Search Results

Creator:

Zorach Family  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Adams, Ansel, 1902-1984  Search this

Cunningham, Imogen, 1883-1976  Search this

Ipcar, Dahlov, 1917-2017  Search this

Newman, Arnold, 1918-2006  Search this

Partridge, Roi, 1888-1984  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, Tessim  Search this

Zorach, William, 1887-1966  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Date:

1900-1987

Summary:

The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

Scope and Content Note:

The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.

Arrangement:

The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)

Biographical Note:

William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.

Related Material:

The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.

Separated Material:

The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.

Provenance:

William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.

Restrictions:

Use of originals 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 dealers -- New York (State) -- New York  Search this

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

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

Weavers  Search this

Topic:

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

Artist couples  Search this

Artists' studios -- Photographs  Search this

Works of art  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Citation:

The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.zorazora

See more items in:

The Zorach Family papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-zorazora

Interviewee:

Warthen, Ferol Sibley, 1890-1986  Search this

Warthen, Ferol Sibley, 1890-1986  Search this

Interviewer:

Brown, Robert F  Search this

Type:

Sound recordings

Interviews

Topic:

Art, American  Search this

Printmakers -- Massachusetts -- Provincetown -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12725

(DSI-AAA_SIRISBib)213181

AAA_collcode_warthe81

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213181

Interviewee:

Saltonstall, Elizabeth, 1900-1990  Search this

Saltonstall, Elizabeth, 1900-1990  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Benson, Frank Weston  Search this

Bosley, Frederick A.  Search this

Chase, Frank Swift  Search this

Clark, Henry Hunt  Search this

Cross, Anson K.  Search this

Hale, Philip Leslie  Search this

James, Alexander  Search this

Miller, George Charles  Search this

Presser, Josef  Search this

Saltonstall, Nathaniel  Search this

Thompson, Leslie P.  Search this

Wengenroth, Stow  Search this

Boston Society of Independent Artists  Search this

Institute of Contemporary Art (Boston, Mass.)  Search this

Institute of Modern Art (Boston, Mass.)  Search this

Milton Academy (Milton, Mass.)  Search this

Museum of Fine Arts, Boston. School  Search this

Windsor School (Boston, Mass.)  Search this

Type:

Interviews

Sound recordings

Topic:

Art -- Study and teaching -- France -- Paris  Search this

Art -- Study and teaching -- Massachusetts  Search this

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)13235

(DSI-AAA_SIRISBib)215615

AAA_collcode_salton81

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_215615

Interviewee:

Thurman, Sue M., 1927-2012  Search this

Thurman, Sue M., 1927-2012  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Rickey, George  Search this

Institute of Contemporary Art (Boston, Mass.)  Search this

Isaac Delgado Museum of Art  Search this

Cranbrook Academy of Art  Search this

Type:

Sound recordings

Interviews

Topic:

Arts administrators -- Massachusetts -- Interviews  Search this

Museum directors -- Massachusetts -- Boston -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12833

(DSI-AAA_SIRISBib)216373

AAA_collcode_thurma93

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216373

Interviewee:

Somerson, Rosanne, 1954-  Search this

Somerson, Rosanne, 1954-  Search this

Interviewer:

Michie, Thomas S., 1956-  Search this

Subject:

Abramson, Ron  Search this

Callahan, Harry M.  Search this

Capanigro, Paul  Search this

Cooke, Ned  Search this

Dunnigan, John  Search this

Fairbanks, Jonathan L.  Search this

Follen, Eck  Search this

Frid, Tage  Search this

Jackson, Dan  Search this

Joseph, Peter T. (Peter Thomas)  Search this

Kagan, Richard  Search this

Keck, Hardu  Search this

Kranov, James  Search this

Maruyama, Wendy  Search this

Mattia, Alphonse  Search this

Melanson, Gracie  Search this

Osgood, Jere  Search this

Sfirri, Mark  Search this

Siskind, Aaron  Search this

Swanson, Charlie  Search this

Szasz, Merlin  Search this

White, Leroy  Search this

Wolf, Hans  Search this

Haystack Mountain School of Crafts  Search this

Peters Valley (Craft center)  Search this

Rhode Island School of Design  Search this

Richard Kagan Gallery  Search this

Snyderman Gallery  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Type:

Interviews

Sound recordings

Topic:

Fine woodworking  Search this

Decorative arts  Search this

Educators -- Rhode Island -- Interviews  Search this

Furniture design -- Study and teaching  Search this

Photography  Search this

Women artists  Search this

Theme:

