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Josef Presser and Agnes Hart papers

Creator:
Presser, Josef, 1906-1967  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Artists Equity Association  Search this
Central Cown Art Center  Search this
Dalton School (New York, N.Y.)  Search this
New York University -- Faculty  Search this
Parnassus Square  Search this
Port of New York Authority  Search this
Prospect Hill School (New Haven, Conn.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Ames, Elizabeth  Search this
Blanch, Lucile, 1895-1981  Search this
Fraser, Vera  Search this
Hart, Agnes, 1912-1979  Search this
Hopkinson, Charles, 1869-1962  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Smedley, Agnes, 1892-1950  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
4.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Postcards
Sketchbooks
Photographs
Date:
1913-1980
Summary:
The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
Scope and Content Note:
The papers of New York painters and teachers Josef Presser and Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as partners, artists, and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

The collection is divided into two series. Series 1 consists primarily of Presser's papers from 1913 to his death in 1967, and Hart's correspondence dating from 1967 to 1977 regarding the management of his estate. Biographical material includes an address book, curriculum vitae, family history, and personal identification records. Presser's personal correspondence is with family and friends, including the artists Charles Hopkinson and Vera Fraser. Business related correspondence is with various collectors, galleries, museums, art associations, and art schools. There is also correspondence related to Presser's law suit against the New York Port Authority, and Presser and Hart's real estate purchases in Hurley and Woodstock, New York. Hart's correspondence concerns Presser's estate and artwork after his death, including letters related to the organization of Presser's memorial exhibition in 1968.

Writings by Presser include essay fragments, 4 notebooks, and numerous note fragments. His teaching files include memoranda, syllabi, and class assignments from his tenure at New York University from 1947 to 1952. There are also memoranda from the New York School of Visual Arts and the Prospect Hill School. Personal business records include bank registers, artwork sales records, and receipts from his residency in Paris in the 1960s.

Printed material consists of bulletins, clippings, and exhibition announcements and catalogs related to Presser's career. There are also draft and final versions of Presser's memorial exhibition catalog, and a copy of the 1951 conference Artist and the Museum sponsored by the Artists Equity Association and the Woodstock Artists Association.

Artwork consists of loose sketches, artwork on postcards and printed material, and 9 sketchbooks dating from the 1950s to 1960s. Photographic material includes photographs of Presser with friends and family, and photographs of his studio and artwork. There are also 4 photographs of the artist Abraham Walkowitz dating from the 1940s.

Agnes Hart's papers documenting her own career are arranged in Series 2 and date from 1930 to 1980. Biographical materials include two engagement calendars, curriculum vitae, consignment lists, and critiques. Her correspondence with family and friends includes letters from artist Lucile Blanch, journalist Agnes Smedley, and Yaddo director Elizabeth Ames. Business correspondence is with galleries, collectors, art associations, and art schools.

Teaching files include employment contracts, class catalogs, newsletters, and photographs from Hart's tenure at the Art Students League (1965-1975), and class catalogs and memoranda from Dalton Schools and Parnassus Square. Printed material includes bulletins, clippings, and exhibition announcements and catalogs related to Hart's career. There are also draft and final versions of the 1956 Yasuo Kuniyoshi memorial exhibition catalog. Additional photographic material consists of a photograph of the Central Cown Art Center, a gallery Hart managed in 1937.
Arrangement:
The collection is arranged as 2 series:

Missing Title

Series 1: Josef Presser, 1913-1977 (3 linear feet; Boxes 1-3, Box 5)

Series 2: Agnes Hart, 1930-1980 (1.3 linear feet; Boxes 3-4)
Biographical Note:
Josef Presser (1909-1967) lived and worked primarily in New York City as a painter, educator, and lecturer.

