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Elizabeth S. Navas papers, 1939-1963

Creator:
Navas, Elizabeth S., 1885-1979  Search this
Subject:
Bacon, Peggy  Search this
Bouché, Louis  Search this
Brice, William  Search this
Burchfield, Charles Ephraim  Search this
Burlin, Paul  Search this
Callahan, Kenneth  Search this
Copley, John Singleton  Search this
Cowles, Russell  Search this
Curry, John Steuart  Search this
Davis, Stuart  Search this
De Creeft, José  Search this
Dehn, Adolf  Search this
Dehner, Walt  Search this
Demuth, Charles  Search this
Dove, Arthur Garfield  Search this
Pène Du Bois, Guy  Search this
Eakins, Thomas  Search this
Glackens, William J.  Search this
Gleitsmann, Raphael  Search this
Grosz, George  Search this
Heliker, John  Search this
Homer, Winslow  Search this
Hopper, Edward  Search this
James, Alexander  Search this
Kinigstein, Jonah  Search this
Kirsch, Frederick D. (Frederick Dwight)  Search this
Kuhn, Walt  Search this
Kuniyoshi, Yasuo  Search this
Lachaise, Gaston  Search this
Lechay, James  Search this
Marin, John  Search this
Marsh, Reginald  Search this
Mattson, Henry E. (Henry Elis)  Search this
Morris, Carl  Search this
Morris, George L. K.  Search this
Moyer, Roy  Search this
Murdock, Louise Caldwell  Search this
Murdock, Roland P.  Search this
Oscar, Charles  Search this
Penney, James  Search this
Poor, Anne  Search this
Poor, Henry Varnum  Search this
Ryder, Albert Pinkham  Search this
Schnakenberg, H. E. (Henry Ernest)  Search this
Shahn, Ben  Search this
Sheeler, Charles  Search this
Sloan, John  Search this
Smith, Houghton Cranford  Search this
Sparhawk-Jones, Elizabeth  Search this
Watkins, Franklin Chenault  Search this
Weber, Max  Search this
Williamson, Clara McDonald  Search this
Zerbe, Karl  Search this
Zorach, William  Search this
Wichita Art Museum  Search this
Citation:
Elizabeth S. Navas papers, 1939-1963. Archives of American Art, Smithsonian Institution.
Topic:
Art, American -- Kansas -- Witchita  Search this
Art -- Collectors and collecting  Search this
Theme:
Patronage  Search this
Record number:
(DSI-AAA_CollID)8075
(DSI-AAA_SIRISBib)210246
AAA_collcode_navaeliz
Theme:
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210246

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

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

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

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

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

Missing Title

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

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

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

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

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

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

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

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

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

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

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

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

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

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

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

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

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

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

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

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

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
World War, 1914-1918  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

Elk and Buffalo Dance

Culture/People:
Zia Pueblo  Search this
Artist/Maker:
Ignacio Moquino (Waki Yeni Dewa/Waka Yeni Dewa), Zia Pueblo, 1917-1982  Search this
Previous owner:
Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this
Seller:
Dr. Oscar Brousse Jacobson, Non-Indian, 1882-1966  Search this
Title:
Elk and Buffalo Dance
Object Name:
Painting
Media/Materials:
Paper, watercolor, graphite
Techniques:
Drawn, painted
Dimensions:
49.4 x 32.3 cm
Object Type:
Painting/Drawing/Print
Place:
Zia Pueblo, Zia Reservation; Sandoval County; New Mexico; USA
Date created:
1935-1940
Catalog Number:
23/6017
Barcode:
236017.000
See related items:
Zia Pueblo
Painting/Drawing/Print
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws630e5e9f4-0069-40e6-bf5b-f819fdb6028d
EDAN-URL:
edanmdm:NMAI_250924
Online Media:

Judith K. Zilczer Papers

Extent:
8 cu. ft. (8 record storage boxes)
Type:
Collection descriptions
Archival materials
Clippings
Manuscripts
Black-and-white negatives
Black-and-white photographs
Color transparencies
Date:
1975-2003
Descriptive Entry:
This accession consists of materials documenting the research and correspondence of Judith Zilczer. Zilczer was employed by the Hirshhorn Museum and Sculpture Garden in various capacities from 1974-2003, ultimately serving as Curator of Paintings from 1992-2003. The research and correspondence primarily concerns modern art, artists, and collectors. A significant amount of materials deal with Horace Pippin, John Quinn, Marcel Duchamp, Willem De Kooning, and Richard Lindner. Materials include correspondence, articles, clippings, bibliographies, images of artwork, lecture scripts, and notes.
Rights:
Restricted for 25 years from the latest date of records. See deed of gift for additional information regarding restrictions, until Jan-01-2029; Transferring office; 12/1/2003 Deed of Gift; Contact reference staff for details.
Topic:
Art, Modern  Search this
Artists  Search this
Art -- Collectors and collecting  Search this
Art museum curators  Search this
Art -- History  Search this
Art patrons  Search this
Genre/Form:
Clippings
Manuscripts
Black-and-white negatives
Black-and-white photographs
Color transparencies
Citation:
Smithsonian Institution Archives, Accession 04-028, Judith K. Zilczer Papers
Identifier:
Accession 04-028
See more items in:
Judith K. Zilczer Papers
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa04-028

Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-2007  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-2018  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
317.43 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

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

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

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

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

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

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

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

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

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

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

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Topic:
Art, American  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4de66ef-397b-4e6e-9fde-d6deca12fa3a
EDAN-URL:
ead_collection:sova-aaa-artitalk
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Artists Talk on Art records digital asset number 1
Online Media:

Pepper, Beverly - Correspondence

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 62, Folder 15
Type:
Archival materials
Date:
1994
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery Records and André Emmerich Papers
André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6d6636c-0730-43b9-937a-f1eb59aebb8e
EDAN-URL:
ead_component:sova-aaa-andremmg-ref11077
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Pepper, Beverly - Correspondence digital asset number 1
  • View Pepper, Beverly - Correspondence digital asset number 2