Craft  Search this

Women  Search this

Record number:

(DSI-AAA_CollID)13618

(DSI-AAA_SIRISBib)271125

AAA_collcode_somers06

Theme:

Craft

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_271125

Creator:

Sawyer, Helen, 1898-1999  Search this

Farnsworth, Jerry, 1895-1982  Search this

Sawyer, Helen, 1898-1999  Search this

Subject:

Sawyer, Kathleen  Search this

Sawyer, Wells  Search this

Kantor, MacKinlay  Search this

Nathan, Robert  Search this

Topic:

Painting, American -- Massachusetts  Search this

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)8211

(DSI-AAA_SIRISBib)210382

AAA_collcode_sawyhele

Theme:

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210382

Creator:

Williams, Esther Baldwin, 1867-1964  Search this

Names:

Grace Horne Galleries  Search this

Kraushaar Galleries  Search this

Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this

Finck, Furman J., 1900-  Search this

Kroll, Leon, 1884-1974  Search this

Prendergast, Charles, 1863-1948  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Williams, Esther, 1907-1969  Search this

Williams, Nadia, 1910-  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Diaries

Sketchbooks

Sketches

Place:

Massachusetts -- Boston -- Description and Travel

France -- Paris -- Description and Travel

Date:

1887-1984

Summary:

The papers of Boston area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.

Scope and Content Note:

The papers of Boston and New York area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.

For clarity, Esther Baldwin Williams and Esther Williams are referred to by their proper names throughout this finding aid.

Biographical information includes a membership card to the Rockport Art Association for Esther Williams and a biographical sketch of Esther Baldwin Williams

Personal business records include receipts for purchases of artwork by Esther Baldwin Williams, banking documents, exhibition entry forms and sales receipts for Esther William's works.

Correspondence includes incoming letters and drafts of outgoing letters. The majority of the correspondence is that of Esther Williams, including a considerable amount of letters to her parents. There are letters to Esther Williams from her friends Louis Eilshemius, Furman J. Finck, and Leon Kroll, and both Grace Horne Galleries and Kraushaar Galleries. Esther Baldwin Williams' correspondence includes personal letters from Maurice Prendergast.

Writings and notes include two diaries kept by Esther Baldwin Williams that date from 1892 until 1902 and cover her life in Paris and later in Boston. Some of the diary pages are illustrated with sketches. The series also includes scattered notes, including Charles Prendergast's Notes on Formula of Ebonizing Technique.

There are four sketchbooks, likely by Esther Baldwin Williams, of pencil and watercolor sketches of cats, babies and children, orchestral scenes, portraits, and architecture.

Scattered printed materials include a copy of Cezanne's Studio given to Esther Baldwin Williams by Maurice Prendergast, a copy of a family history by Nadia Williams, exhibition announcements and catalogs, clippings, and miscellany.

There is one photograph of an unidentified work of art and a circa 1900 family photo album with mostly unidentified photos of babies, children, and family members.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Materials, 1942-1979 (2 folders; Box 1)

Series 2: Personal Business Records, 1893-1966 (9 folders; Box 1)

Series 3: Correspondence, 1887-1961 (0.7 linear feet; Boxes 1-2)

Series 4: Writings and Notes, 1892-1947 (0.2 linear feet; Box 2)

Series 5: Sketchbooks and Sketches, circa 1900 (0.2 linear feet; Boxes 2-3)

Series 6: Printed Material, 1883-1984 (0.2 linear feet; Box 3)

Series 7: Photographs, circa 1900-circa 1920 (0.3 linear feet; Boxes 3-4)

Biographical Note:

Esther Baldwin Williams (1867-1964) and her daughter Esther Williams (1907-1969) were painters active in Boston, Paris, and New York City.

Esther Baldwin Williams was born Esther Mabel Baldwin on December 11, 1867 to a prominent Boston family of artists. She began her art education under her uncle Joseph Foxcroft Cole and worked with her cousin Adelaide Chase Cole. Adelaide and Esther shared a studio in Greenwich Village in 1888. The two cousins also traveled to Paris in 1877 and 1891 to paint. Esther Baldwin concentrated on portraiture and often painted the women in her social circle.

Esther Baldwin became engaged to Oliver Williams in 1898. They married and moved to 96 Beacon Street in Boston where they raised their children, Oliver, Thomas, and Esther. Around 1900, the Williams met Maurice and Charles Prendergast. Esther became a friend and patron of Maurice and the two shared a studio for some time and exchanged letters. Esther Baldwin continued to work in portraiture, focusing her work on her children and relatives and did not pursue a professional career. In addition to painting, Esther Baldwin and Oliver Williams inspired a passion for music in their children.

