
Laessle, Albert, 1877-1954  Search this
McCarter, Henry, 1866-1942  Search this
Nuse, Roy Cleveland, b. 1885  Search this
Pierson, Joseph  Search this
Pinto, Angelo, 1908-1994  Search this
Speight, Francis, 1896-1989  Search this
Thrash, Dox, 1892-1965  Search this
Weidner, Marilyn Kemp, 1928-  Search this
Extent:
134 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1989 July 20-27
Scope and Contents:
An interview of Roswell Weidner conducted 1989 July 20-27, by Marina Pacini, for the Archives of American Art Philadelphia Project. Weidner discusses his early life, education, and art training at the Pennsylvania Academy of the Fine Arts, first at the school at Chester Springs, and later at the main school in Philadelphia. He discusses the programs at both schools, and recalls some of the faculty members, including Roy Nuse, Albert Laessle, George Harding, Joseph Pierson, Francis Speight, Daniel Garber, and Henry McCarter. He discusses the courses, exhibitions, and the competitions for traveling scholarships. He also discusses his study at the Barnes Foundation with Violette De Mazia and Angelo Pinto. After leaving the Academy, he joined the National Youth Administration and then transferred to the WPA with the Museum Extension, the Painting Project and the Print Project. He speaks of his work for each of these programs, their administration, and some of the individuals involved including Dox Thrash. He recalls Mary Curran and the efforts made by Albert Barnes to have her removed as head of the Painting Project. Weidner discusses his fifty years as a teacher at the Academy, beginning in 1939, and the changes in the institution since then, including the introduction of printmaking, the growth of abstraction, the hiring of women and black instructors, and other changes. He speaks of his wife, Marilyn Kemp Weidner, a paper conservator, and the development of her practice, as well as his own future work.
Biographical / Historical:
Roswell T. Weidner (1911-1999) was a painter and educator from Philadelphia, Pennsylvania.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr.; 18 min.
Provenance:
These interviews are part of the Archives' 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.
Restrictions:
Transcript: Patrons must use microfilm copy.
Topic:
Art, American  Search this
Art -- Study and teaching -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia -- Interviews  Search this
Educators -- Pennsylvania -- Philadelphia -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.weidne89
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-weidne89

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