Jules Langsner papers

Creator:
Langsner, Jules, 1911-1967  Search this
Names:
Art Institute of Chicago  Search this
Art in America  Search this
California Watercolor Society  Search this
Ford Foundation  Search this
Graham Foundation for Advanced Studies in the Fine Arts  Search this
International Association of Art Critics  Search this
Los Angeles County Museum of Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
New York Times  Search this
Pasadena Art Museum  Search this
Santa Barbara Museum of Art  Search this
Solomon R. Guggenheim Museum  Search this
University of Southern California -- Faculty  Search this
Adams, Clinton, 1918-2002  Search this
Brice, William, 1921-  Search this
Feitelson, Lorser, 1898-1978  Search this
Feldman, Eddy  Search this
Fogg, Adelaide  Search this
Guston, Musa  Search this
Guston, Philip, 1913-1980  Search this
Harwood, June  Search this
Kadish, Reuben, 1913-1992  Search this
Lebrun, Rico, 1900-1964  Search this
Lundeberg, Helen, 1918-  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Perls, Frank, 1910-1975  Search this
Ray, Julie  Search this
Ray, Man, 1890-1976  Search this
Turnbull, William, 2002  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Articles
Sound recordings
Essays
Lectures
Drafts (documents)
Manuscripts
Poems
Date:
circa 1910s-1998
bulk 1950-1967
Summary:
The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings normal="1941"> travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.
Scope and Contents note:
The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.

Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling.

The 0.9 linear feet of correspondence is of both a personal and professional nature. A significant portion of the correspondence is between Langsner and publications for which he wrote such as Art News, the New York Times, Meridian Books, Craft Horizons, Art International, and Art in America; galleries and museums where he lectured or curated exhibitions including the Art Institute of Chicago, California Water Color Society, Los Angeles County Museum of Art, Pasadena Art Museum, Santa Barbara Museum of Art, Museum of Modern Art, Guggenheim Museum, and the Fine Arts Patrons of Newport Harbor; colleges and organizations where he taught or was involved with such as the Graham Foundation, University of Southern California, International Association of Art Critics, and Ford Foundation; and artists that he worked with or knew personally including Rico Lebrun, William Turnbull, Man & Julie Ray, Lorser Feitelson, Helen Lundeberg, Adelaide Fogg, and Clinton Adams.

Letters to June Harwood were written while Langsner was traveling in 1964 and 1965 and discuss his travels and their relationship which culminated in marriage in Italy in 1965.

Among the 2.8 linear feet of the writings of Jules Langsner are articles for Art News, Art in America, Art International, Arts & Architecture, Aware, Beverly Hills Times, Craft Horizons, Creative Crafts, Goya Revista De Arte, Yomiuri, and Zodiac. There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts. There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art. There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects.

Exhibition files concern "Black and White" (1958), "California Hard-Edge Painting" (1964), the Man Ray Exhibition (1966), and the William Turnbull Exhibition (1966).

Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.

Photographs are of people, places, works of art, and exhibitions. There are photographs of Jules Langsner, June Harwood, Philip Guston, Musa Guston, William Brice, Eddy Feldman, Rube Kadish, Stanton MacDonald-Wright, Frank Perls, and unidentified individual people and groups. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Photographs of exhibitions include California Art Club, "Black and White," "California Painters & Sculptors, 35 & Under," and unidentified exhibitions. Photographs of works of art are by William Turnbull, Jack Zajac, Walter Mix, Marion Aldrich, Roger Majorowicz, and Jasper Johns.

Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The reel-to-reel tapes are of two lectures by Langsner, You & Art/Berlin Party, and of eulogies given at Langsner's funeral by Clement Greenberg, Henry Seldis, Peter Selz, Richard Brown, Donald Brewer, Tom Leavitt, Lorser Feitelson, Sam Francis, June Wayne, Gifford Phillips, and others. The cassette tape is a copy of eulogies.
Arrangement note:
The collection is arranged as 7 series. Photographs are arranged by subject, otherwise each series is generally arranged chronologically.

Missing Title

Series 1: Biographical Materials, 1957-circa 1960s (Box 1; 9 folders)

Series 2: Correspondence, 1948-1998 (Boxes 1-2; 0.9 linear feet)

Series 3: Writings, 1934-circa 1960s (Boxes 2-4; 2.8 linear feet)

Series 4: Exhibition Files, 1919, circa 1958-1966 (Box 4; 4 folders)

Series 5: Printed Materials, circa 1960s (Box 5; 2 folders)

Series 6: Photographs, circa 1910s-1960s (Box 5; 0.25 linear feet)

Series 7: Audio Recordings, 1954-1967 (Box 5; 0.25 linear feet)
Biographical/Historical note:
Jules Langsner (1911-1967) worked primarily in the Los Angeles area as a contemporary art critic, historian, and curator. He curated several seminal exhibitions of contemporary art, including the 1959-1960 show "Four Abstract Classicists" featuring the work of Southern California artists Lorser Feitelson, Karl Benjamin, Frederick Hammersley, and John McLaughlin.

Born Julius Harold Langsner in New York City on May 5, 1911, his family moved to Ontario, California in 1922. The family lived on a farm and opened the Paradise Health Resort which was run by Langsner's father, chiropractor Isadore Langsner, and was popular in Jewish and intellectual circles. In Ontario, Langsner became friends with three of the Pollack family sons, Jackson, Frank, and Sanford, as well as Philip Guston, Reuben Kadish, Leonard Stark, and Don Brown as a teenager. Guston, Kadish, and Jackson Pollock were later mentored by Lorser Feitelston which helped to foster in Langsner an interest in avant-garde painting.

Langsner went on to study philosophy at the University of California, Los Angeles. In the early 1940s, Langsner married and had a son, Drew Langsner. He divorced in 1946. In 1944, he enlisted in the United States Army and served as a psychiatric social worker and psychologist during World War II in the United States.

Art & Architecture magazine was the first to publish Langsner's art criticism in 1948. Throughout the 1950s and 60s his work was published widely in Art & Architecture as well as Art News, Art in America, Craft Horizons, Beverly Hills Times, Zodiac, and others. Langsner wrote extensively about art history in both published and unpublished manuscripts, including Painting in the Modern World which he worked on until his death. Additionally, he taught art history classes at the Chouinard Art Institute and University of Southern California and lectured for a variety of organizations and occasions.

Langsner curated several influential exhibitions in southern California, including the "Four Abstract Classicists" exhibition for the Los Angeles County Museum of Art in 1959 and in whose catalog he and Peter Selz coined the term "Hard-Edge painting." He curated the first full-scale retrospective of Man Ray in the United States at the Los Angeles County Museum of Art in 1966.