Born in 1907, Esther Williams inherited her mother's interest in the arts. Unlike her mother, she desired a professional career as a painter. She first studied at the Museum of Fine Arts School, Boston in 1925 and later went to Paris to study under Andre Lhote. Upon returning to the United States, she moved to New York City and enrolled with the Art Students League. She married Roland Joseph McKinney, director of the Baltimore Museum of Art and the Los Angeles County Museum.

Esther Williams is known for her portraits, paintings of flowers, circus and orchestra scenes, and for her impressionistic style. She was represented by Grace Horne Gallery in the 1930s and switched to Kraushaar Galleries in 1940.

Esther Baldwin Williams died in 1964. Her daughter, Esther Williams died shortly thereafter in 1969.

Related Material:

Among the holdings of the Archives of American Art are the papers of Esther William's husband Roland Joseph McKinney.

Provenance:

The Esther Baldwin Williams and Esther Williams papers were donated in two installments by Peter McKinney, step-son of Esther Williams in 1974 and by Nadia Williams, Esther Baldwin William's daughter-in-law in 1985.

Restrictions:

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

Rights:

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

Occupation:

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

Painters -- Massachusetts -- Boston  Search this

Topic:

Expatriate painters -- France -- Paris  Search this

Painting -- Technique  Search this

Art -- Study and teaching -- France -- Paris  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Photographs

Diaries

Sketchbooks

Sketches

Citation:

Esther Baldwin Williams and Esther Williams papers, 1887-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.willesth

See more items in:

Esther Baldwin Williams and Esther Williams papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-willesth

Creator:

Perry, Lilla Cabot  Search this

Names:

Berenson, Bernard, 1865-1959  Search this

Davis, Charles H. (Charles Harold), 1856-1933  Search this

James, Henry, 1843-1916  Search this

Lowell, James Russell, 1819-1891  Search this

Monet, Claude, 1840-1926  Search this

Perry, Margaret  Search this

Perry, Thomas Sergeant, 1845-1928  Search this

Robinson, Edwin Arlington, 1869-1935  Search this

Tarbell, Edmund Charles, 1862-1938  Search this

Extent:

4 Microfilm reels

4 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

1861-[ca. 1943]

1861-[ca. 1943]

Scope and Contents:

Biographical documents; correspondence; diaries; writings; photographs; and printed material. Included are letters to and from Lilla Cabot Perry, and selected letters to and from her husband Thomas Sergeant Perry and daughter Margaret Perry from family members, artists, writers, poets and friends. Correspondents include: Bernard Berenson, Henry James, James Russell Lowell, Claude Monet, Edwin Arlington Robinson, and Edmund Charles Tarbell. Also included are French identification cards for Lilla Cabot Perry and her husband, 1897; diaries of Lilla Cabot Perry, 1874?/1875, 1886, and of Thomas Perry, 1887-1894; guest book of Thomas and Margaret Perry; poems, and "Reminiscences of Claude Monet" by Lilla Cabot Perry; typed commentary by Edwin Arlington Robinson for the jacket of Perry's THE JAR OF DREAMS, with notes by her; "Reminiscences of Edwin Arlington Robinson" by Margaret Perry; inscribed photographs of Henry James and James Russell Lowell, and a signed photograph of Claude Monet; an obituary of Perry; and a Memorial Exhibition catalog.

Biographical / Historical:

Impressionist painter and author; Boston, Mass., Giverny, France, and Hancock, N.H.; b. 1848; d. 1933. Thomas Sergeant Perry, author, educator; Boston, Mass., Giverny, France, and Hancock, N.H. Lilla Cabot Perry studied painting at Cowles Art School in Boston with Dennis Miller Bunker and Robert Vonnoh, and in Paris at the Julian and Colarossi academies, and at Alfred Stevens' studio. She had a house in Giverny, France and introduced numerous American artists, who came to Giverny to paint, to her neighbor, Claude Monet. She wrote several books of poetry including FROM THE GARDEN OF HELLAS, THE HEART OF THE WEED and THE JAR OF DREAMS. In 1874, she married Thomas Sergeant Perry, a tutor in French and German at Harvard University and later an instructor in English. He was also the author of several books. The Perrys had three daughters, Margaret, Alice, and Edith. Alice married Joseph Clark Grew, a diplomat who was United States ambassador to Turkey and Japan, and undersecretary of state.