Langsner received a grant from the Ford Foundation in 1964 that allowed him to travel throughout Asia, the Middle East, and Europe for a year studying regional art and architecture. He wrote notes on his travels and corresponded frequently with June Harwood, a Hard-Edge painter, whom he married in Italy in 1965.

Jules Langsner died unexpectedly of a heart attack on September 29, 1967, in Los Angeles.
Related Archival Materials note:
The papers of Lorser Feitelson and Helen Lundeberg at the Archives of American Art contain a significant amount of writings by Jules Langsner, including exhibition catalog essays.

Papers of Jules Langsner, 1941-1967, are also located at the University of California, Los Angeles.
Provenance:
The Jules Langsner papers were donated to the Archives of American Art in several installments from 1973-1996, and in 2004 by June Harwood Langsner, widow of Jules Langsner. Notes for a lecture given at the Art Institute of Chicago in 1966 and 39 pieces of correspondence were donated in 1982 by the University of California Art Library, Los Angeles, via Librarian Virginia Steele.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- California -- Los Angeles  Search this
Art historians -- California -- Los Angeles  Search this
Topic:
Works of art  Search this
Painting, Abstract -- California  Search this
Art -- Study and teaching  Search this
Art criticism  Search this
Curators -- California -- Los Angeles  Search this
Genre/Form:
Photographs
Articles
Sound recordings
Essays
Lectures
Drafts (documents)
Manuscripts
Poems
Citation:
Jules Langsner papers, circa 1910s-1998, bulk 1950-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.langjule
See more items in:
Jules Langsner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96ca20c0c-5a91-42e5-9ff4-d5217f7fd266
EDAN-URL:
ead_collection:sova-aaa-langjule
Online Media:

Fletcher Benton papers

Creator:
Benton, Fletcher, 1931-  Search this
Names:
André Emmerich Gallery  Search this
Galerie Denino  Search this
Bury, Pol, 1922-2005  Search this
De Wilde, Dan  Search this
Finn, David  Search this
Jones, Lillian E.  Search this
Louchheim, Marlene  Search this
Lucie-Smith, Edward  Search this
Marquand, Ed  Search this
Neubert, George W.  Search this
Rickey, George  Search this
Sanders, Pieter  Search this
Tooker, Dan  Search this
Valentine, DeWain, 1936-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
8.7 Linear feet
1.47 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Motion pictures (visual works)
Drawings
Video recordings
Transcripts
Sound recordings
Photographs
Christmas cards
Date:
1934-2014
Summary:
The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career as a sculptor with international presence through certificates, personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, and photographs, sound and video recordings, and motion picture film documenting his work and career.
Scope and Contents:
The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career through personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, photographs, sound and video recordings motion picture film, some of which also appears in digitized form.

Biographical Materials include personal photographs, legal documents related to a court case with book designer Ed Marquand, biographical texts, interview transcripts, and a home video made by the artist. Correspondence is with other artists, friends, galleries, museums and other institutions, including George W. Neubert, André Emmerich Gallery, Pieter Sanders, Pol Bury, George Rickey, Ulfert Wilke, Marlene Louchheim, DeWain Valentine, Lillian E. Jones, and Edward Lucie-Smith. Interviews include sound recordings of interviews with Benton by academics and journalists, including Edward Lucie-Smith, Dan Tooker, and Dan De Wilde.

Exhibition and Commission Files consist of correspondence with galleries, museums and commission patrons; financial records; shipping and subcontracting documentation; motion picture film, video, and sound recordings related to exhibitions and installations; and planning and design materials. Series includes a significant amount of oversized drawings and plans for site-specific work. There is a large volume documentation from the Folded Circle-Arc commission by Stanley Consultants, Inc. in Muscatine, Iowa; the California/International Arts Foundation Traveling Sculpture Exhibition; Double Folded Circle Ring in Brussels and Double Circle Folded by Cedars Sinai Medical Center in Los Angeles.

Printed Materials include news clippings related to Benton's career, as well as brochures, exhibition catalogs, posters and other printed materials related to exhibitions and commissions. Broadcast materials include television news footage, radio and television interviews, documentaries, and promotional materials made by galleries and other cultural institutions.

Photographic and Moving Image Materials include art-related images showing Benton in his studio and images of exhibitions, installations and inaugurations. Also found are still photographs and motion picture films of artworks, including paintings, sculptures, and kinetic drawings, and a series of photographs of sculptures taken by David Finn.

Artwork consists of an editioned art Christmas card created by Benton for Galeria Bonino in New York from 1969. An American Artist Moving Image Materials consist of 13 videocassettes (VHS) which document the production process of the documentaryFletcher Benton: An American Artist by Morgan Cavett. There is footage from interviews with Benton and with curator George W. Neubert, footage of San Francisco with comments from Benton about his time there, interviews with the artist's studio assistants, images of his studio in Dore street and a couple of almost finished rough versions of the documentary.
Arrangement:
This collection is arranged as nine series.

Missing Title

Series 1: Biographical Material (0.3 linear feet; boxes 1, 9)

Series 2: Correspondence (1 linear foot; boxes 1, 2, OV 10)

Series 3: Interviews (0.3 linear feet; box 2)

Series 4: Exhibition and Commission Files (2 linear feet, 0.50 GB; boxes 2-4, OV 11-13, RD 14, FC 15, ER01)

Series 5: Printed Materials (2.3 linear feet; boxes 4-6, OV 10)

Series 6: Broadcast Materials (1.1 linear foot; boxes 6-7)

Series 7: Photographic and Moving Image Materials (0.5 linear feet, 0.97 GB; boxes 7, 9, FC 16-17, ER02)

Series 8: Artwork (1 item; box 7)

Series 9: -- An American Artist -- Video Recordings (0.6 linear feet; boxes 7-8)
Biographical / Historical:
Fletcher Benton was born in Jackson, Ohio in 1931 to Fletcher and Nell Cavett Benton and was the oldest of three children. Benton graduated from Jackson High School in 1949. After serving in the Navy he graduated from Miami University (Oxford, Ohio) in 1956 and moved to San Francisco, where he started working as an instructor at the California College of Arts and Crafts in 1959. He was in San Francisco during the flourishing of the Beat generation, where he had a studio in the North beach area and exhibited at coffee house galleries.

After travelling around Europe in 1960, Benton moved to New York City where he tried to make his living through painting and teaching privately. During those years he was supported by Jackson's local arts patron and family friend, Lillian E. Jones. In 1960 he had his first solo exhibition at Gump's gallery in San Francisco, but his work was taken down after one day because it was considered obscene for including female nudes. He returned to San Francisco in late 1961.

In 1966 Fletcher started teaching at the San Francisco Art Institute and established himself as a primary figure of American kinetic art. In 1966, Peter Selz included his work in the exhibition Directions in Kinetic Sculpture at the University Art Gallery in Berkeley, CA. During the exhibition Benton met the artists Pol Bury and George Rickey with whom he became friends. The exhibition, along with an article "The Movement Movement" that appeared in Time magazine the same year, established Benton's reputation as a significant American Kinetic artist. He also started teaching at the California State University in San José in 1967 where he continued working until 1986.

By 1974 Benton abandoned kinetic art to continue exploring sculpture in three dimensions in a style that became known as "new constructivism." The artworks were conceived in the series Folded Circles and Folded Square Alphabets and were produced in bronze, aluminum and steel. It was also during the 1970s that he started doing large-scale commissions such as the 1977 IBM commission.

Between 1981 and 1984 Benton constructed his studio in Dore Street in the Market district of San Francisco where he continues to work today. During the 1980s Benton started his Balanced/Unbalanced series, which introduced the idea of gravity using geometric forms in different formats and sizes.

From 1984 he began to show more work in Europe, especially in Germany, where in 1993 he got a major commission to create a colossal public sculpture in Cologne entitled Steel Watercolor Triangle Ring. It was also in Germany where Benton encountered the work of Wassily Kandinsky and Kazimir Malevich, and he began work on his Construct Relief series in reponse, which he dedicated to Kandinsky. These geometric constructions are flat, canvas-like steel structures that combine features of painting and sculpture. As the series evolved, the work became more like painting, constructed to hang on the wall without a back piece, so they seem to be floating in the space.

Benton continues to live and work in San Francisco and is represented by multiple galleries in the United States and Germany.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Fletcher Benton conducted by Paul J. Karlstrom, 1989 May 2-4 is available on the Archives of American Art website.
Provenance:
Donated 2005-2006 and 2014 by Fletcher Benton. Benton's wife, Bobbie Benton, organized the material by subject matter and date.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced 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:
Painters -- California -- San Francisco  Search this
Sculptors -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Drawings
Video recordings
Transcripts
Sound recordings
Photographs
Christmas cards
Citation:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bentflet
See more items in:
Fletcher Benton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9951bf858-723f-4f17-804b-fc250edde964
EDAN-URL:
ead_collection:sova-aaa-bentflet

Irma Engel Grabhorn papers

Creator:
Grabhorn, Irma Engel, 1906-2003  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-1991
Summary:
The papers of Irma Engel Grabhorn measure 0.8 linear feet and date from 1945-1991. The collection contains a subject file on Carl Hofer, letters, financial material, notes, printed material and photographs.
Scope and Contents:
The papers of Irma Engel Grabhorn measure 0.8 linear feet and date from 1945-1991. The collection contains a subject file on Carl Hofer, letters, financial material, notes, printed material and photographs.

The subject file on Carl Hofer contains one hundred twenty-one letters from Carl Hofer to Grabhorn, who had been his student, and a printed speech by Hofer concerning an exhibition opening in Frankfurt. Additional letters are from friends and colleagues, discussing Grabhorn's career as a painter and art patron, as well as her interest in painter Hans Thoma and the activities and prizes named for him. Other material includes receipts, notes, clippings, an exhibition catalog for Thoma, programs, and four photographs of a house and an unidentified art work.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Irma Engel Grabhorn (1906-2003) was painter and art patron born in Badenweiler, Germany. She was a student of Andre Lhote in Paris, and studied at the Academy of Arts in Berlin under Carl Hofer. She married Samuel Engel, professor of ophthamology at Stanford University, in 1932. After his death, she remarried Edwin Grabhorn in 1964. Grabhorn had several exhibitions of her work in New York and San Francisco.
Provenance:
The Irma Engel Grabhorn papers were donated by Irma Engel Grabhorn in 1991.
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:
Painters -- Germany  Search this
Painters -- New York (State) -- New York  Search this
Art patrons -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Citation:
Irma Engel Grabhorn papers, 1945-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grabirma
See more items in:
Irma Engel Grabhorn papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f8293234-26bb-469c-bca5-d5d96e37fcad
EDAN-URL:
ead_collection:sova-aaa-grabirma

Alma de Bretteville Spreckels papers, 1920-1978

Creator:
Spreckels, Alma de Bretteville, 1881-1968  Search this
Subject:
Fuller, Loie  Search this
Hoffman, Malvina  Search this
Howe, Thomas Carr  Search this
California Palace of the Legion of Honor  Search this
Citation:
Alma de Bretteville Spreckels papers, 1920-1978. Archives of American Art, Smithsonian Institution.
Topic:
Art patronage -- California -- San Francisco  Search this
Decorative arts -- Romania  Search this
Theme:
Patronage  Search this
Record number:
(DSI-AAA_CollID)9469
(DSI-AAA_SIRISBib)211667
AAA_collcode_sprealma
Theme:
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211667

Irma Engel Grabhorn papers

Collection Creator:
Grabhorn, Irma Engel, 1906-2003  Search this
Extent:
0.8 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1945-1991
Scope and Contents:
The papers of Irma Engel Grabhorn, 1941-1991 contains a subject file on Carl Hofer that consists of one hundred twenty-one letters from Carl Hofer to Grabhorn, who had been his student, and a printed speech by Hofer concerning an exhibition opening in Frankfurt. Letters are from friends and colleagues, discussing Grabhorn's career as a painter and art patron, and her interest in painter Hans Thoma and the activities and prizes named for him. Other material includes receipts, notes, clippings, an exhibition catalog for Thoma, programs, and four photographs of a house and an unidentified art work.
Collection 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.
Collection Citation:
Irma Engel Grabhorn papers, 1945-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grabirma, Series 1
See more items in:
Irma Engel Grabhorn papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9291b5294-25fe-427d-addb-b535c62421e2
EDAN-URL:
ead_component:sova-aaa-grabirma-ref1