Provenance:

Lent for microfilming 1992 by Colby College Library, Special Collections.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Painters -- Massachusetts -- Boston  Search this

Painters -- New Hampshire -- Hancock  Search this

Painters -- France -- Giverny  Search this

Painters -- France -- Giverny  Search this

Painters -- Massachusetts -- Boston  Search this

Painters -- New Hampshire -- Hancock  Search this

Topic:

Painting, Modern -- 20th century -- United States  Search this

Impressionism (Art)  Search this

Women artists  Search this

Women painters  Search this

Identifier:

AAA.perrlill

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-perrlill

Creator:

Sawyer, Helen  Search this

Farnsworth, Jerry, 1895-1982  Search this

Names:

Kantor, MacKinlay, 1904-  Search this

Nathan, Robert, 1894-  Search this

Sawyer, Kathleen  Search this

Sawyer, Wells, 1863-1960  Search this

Extent:

4.6 Linear feet

4.5 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Date:

1918-1995

Scope and Contents:

Correspondence, writings, photographs, art works, exhibition catalogs and clippings.

Correspondence includes letters from Mr. and Mrs. E.B. White and John Dos Passos. Material on Helen includes photographs of installations of her work and of her, reproductions of her work, clippings, exhibition material, part of a journal kept in France (published by Scribner's) and a handwritten copy of part of the same journal. Material on Jerry includes photographs of his work and of him, clippings, a scrapbook of letters and clippings, exhibition material, and proofs and original drawings by him for a book.

ADDITION: Biographical and genealogical information; correspondence between Helen and Jerry; numerous letters from Wells Sawyer and some from Helen's mother, Kathleen; letters from colleagues and friends, including MacKinlay Kantor, 1960; exhibition announcements and catalogs; price lists for Helen's work and bills for her supplies; notes and a poem from Jerry to Helen; draft of a speech by Helen; impressions of her by a graphologist; booklet of poems by Robert Nathan inscribed to the Farnsworths; photographs of Helen and Jerry and of the Farnsworth Art School in Florida; and clippings.

ADDITION II: Helen's journals and copies of those at George Arents Library, Syracuse University, and other mss. and publications by Helen; letters to Helen from her brother, Bailey Middlebrooks Sawyer; childhood journals; juvenilia; early work; sketches and drawings; exhibition material; greeting cards; clippings; photographs of work; joint exhibition material and Farnsworth School of Art material for Jerry and Helen; and a batik cloth.

Biographical / Historical:

Artists and writers; North Truro, Mass. and Sarasota, Fla. Helen, born 1898 in Washington, D.C., was the daughter of painter Wells Sawyer, and used the name Helen Sawyer as her professional name. [She died Dec. 10, 1999 at the age of 102 in Sarasota, Fla.]

Provenance:

Donated 1972-1993 by Jerry and Helen Sawyer Farnsworth. Wells Sawyer papers received with the collection have been removed and described separately. An additional 4 ft. of papers, including ca. 2.5 ft. of Wells Sawyer papers were donated in 1996 by Helen; the Wells Sawyer related material in this donation has yet to be separated.

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 -- Massachusetts  Search this

Topic:

Painting, American -- Massachusetts  Search this

Women artists  Search this

Women painters  Search this

Identifier:

AAA.sawyhele

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-sawyhele

Interviewee:

Warthen, Ferol Sibley, 1890-1986  Search this

Interviewer:

Brown, Robert F.  Search this

Extent:

2 Items (sound files, digital, wav file)

35 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1981 September 3

Scope and Contents:

An interview of Ferol Sibley Warthen conducted 1981 September 3, by Robert F. Brown, for the Archives of American Art.

Warthen discusses her childhood in Columbus, Ohio; attending the Columbus Art School; studying with Alice Schille and John E. Hussey; moving to New York City in 1910 to study at the Art Students League with Kenneth Hayes Miller and William Merritt Chase; moving back to Columbus to attend university to become a teacher; teaching art and design to high school students in Columbus; moving back to New York City to work in embroidery in a millinery shop; marrying Lee Roland Warthen in 1925 and becoming a housewife while painting in her spare time; moving to Washington, DC in 1935; her landscape and watercolor paintings; influences on her work such as Blanche Lazzell, Karl Knaths, and Fukwara Jin Basuke; making her woodblock and white line prints.

Biographical / Historical:

Ferol Sibley Warthen (1890-1986) was a printmaker and painter from Provincetown, Massachusetts.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 40 min.

Provenance:

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

Restrictions:

The transcript and recording are open for research. Contact Reference Services for more information.