Letterpress book. Volume 8, 1901 April 4 - December 31

Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Container:
Box 41, Folder 2
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 2: Correspondence / 2.2: Charles Lang Freer Letterpress Books, 1892-1910
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc379acf6e6-9754-4ce6-9b0e-333d86ec1a78
EDAN-URL:
ead_component:sova-fsa-a-01-ref648
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Max Weber papers

Creator:
Weber, Max, 1881-1961  Search this
Names:
American Artists' Congress  Search this
Forum Gallery (New York, N.Y.)  Search this
Biddle, George, 1885-1973  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Gropper, William, 1897-1977  Search this
Gross, Chaim, 1904-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Kent, Rockwell, 1882-1971  Search this
Kroll, Leon, 1884-1974  Search this
Newman, Barnett, 1905-1970  Search this
Soyer, Raphael, 1899-1987  Search this
Zorach, William, 1887-1966  Search this
Extent:
11.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Motion pictures (visual works)
Date:
1902-2008
Summary:
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.
Scope and Content Note:
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.

Biographical material includes biographical summaries, obituaries, award certificates, and a small amount of family memorabilia. Weber's personal and professional correspondence includes discussions of exhibitions, sales, and donations of his work, as well was requests to teach, write, or lecture. Also found is correspondence with arts organizations, clubs, and committees in which he participated. A small amount of family correspondence is also included. Artists that Weber corresponded with include George Biddle, Arthur Davies, William Gropper, Chaim Gross, Marsden Hartley, Rockwell Kent, Leon Kroll, Barnett Newman, Raphael Soyer, and William Zorach, among many others. Weber also corresponded with many art historians and critics, gallery owners, and art patrons. Joy Weber's correspondence primarily concerns the exhibition, loan, sale, and authentication of her father's artwork.

Exhibition files document various solo and group exhibitions of Weber's work. Five reels of motion picture film include footage of an exhibition at the Forum Gallery in 1975. Gallery files include correspondence, inventories, sales and loan records, gallery publications, and other documentation. Most files for exhibitions and galleries were created by Joy Weber after Max Weber's death in 1961. Personal business records include documents on sales, loans, and gifts of Max Weber's artwork; scattered financial documents; and mortgage and property records. Also found are files regarding his participation in the American Artists' Congress and art juries. Weber's writings primarily concern art theory, impressions of other artists, and social and political issues. Additionally there are notes, drafts speeches, and writings by others about Weber.

Printed material is extensive and includes exhibition publications, press releases, and two published booklets written by Weber: "Art Consciousness" and "Things." Also found are news clippings, brochures, newsletters, and publications produced by art organizations, schools, and museums. Photographs include portraits and snapshots of Weber, depicting him working in his studio, participating in art juries, at art openings, and with his family. Photographs also depict installation views of exhibitions and numerous photographs of Weber's artwork. Audiovisual materials include one sound recording of a National Gallery program on Max Weber and five reels of motion picture film that include home movies and footage of an exhibition at the Forum Gallery in 1975.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Material, 1905-1995 (Box 1; 10 folders)

Series 2: Correspondence, 1902-2007 (Box 1-5; 4.2 linear feet)

Series 3: Exhibition Files, 1919-2003 (Box 5-6; 0.7 linear feet)

Series 4: Gallery Files, 1926-2005 (Box 6-7; 0.9 linear feet)

Series 5: Personal Business Records, 1906-2006 (Box 7; 0.8 linear feet)

Series 6: Writings, circa 1910s-1999 (Box 7-8; 0.6 linear feet)

Series 7: Printed Material, 1909-2008 (Box 8-10, 12; 2.6 linear feet)

Series 8: Photographs, 1930s-circa 2000 (Box 10-11; 1.1 linear feet)

Series 9: Audiovisual Material, 1954-2000 (Box 11, FC 13-17; 0.7 linear feet)
Biographical Note:
Max Weber (1881-1961) was a painter and sculptor in New York City.

Weber was born in Bialystok, Russia. When he was ten years old his family moved to Brooklyn, New York. From 1898 to 1900 he attended Pratt Institute and studied theory and practice of design under Arthur Wesley Dow. After graduating he briefly taught drawing in Lynchburg, Virginia, and Duluth, Minnesota. In 1905 he moved to Paris to attend the Académie Julian, studying under Jean-Paul Laurens, and later attended classes at the Académie Colarossi and Académie de la Grande Chaumiere. In 1907 he attended Henri Matisse's studio class. The influence of Matisse and friend Henri Rousseau transformed Weber's painting style to include elements of cubism and fauvism.

Weber returned to New York in 1909, and over the next few years he frequently exhibited at Alfred Stieglitz's gallery 291. Initially his work was panned by American critics for being too modern. Despite criticism, Weber exhibited his work extensively in the 1910s and also began creating abstract sculptures. In 1914 he helped his friend Clarence H. White open the White School of Photography and taught art history there for four years. Also in 1914 his Cubist Poems were published in London. His second book of poetry Primitives was published in 1926.

In 1916 Weber married Frances Abrams. He began to explore narrative subjects in his paintings and in 1918 began carving woodblock prints. He also taught at the Art Students League for the 1919-1921 and 1926-1927 sessions. By the early 1920s he was recognized as an important American artist, serving as a leader in art organizations such as the Society of Independent Artists. In 1930 Weber became the first American modernist to have a retrospective exhibition at the Museum of Modern Art.

In the 1930s Weber became more active in political and socialist causes, participating in many organizations throughout the Depression and World War II. In 1937 he became the National Chairman of the American Artists' Congress. By the 1940s, his work was widely known and influenced a new generation of American painters. He continued to exhibit extensively, received many awards, such as the Temple Gold Medal at the Pennsylvania Academy of Fine Arts, and often served on art juries. In 1955 he was elected to the National Institute of Arts and Letters and received an honorary doctorate from Brandeis University. He died in Great Neck, New York, in 1961.
Related Material:
Also found at the Archives of American Art is an Allen L. Wetmore letter from Max Weber, April 15, 1946.
Separated Material:
Material lent for microfilming in 1959 and 1969 which was not included in the 2011 donation is available on microfilm reels NY59-6 to NY59-10, N69-82 to N69-88, and N69-112.
Provenance:
Material was lent for microfilming in 1959 by Max Weber and in 1969 by Mrs. Max Weber and daughter, Joy Weber. The bulk of the microfilmed material and additional papers were donated in 2011 by Joy Weber.
Restrictions:
Use of original papers 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.
Topic:
Art, American  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Genre/Form:
Photographs
Sound recordings
Motion pictures (visual works)
Citation:
Max Weber papers, 1902-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.webemax
See more items in:
Max Weber papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw917740067-13ca-42b3-a394-14c9d399c717
EDAN-URL:
ead_collection:sova-aaa-webemax
Online Media:

Oral history interview of the board of the Spokane Art Center, 1965 November 18

Creator:
Spokane Art Center  Search this
Interviewer:
Bestor, Dorothy K., 1913-  Search this
Subject:
Guilbert, Gladys  Search this
Nelson, Erna Bert  Search this
Reed, Florence  Search this
Weaver, Elsa  Search this
Irving, Henry, Mrs  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview of the board of the Spokane Art Center, 1965 November 18. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Art patrons -- Washington (State) -- Spokane -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12298
(DSI-AAA_SIRISBib)213994
AAA_collcode_spokan65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213994

Delegate

Published by:
MelPat Associates, American, 1965 - 1986  Search this
Created by:
C. Melvin Patrick, American, died 1985  Search this
Subject of:
Charles Richard Drew, American, 1904 - 1950  Search this
President Lyndon Baines Johnson, American, 1908 - 1973  Search this
Roy Wilkins, American, 1901 - 1981  Search this
National Pan-Hellenic Council, American, founded 1930  Search this
Hubert Horatio Humphrey Jr., American, 1911 - 1978  Search this
Dr. Martin Luther King Jr., American, 1929 - 1968  Search this
Dr. Benjamin Elijah Mays, American, 1894 - 1984  Search this
Ebenezer Baptist Church, American, founded 1886  Search this
Southern Christian Leadership Conference, American, founded 1957  Search this
Sen. Edward Brooke, American, born 1919  Search this
Joseph Davies Tydings, American, 1928 - 2018  Search this
Lawrence Warren Pierce, American, born 1924  Search this
Bertram L. Baker, American, 1898 - 1985  Search this
Wayne L. Morse, American, 1900 - 1974  Search this
Harry Belafonte Jr., American, 1927 - 2023  Search this
Coretta Scott King, American, 1927 - 2006  Search this
Rev. Ralph David Abernathy, American, 1926 - 1990  Search this
Gordon Parks, American, 1912 - 2006  Search this
Morehouse College, American, founded 1867  Search this
Percy Ellis Sutton, American, 1920 - 2009  Search this
Bayard Rustin, American, 1912 - 1987  Search this
Eugene Nickerson, American, 1918 - 2002  Search this
Leonard Farbstein, American, 1902 - 1993  Search this
Senator Robert F. Kennedy, American, 1925 - 1968  Search this
The Girl Friends, Inc., American, founded 1927  Search this
Floyd McKissick, American, 1922 - 1991  Search this
Interracial Council for Business Opportunity, American, founded 1963  Search this
National Association for the Advancement of Colored People, American, founded 1909  Search this
National Urban League, American, founded 1910  Search this
Harold Robert Perry, American, 1916 - 1991  Search this
Zeta Phi Beta Sorority, American, founded 1920  Search this
National Newspaper Publishers Association, American, founded 1827  Search this
Omega Psi Phi Fraternity, Inc., American, founded 1911  Search this
International Free and Accepted Modern Masons, Inc. and Order of the Eastern Star, American, founded 1950  Search this
Improved Benevolent and Protective Order of the Elks of the World, American, founded 1898  Search this
New York Jets, American, founded 1960  Search this
Ancient and Accepted Scottish Rite of Freemasonry  Search this
National Association of Negro Musicians, Inc., founded 1919  Search this
National Medical Association, American, founded 1895  Search this
National Dental Association, American, founded 1913  Search this
Joan Murray  Search this
Philippa Schuyler, American, 1931 - 1967  Search this
Berry Gordy Jr., American, born 1929  Search this
Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this
Shriners International, American, founded 1870  Search this
Sen. Edward Brooke, American, born 1919  Search this
Sidney Poitier, Bahamian American, 1927 - 2022  Search this
Kappa Alpha Psi Fraternity, Inc., American, founded 1911  Search this
Inez Yeargan Kaiser, American, 1918 - 2016  Search this
Pearl Bailey, American, 1918 - 1990  Search this
Alpha Kappa Alpha Sorority, Incorporated, founded 1908  Search this
National Council of Negro Women, founded 1935  Search this
Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this
National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this
National Funeral Directors and Morticians Association, Inc., American, founded 1924  Search this
Robert J. Mangum, American, 1920 - 2014  Search this
369th Veterans Association, American  Search this
National Association of Market Developers, American, founded 1953  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 12 × 8 7/8 × 3/16 in. (30.5 × 22.5 × 0.5 cm)
Type:
magazines (periodicals)
Place made:
Harlem, New York City, New York, United States, North and Central America
Date:
1968
Topic:
African American  Search this
Advertising  Search this
Associations and institutions  Search this
Baptist  Search this
Black Press  Search this
Business  Search this
Communities  Search this
Football  Search this
Fraternal organizations  Search this
Fraternities  Search this
Funeral customs and rites  Search this
Government  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Journalism  Search this
Labor  Search this
Mass media  Search this
Men  Search this
Political organizations  Search this
Politics  Search this
Professional organizations  Search this
Religion  Search this
Sororities  Search this
Sports  Search this
U.S. History, 1961-1969  Search this
Urban life  Search this
Women  Search this
Women's organizations  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely
Object number:
2012.167.3
Restrictions & Rights:
Public domain
Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5f7b7586d-84ee-4f44-b24e-aa264dcdee1f
EDAN-URL:
edanmdm:nmaahc_2012.167.3
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>Delegate</I> digital asset number 1