Topic:

Art, American  Search this

Printmakers -- Massachusetts -- Provincetown -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.warthe81

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-warthe81

Interviewee:

Thurman, Sue M., 1927-2012  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Cranbrook Academy of Art  Search this

Institute of Contemporary Art (Boston, Mass.)  Search this

Isaac Delgado Museum of Art  Search this

Rickey, George  Search this

Extent:

5 Items (sound cassettes, analog.)

162 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1993 April 23-1998 March 11

Scope and Contents:

An interview with Sue M. Thurman conducted 1993 April 23-1998 March 11, by Robert F. Brown for the Archives of American Art over 7 sessions, in Thurman's home, Brookline, Massachusetts.

Thurman discusses her childhood in Hopkinsville, Kentucky, a major tobacco center; her father's work in retail sales; her early schooling; and the impact on her of the Methodist church, attending Bethel Women's College, and World War II.

Study of studio art and art history at the University of Kentucky; the influence of teachers Ray Barnhart, Cliff Amyx, and Ted Rannells; founding an art deptartment at Wilmington College (a small Quaker college near Cinncinatti, Ohio); marriage to artist Harold Thurman; moving to NYC in 1951 to study art history at Columbia on an American Council of Learned Societies' scholarship; study of communal tribal arts, in particular the transfer of motifs from one medium to another in the Congo, under Paul Wingert, with consultation from Meyer Schapiro, and research in several anthropological collections in NYC; teaching of design at the Barnard School for Boys in the Bronx; returning to Kentucky to direct the Junior Art Gallery at the Louisville Free Public Library and developing it into a program which stressed display of original art and borrowing items from New York dealers; going to New Orleans in 1957 to direct the Isaac Delgado Museum of Art (now the New Orleans Museum of Art) at the urging of sculptor and museum trustee George Rickey, whom Thurman had met when he installed a sculpture in the Louisville library.

The near chaotic situation she faced at the Isaac Delgado Museum of Art due to its understaffing and the involvement of various factions - politicians, socialites and artists; help from George Rickey; enhancing the museum's local presence and stature through an exhibition, "Early Masters of Modern Art" (1959); getting the building renovated and obtaining a professional curator to assist her.

Leaving New Orleans, in 1961, after sucessfully competing for the directorship of the Institute of Contemporary Art, Boston (at the urging of former director Thomas Messer); finding the ICA to be in serious financial trouble; holding a Potlatch event, in which artists contributed work for purchase, which put ICA on stable financial footing and enabled it to move into new quarters in the shopping district; Thurman's cyclical exhibition program from 1963-1967 which featured contemporary artists, regional work, topical issues relating to design, and international shows. She recalls the response to the Edward Kienholz installations in 1966, and an Andy Warhol exhibition which was marred by vandalism by his entourage and led to ICA's eviction from its leased quarters.

Thurman continues her discussion of her tenure at ICA, including exhibitions focusing on themes and various media; its no-collecting policy; display of art from New England museums and from art collected by the federal government for embassies; her belief that art should be allowed to speak for itself through careful installations and absence of intrusive labels; and exhibitions of unconventional media and of contemporary design. She describes her work undertaken for the Ford Foundation, in 1969, to study the effectiveness of its financial support of art schools.

Thurman discusses the ICA's board of trustees, mentioning Charles Withers as someone she felt was an exemplary trustee and her views to exclude art collectors as trustees. She discusses her membership on MIT's Committee for the Arts; her appointment, as a result of her Ford Foundation work, as vice-president for development at the Cranbrook Academy of Art, for a 3-year term (1970-1973), and the difficulties there of imposing changes and raising funds.

Caring for her terminally-ill mother, 1973-1975; returning to Boston and beginning a new career as a general fund raiser; directing a quilt museum in Lowell, Massachusetts; and her beliefs that what sustained her through the years was altruism, acute powers of observation, and determination.

Biographical / Historical:

Sue M. Thurman (1927-2012) was an art administrator in Louisville, Kentucky, New Orleans, Louisiana, and Boston, Massachusetts. Thurman received a M.A. at Bethel Women's College, University of Kentucky, 1950 and in art and archeology from Columbia University in 1953. She taught at Wilmington College, Ohio, 1950-1951, and held directorships at the Junior Art Gallery, Louisville Free Public Library, Kentucky. (1954-1957), the Isaac Delgado Museum of Art, New Orleans, La. (1957-1961), the Institute of Contemporary Art, Boston (1961-1968) and the New England Quilt Museum (1991-1992). She was Vice-President for Development at Cranbrook Academy of Art (1970-1973) and has served as consultant and director to various development and fundraising initiatives.