Alvan Macauley, Jr., letters from Henry Strater

Creator:
Macauley, Alvan, Jr.  Search this
Strater, Henry, 1896-  Search this
Extent:
2 Items ((on partial microfilm))
Type:
Collection descriptions
Archival materials
Date:
1966 and 1974
Scope and Contents:
Two letters, July 30, 1966, and Feb. 4, 1974, to Macauley from Henry Strater. Strater wrote about his recovery from a heart attack, recent exhibits of his work and his ability to paint despite failing health.
Biographical / Historical:
Macauley was a Detroit automaker and art patron. Strater (1896-1987) was a painter from New York, N.Y. and Ogunquit, Me.
Provenance:
Donated 1974 by Larry Curry.
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.
Identifier:
AAA.macaalva
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9724c03a7-d2ef-4f36-b111-fff29cdbb334
EDAN-URL:
ead_collection:sova-aaa-macaalva

Olive Rush papers

Creator:
Rush, Olive, 1873-1966  Search this
Names:
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Extent:
6.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Diaries
Photographs
Date:
1879-1967
Summary:
The papers of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other personal papers documenting Rush's education and career as an illustrator, portraitist, muralist, painter, teacher, and promoter of Native American art.
Scope and Contents note:
The records of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other records that document her education and career as an illustrator, portraitist, muralist, painter, and promoter of Native American art.

Biographical materials include several narratives written by Rush and others, as well as a few items related to Delaware artist Ethel Pennewill Brown Leach, Rush's close friend and colleague. Correspondence spans Rush's education and career, and documents her early career in illustration, purchases and exhibitions of her work, her efforts to secure exhibitions for Native American artists, and her dealings with administrators of Federal Art Projects of the 1930s.

Writings include diaries from Rush's early years, including an especially detailed diary from her Santa Fe Indian School mural project in 1932. Also found are lectures, talks, essays, notebooks with technical experiments and aesthetic ideas, and loose notes for her FAP project at the New Mexico College of Agricultural and Mechanical Arts.

Records of Rush's artwork include two record books, receipts for supplies and shipments, price lists, inventories, records of submissions, and a small number of similar records of artwork by Native American artists. Sketchbooks, loose sketches, and drawings by Rush span her entire career and include many studies and proposed designs for murals and frescoes.

Printed Materials consist of exhibition catalogs, clippings, and reproductions of artwork, especially illustration work from Rush's early career. Photographs include a class photograph from the Corcoran School of Art circa 1890 and many of Rush and her fellow artists in Wilmington, Delaware from around 1904 to 1910. Photographs of works of art document Rush's murals and frescoes in private homes, businesses, and public buildings.
Arrangement note:
The collection is arranged into seven series:

Missing Title

Series 1: Biographical Material, 1886-1966 (Box 1; 7 folders)

Series 2: Correspondence, 1889-1964 (Boxes 1-2, 8; 1.4 linear feet)

Series 3: Writings, 1886-1962 (Box 2; 0.6 linear feet)

Series 4: Records of Artwork, 1904-1956 (Box 3; 8 folders)

Series 5: Artwork, 1896-1957 (Boxes 3-4, 7, OV 8-12; 1 linear foot)

Series 6: Printed Materials, 1879-1967 (Boxes 4-5, 7, OV 13; 1.6 linear feet)

Series 7: Photographs, circa 1890-1966 (Box 6; 0.4 linear feet)
Biographical/Historical note:
Olive Rush was born in Fairmount, Indiana in 1875 to a Quaker farm family of six children, and attended nearby Earlham College, a Quaker school with a studio art program. Encouraged by her teacher, Rush enrolled in the Corcoran School of Art in Washington, D.C. in 1890, where she stayed for two years and achieved early recognition for her work. In 1893, Rush joined the Indiana delegation of artists to the World's Columbian Exposition in Chicago.

In 1894, she moved to New York City and continued her studies at the Art Students League with Henry Siddons Mowbray, John Twachtman, and Augustus St. Gaudens. She secured her first job as an illustrator with Harper and Brothers and quickly started doing additional illustration work for Good Housekeeping, Scribner's, The Delineator, Woman's Home Companion, Sunday Magazine and St. Nicholas Magazine. Rush also became a staff artist at the New York Tribune and illustrated several books.

In 1904, Rush sent an inquiry with samples of her work to master illustrator Howard Pyle, who had established what was then the only school of illustration in the country in Wilmington, Delaware. There he provided free instruction to a small number hand-picked artists culled from hundreds of applicants. Although Pyle did not admit women to his studio, he encouranged her to come and join the class for lectures and criticisms. Rush moved to Delaware later that year, joining a growing number of female illustrators there including Ethel Pennewill Brown (later Leach), Blanche Chloe Grant, Sarah Katherine Smith, and Harriet Roosevelt Richards, among others. Rush and her female colleagues lived together in a boarding house known as Tusculum, which became well-known as a gathering place for women artists.

Rush traveled to Europe in 1910, embarking on a period of intense study and travel which would mark a steady transition from illustration to painting. She studied at Newlyn in Cornwall, England and then in France with the American impressionist Richard E. Miller. She returned to Wilmington in 1911, where she moved into Pyle's studio with Ethel Pennewill Brown. Rush bounced to New York, Boston, and back to France, where she lived for a time with fellow artists Alice Schille, Ethel Pennewill Brown, and Orville Houghton Peets. Her reputation grew, and she began to exhibit regularly in major national and regional juried exhibitions including the Carnegie, Pennsylvania Academy, and Corcoran annual exhibitions, as well as the Hoosier Salon.

In 1914, Rush made her first trip to Arizona and New Mexico. Passing through Santa Fe on her return trip, Rush made contact with the artists community at the Museum of New Mexico, where she secured an impromptu solo exhibition after showing her new work, inspired by the landscape of the Southwest. She made Santa Fe her permanent home in 1920 in an adobe cottage on Canyon Road, which became a main thoroughfare of the Santa Fe artists' community.

Rush began to experiment with fresco painting, and developed her own techniques suitable to the local climate. She became a sought-after muralist and was asked to create frescoes for many private homes and businesses. In her painting, she often depicted the Native American dances and ceremonies she attended. She exhibited these paintings around the country, including with the Society of Independent Artists in New York, and in the Corcoran Annual Juried exhibition, where Mrs. Herbert Hoover and Duncan Phillips both purchased her work.