General:

Originally recorded on 5 sound cassettes. Reformatted in 2010 as 14 digital wav files. Duration is 7 hr., 57 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.

Topic:

Arts administrators -- Massachusetts -- Interviews  Search this

Museum directors -- Massachusetts -- Boston -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.thurma93

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-thurma93

Interviewee:

Childs, Charles  Search this

Childs, Charles  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Arms, John Taylor  Search this

Chamberlain, Samuel  Search this

Karolik, Maxim  Search this

Wales, George Canning  Search this

Goodspeed's Book Shop (Boston, Mass.)  Search this

Institute of Contemporary Art (Boston, Mass.)  Search this

Type:

Sound recordings

Interviews

Topic:

Art -- Collectors and collecting -- Massachusetts -- Boston -- Interviews  Search this

Art dealers -- Massachusetts -- Boston -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12906

(DSI-AAA_SIRISBib)212039

AAA_collcode_childs72

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212039

Interviewee:

Merritt, Francis Sumner, 1913-2000  Search this

Merritt, Francis Sumner, 1913-2000  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Cranbrook Academy of Art  Search this

Flint Institute of Arts  Search this

Haystack Mountain School of Crafts  Search this

Type:

Sound recordings

Interviews

Topic:

Designers -- Maine -- Interviews  Search this

Educators -- Maine -- Interviews  Search this

Depressions -- 1929  Search this

Theme:

Architecture & Design  Search this

Record number:

(DSI-AAA_CollID)12260

(DSI-AAA_SIRISBib)212064

AAA_collcode_merrit79

Theme:

Architecture & Design

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212064

Interviewee:

Kupferman, Lawrence Edward, 1909-1982  Search this

Kupferman, Lawrence Edward, 1909-1982  Search this

Interviewer:

Swift, Geoffrey  Search this

Subject:

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Topic:

Art, American  Search this

Painting, Modern -- 20th century -- History -- Massachusetts -- Boston  Search this

Federal aid to the arts  Search this

Printmakers -- Massachusetts -- Boston -- Interviews  Search this

Theme:

New Deal  Search this

Record number:

(DSI-AAA_CollID)12332

(DSI-AAA_SIRISBib)212863

AAA_collcode_kupfer65

Theme:

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212863

Interviewee:

Kupferman, Lawrence Edward, 1909-1982  Search this

Kupferman, Lawrence Edward, 1909-1982  Search this

Interviewer:

Brown, Robert F  Search this

Type:

Sound recordings

Interviews

Topic:

Art, American  Search this

Painting, Modern -- 20th century -- History -- Massachusetts -- Boston  Search this

Printmakers -- Massachusetts -- Boston -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12450

(DSI-AAA_SIRISBib)212864

AAA_collcode_kupfer71

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212864

Creator:

Browne, Margaret Fitzhugh, 1884-1972  Search this

Browne, Margaret Fitzhugh, 1884-1972  Search this

Topic:

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of American Artists  Search this

Audio - Visual  Search this

Record number:

(DSI-AAA_CollID)6848

(DSI-AAA_SIRISBib)208975

AAA_collcode_browmarg

Theme:

Women

Lives of American Artists

Audio - Visual

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208975

Interviewee:

Somerson, Rosanne, 1954-  Search this

Interviewer:

Michie, Thomas S.  Search this

Creator:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Names:

Haystack Mountain School of Crafts  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Peters Valley (Craft center)  Search this

Rhode Island School of Design -- Faculty  Search this

Rhode Island School of Design -- Students  Search this

Richard Kagan Gallery  Search this

Snyderman Gallery  Search this

Abramson, Ron  Search this

Callahan, Harry M.  Search this

Capanigro, Paul  Search this

Cooke, Ned  Search this

Dunnigan, John, 1950-  Search this

Fairbanks, Jonathan L.  Search this

Follen, Eck  Search this

Frid, Tage  Search this

Jackson, Dan  Search this

Joseph, Peter T. (Peter Thomas), 1950-1998  Search this

Kagan, Richard  Search this

Keck, Hardu  Search this

Kranov, James  Search this

Maruyama, Wendy, 1952-  Search this

Mattia, Alphonse  Search this

Melanson, Gracie  Search this

Osgood, Jere, 1936-  Search this

Sfirri, Mark  Search this

Siskind, Aaron  Search this

Swanson, Charlie  Search this

Szasz, Merlin  Search this

White, Leroy  Search this

Wolf, Hans  Search this

Extent:

61 Pages (Transcripts)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2006 August 7 and 2007 June 22

Scope and Contents:

An interview of Rosanne Somerson conducted 2006 August 7-2007 June 22, by Thomas Michie, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Rhode Island School of Design, in Providence, Rhode Island. In part one of this interview, Somerson speaks of growing up outside of Philadelphia, Pennsylvania; attending RISD beginning in 1971; being asked to teach there nine years later; creating a new department of furniture design; tailoring that furniture design program to encompass the development from design to manufacture; introducing materials other than wood into the program; garnering international attention through worldwide exhibits; her first show at the Richard Kagan Gallery in Philadelphia; participating in a group show in New York City for female woodworkers; making connections through the Snyderman Gallery and Pritam and Eames Gallery; working directly with clients on commissioned pieces; the financial stability of teaching; designing a piece for the headquarters of Khon, Peterson Fox, and Conway in New York; the sculptural elements present in many of her works; moving from a small studio in Boston, Massachusetts, to a larger studio in Westport, Connecticut, and finally to a shared studio in Fall River, Massachusetts; the supportive and proud reaction of her children to her work; creating a production company with colleagues and designing furniture for the RISD dormitories; attempting to make these designs both flexible and environmentally-friendly; putting aside teaching for an administrative position in the department; recent travel to Japan, Australia, England, Israel, and France; enrolling in summer programs with art schools like Haystack Mountain School of Craft in Maine and others; and excitement for her upcoming sabbatical.

In the second portion of the interview, she discusses living in a house built by her father in Wyncote, Pennsylvania; enjoying the location of the house on a former cherry orchard and consequently being drawn cherry wood as a medium; the feeling of her parents that anything could be accomplished with a certain amount of study; her mother's interest in weaving and spinning later in life; the creative pursuits of her older brothers, including creative writing and photography; verbally communicating the outside world to her blind grandfather and gaining an aptitude for interpreting visual imagery; being more academically than artistically focused in her youth; visiting art museums and having other cultural experiences with her family; being fascinated with photography by seeing her brother's work; deciding to put off college in order to spend a year in Denmark studying photography; enrolling in RISD and feeling overwhelmed at first by her inexperience; taking a winter course in wood-working and preferring it to photography; being advised by her teacher Tage Frid to gain a wood-working education by pursuing sculpture at RISD; transferring into industrial design later; learning a great deal from and being extraordinarily influenced by Tage Frid as a furniture designer and teacher; taking a semester off to attend Peters Valley Craftsmen in New Jersey; spending a few years after graduation assisting Frid with the writing and publication of his articles; working as an assistant editor for Fine Woodworking magazine; being offered a job at RISD in the furniture department; creating the furniture design program; using RISD's collection as inspiration for her work and as a teaching tool; moving towards using more local woods in her designs; her recent lecture and travel in China; and looking forward to focusing on her work in the new studio.

Somerson recalls John Dunnigan, Dick Kagan, Ned Cooke, Jonathan Fairbanks, Wendy Maruyama, James Krenov, Dan Jackson, Jere Osgood, Alphonse Mattia, Peter Joseph, Ron Abramson, Charlie Swanson, Eck Follen, Peter Walker, and others. In the second part, Somerson recalls Merlin Szasz, LeRoy White, Hardu Keck, Gracia Melanson, Harry Callahan, Aaron Siskind, Paul Crot, Paul Capanigro, Tage Frid, Hans Wolfe, Mark Sfirri, and others.

Biographical / Historical:

Rosanne Somerson (1954- ) is a professor of furniture design and furniture designer and maker in Westport, Massachusetts. Thomas Michie is a curator of decorative arts, Los Angeles County Museum of Art, Los Angeles, California.

General:

Originally recorded on 5 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 3 hr., 3 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:

Furniture designers -- Rhode Island  Search this

Topic:

Decorative arts  Search this

Educators -- Rhode Island -- Interviews  Search this

Furniture design -- Study and teaching  Search this

Photography  Search this

Women artists  Search this

Function:

Artists' studios

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.somers06

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-somers06

Interviewee:

Saltonstall, Elizabeth, 1900-1990  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Boston Society of Independent Artists  Search this