In 1932, Rush was hired to teach at the Santa Fe Indian School. Rush's enthusiastic work in the 1930s with the young pueblo artists is credited with helping to bring about a flourishing of Native American visual art in New Mexico. Rush continued to work with native artists throughout her life, and many of her associates went on to gain national reputations, including Harrison Begay, Awa-Tsireh, Pop Chalee, Pablita Valerde, and Ha-So-De (Narciso Abeyta).

From 1934 to 1939, Rush executed murals for the Public Works of Art Project (PWAP) and the Federal Art Project (FAP) of the Works Progress Administration (WPA). Rush's federal art projects included murals for the Santa Fe Public Library (1934), the Biology Building of the New Mexico Agricultural College (1935), the Pawhuska, Oklahoma Post Office (1938), and the Florence, Colorado Post Office (1939). Rush was also asked to join the Advisory Committee on Indian Art created by the PWAP in 1934, to help administer a segment of the program aimed at employing Native American artists.

In her later years, Rush's artwork became increasingly experimental, incorporating the ideas of Chinese painting, Native American art, and her contemporaries, the modernists, especially Wassily Kandinsky. She continued painting and exhibiting until 1964, when illness prohibited her from working. She died in 1966, leaving her home and studio to the Santa Fe Society of Friends.

Sources consulted for this biography include Olive Rush: A Hoosier Artist in New Mexico (1992) by Stanley L. Cuba, and Almost Forgotten: Delaware Women Artists and Arts Patrons 1900-1950 (2002) by Janice Haynes Gilmore.
Related Archival Materials note:
The Archives of American Art holds a brief oral history interview with Olive Rush concerning her involvement with Federal Art Projects.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming (reel SW4) including scrapbooks, photographs, clippings, and exhibition catalogs. Most of this material was later donated, but some items remain with the lender and are not described in the collection container inventory.
Provenance:
Olive Rush donated the bulk of her papers to the Archives of American Art in 1963 and 1964. Additional exhibition catalogs and photographs were added to the collection upon her death in 1966. An anonymous donation of diaries, sketchbooks, and a photograph was received by the Archives in 1970. Also in 1970, the Olive Rush Memorial Studio lent papers for microfilming. Many, but not all, of the loaned materials were later donated.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New Mexico -- Santa Fe  Search this
American Indians in art  Search this
Art and state  Search this
Mural painting and decoration -- 20th century -- New Mexico -- Santa Fe  Search this
Muralists -- New Mexico -- Santa Fe  Search this
Illustrators -- New Mexico -- Santa Fe  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sketches
Diaries
Photographs
Citation:
Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rusholiv
See more items in:
Olive Rush papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9658989d9-2bae-49ac-8468-a447e744a90e
EDAN-URL:
ead_collection:sova-aaa-rusholiv
Online Media:

Narratives

Collection Creator:
Rush, Olive, 1873-1966  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
undated
1920-1966
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution.
See more items in:
Olive Rush papers
Olive Rush papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw997e29486-a0a1-4d6d-bea9-0363a413f980
EDAN-URL:
ead_component:sova-aaa-rusholiv-ref16
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  • View Narratives digital asset number 1

Allan D. and Kate S. Emil papers

Creator:
Emil, Allan D., 1898-  Search this
Emil, Kate S.  Search this
Names:
Moore, Henry, 1898-1986  Search this
Nesjar, Carl, 1920-  Search this
Picasso, Pablo, 1881-1973  Search this
Extent:
22 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1967-1977
Scope and Contents:
The papers of Allan D. and Kate S. Emil relate primarily to their gift to New York University of Pablo Picasso's "Bust of Sylvette," executed in concrete by Carl Nesjar. There is also an unrelated letter from Henry Moore.
Four photographs of the construction of the sculpture, clippings, press releases, eight letters commenting on the sculpture, and a booklet about it. In addition there is a letter dated October 21, 1966, from Henry Moore who writes about his sculpture, "King and Queen," done in 1952-1953.
Biographical / Historical:
Art patrons (New York, N.Y.)
Provenance:
Donated 1977 by Mrs. Allan D. Emil.
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  Search this
Sculptors  Search this
Art patrons -- New York (State) -- New York  Search this
Identifier:
AAA.emilalla
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f3b37ea3-11f9-46ea-9c4a-7b546ed9059a
EDAN-URL:
ead_collection:sova-aaa-emilalla

William E. Phelps papers

Creator:
Phelps, William E., 1897-1967  Search this
M. Knoedler & Co.  Search this
Names:
Hurd, Peter, 1904-1984  Search this
Kerr, E. Coe, 1914-1973  Search this
Wyeth, Andrew, 1917-2009  Search this
Wyeth, Betsy James, 1921-  Search this
Wyeth, Henriette, 1907-  Search this
Wyeth, N. C. (Newell Convers), 1882-1945  Search this
Extent:
0.2 Linear feet ((141 items on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1939-1979
Scope and Contents:
12 letters (2 are illustrated) from Andrew Wyeth to William E. Phelps; 6 letters from Wyeth's wife Betsy to Phelps and his wife Mary, 1939-1969; 8 letters to Andrew Wyeth and Phelps from friends and colleagues. Wyeth's letters were written from Chadds Ford, Pa. and Port Clyde, Cushing, and Thomaston, Me. and concern the business of borrowing paintings for exhibitions but also contain family news and some personal insights.
Also contains letters from Wyeth's dealer, E. Coe Kerr of M. Knoedler and Co., Inc. to Wyeth and receipts from sales of his paintings; 91 photographs of Andrew, Betsy, Henriette, N.C. Wyeth, Peter Hurd, and others at the Wyeths' house in Maine and the Hurds' house in New Mexico. Included are photographs of the Wyeths painting in their studios, an exhibition of the Phelps' collection; and clippings.
Biographical / Historical:
Collector, art patron; Montchanin, Delaware. Resided in the Brandywine Valley between Wilmington, De. and Chadds Ford, Pa. where he and his wife, Mary, became friends with many local artists. He was an early patron of Andrew Wyeth and a close friend of the Wyeth family.
Provenance:
The donor, Mary C. Parrish, is the niece of William E. Phelps. She found these papers in the furniture she inherited from the estate.
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  Search this
Identifier:
AAA.phelwill
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98ba17486-9f56-4625-966d-78f2ccc500d0
EDAN-URL:
ead_collection:sova-aaa-phelwill

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