Institute of Contemporary Art (Boston, Mass.)  Search this

Institute of Modern Art (Boston, Mass.)  Search this

Milton Academy (Milton, Mass.) -- Faculty  Search this

Museum of Fine Arts, Boston. School  Search this

Windsor School (Boston, Mass.) -- Faculty  Search this

Windsor School (Boston, Mass.) -- Students  Search this

Benson, Frank Weston, 1862-1951  Search this

Bosley, Frederick A., 1881-1942  Search this

Chase, Frank Swift, 1886-1958  Search this

Clark, Henry Hunt  Search this

Cross, Anson K., 1862-1944  Search this

Hale, Philip Leslie, 1865-1931  Search this

James, Alexander, 1890-1946  Search this

Miller, George Charles, b. 1894  Search this

Presser, Josef, 1909-1967  Search this

Saltonstall, Nathaniel, 1903-1968  Search this

Thompson, Leslie P.  Search this

Wengenroth, Stow, 1906-1978  Search this

Extent:

34 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

1981 November 18

Scope and Contents:

An interview of Elizabeth Saltonstall conducted 1981 November 18, by Robert F. Brown, for the Archives of American Art.

Saltonstall discusses her experiences with art as a child in Boston (mentioning Frank Weston Benson as an influence) and her subsequent art education at the Winsor School, the art school of the Museum of Fine Arts, Boston, and independent study in Paris. She remembers the various teaching styles of the Museum School faculty (Frederick A. Bosley, Henry Hunt Clark, Anson K. Cross, Philip Leslie Hale, Alexander James, and Leslie P. Thompson), especially as they contrasted with French teaching methods. She also speaks of her teachers in France and on Martha's Vineyard and Nantucket (including Frank Swift Chase), and recalls some of her co-students (including Josef Presser). Particular mention is made of a lithography workshop taught by Stow Wengenroth, and of George C. Miller, who printed her lithography stones. Her cousin, Nathaniel Saltonstall, is discussed as a patron of the arts, especially his contributions to the establishment of the Institute of Modern Art [Institute of Contemporary Art] in Boston. She touches also on her own teaching career at Winsor School and Milton Academy, and her involvement with the Boston Society of Independent Artists and the Grace Horn Gallery.

Biographical / Historical:

Elizabeth Saltonstall (1900-1990) was a painter, printmaker, and instructor of Chestnut Hill, Mass.

General:

Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 25 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:

Art teachers -- Massachusetts -- Boston  Search this

Printmakers--Massachusetts--Boston  Search this

Painters -- Massachusetts -- Boston  Search this

Art patrons -- Massachusetts -- Boston  Search this

Topic:

Art -- Study and teaching -- France -- Paris  Search this

Art -- Study and teaching -- Massachusetts  Search this

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.salton81

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-salton81

Interviewee:

Pierson, William H. (William Harvey), 1911-2008  Search this

Interviewer:

Brown, Robert F.  Search this

Extent:

8 Items (sound files, digital, wav file)

128 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1981 Mar. 11-1982 Jan. 14

Scope and Contents:

An interview with William H. Pierson conducted 1981 Mar. 11-1982 Jan. 14, by Robert F. Brown, for the Archives of American Art.

Pierson speaks of his education at Yale Art School; becoming a drawing instructor at Yale; his graduate work at New York University; his World War II naval service in radar research; his doctoral studies at Yale on New England industrial architecture; teaching studio art and art history at William College, Williamstown, Mass.

Biographical / Historical:

William H. Pierson (1911-2008) was an art historian and educator from Williamstown, Mass.

General:

Originally recorded on 4 sound tape reels. Reformatted in 2010 as 8 digital wav files. Duration is 7 hr., 39 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.

Occupation:

Art teachers -- Massachusetts -- Interviews  Search this

Art historians -- Massachusetts -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.pierso81

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-pierso81

Interviewee:

Kupferman, Lawrence Edward, 1909-1982  Search this

Interviewer:

Swift, Geoffrey  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

New Deal and the Arts Oral History Project  Search this

Extent:

32 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1965 Nov. 12

Scope and Contents:

An interview of Lawrence Kupferman conducted 1965 Nov. 12, by Geoffrey Swift, for the Archives of American Art.

Biographical / Historical:

Lawrence Kupferman (1909-1982) was a painter and printmaker from Newton Centre, Mass. Born in Boston. Studied at the Boston Museum of Fine Arts School.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 1 min.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Occupation:

Painters -- Massachusetts -- Boston -- Interviews  Search this

Topic:

Art, American  Search this

Painting, Modern -- 20th century -- History -- Massachusetts -- Boston  Search this

Federal aid to the arts  Search this

Printmakers -- Massachusetts -- Boston -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kupfer65

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-kupfer65