Presser was born in Lublin, Poland and immigrated with his family to Boston, Massachusetts in 1913. He showed an early affinity for art and, at the age of 12, was accepted to the Boston Museum School of Fine Arts on a four year scholarship. After completing his education, he spent several years traveling in Europe and visited the major museums of France, Italy, and Belgium before returning to America in 1931. Upon his return, Presser opened his first solo New York show at the Montross Gallery in 1931, moved to Philadelphia, painted murals as part of the Works Progress Administration program, and began receiving private commissions. By the mid-1930s, Presser was exhibiting regularly in solo shows in Philadelphia and had began accepting teaching positions. While lecturing at Iowa State University, Presser met his future wife and artist, Agnes Hart, who he married in 1941.

After moving to New York City in 1940, Presser continued to exhibit in New York galleries throughout the 1940s and 1950s, and eventually accepted teaching positions at New York University, Queens College, Cooper Union, and the Brooklyn Museum Art School, among others. Though he was familiar with the work of the abstract expressionists, Presser is known primarily for his figurative paintings featuring women, children, clowns, and horses, with the latter two subjects inspired by circuses he had traveled with in Europe. In 1940, Presser and Hart purchased studio space in Woodstock, New York where they exhibited as members of the Woodstock Artists Association. Presser's solo shows include exhibitions at Contemporary Arts Gallery, Associated American Artists Galleries, and the Vera Lazuk Gallery.

In 1965, Presser went on an extended trip abroad to Paris, and continued working until his death in 1967.

Agnes Hart (1912-1979) was born in Meridan, Connecticut and studied art at the Ringling Museum of Art in Sarasota, Florida and at Iowa State University. Hart was a prolific painter and printmaker of abstract forms and urban landscapes. In 1948 and 1949, she received fellowships as a guest painter at the Yaddo Foundation and exhibited her first solo show in New York City at the RoKo Gallery in 1948. She continued to exhibit regularly at New York City galleries into the 1970s, and also accepted several teaching positions, including a ten year tenure with the Art Students League of New York. She continued to paint and teach until her death in 1979.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-1) including original clippings and exhibition announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The papers of Josef Presser were lent for microfilming by Agnes Hart in 1968. Excluding certain printed material, Hart later donated the bulk of these papers and additional Presser materials in 1977 and 1979. Hart donated her papers in 1978. Frances Hitchcock, Hart's sister, gave additional material in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sketches
Postcards
Sketchbooks
Photographs
Citation:
Josef Presser and Agnes Hart papers, 1913-1980, bulk 1940-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.presjose
See more items in:
Josef Presser and Agnes Hart papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98563d5b1-b5d0-43ff-b465-95c8d2bab0d3
EDAN-URL:
ead_collection:sova-aaa-presjose
Online Media:

Wood and Adelaide Lawson Gaylor papers

Creator:
Gaylor, Wood, 1883-1957  Search this
Gaylor, Adelaide Lawson, 1889-1986  Search this
Names:
Artists Coordination Committee (New York, N.Y.)  Search this
Downtown Gallery (New York, N.Y.)  Search this
Frost, A. B. (Arthur Burdett), 1851-1928  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
circa 1849-1986
Summary:
The papers of painters Samuel Wood and Adelaide Lawson Gaylor measure 2.6 linear feet and date from circa 1849-1986. They illustrate the couple's careers and lives through biographical materials, correspondence, writings, subject files, printed and photographic material, and artwork.
Scope and Contents:
The Wood and Adelaide Lawson Gaylor papers measure 2.6 linear feet and date from circa 1849-1986. Biographical material consists of items related to Wood, Adelaide, and their daughter Isabel (Dale) including death certificates, birth certificates, and resumes. Also included are various art sales records. Correspondence is to and from the Gaylor's regarding personal and professional matters. Writings include journals, notebooks, and various autobiographical accounts about Wood's life and career, as well as writings about the Gaylor's and miscellaneous topics by others. Subject files consist of materials relating to the artistic careers of Wood Gaylor and Adelaide Lawson, to Gaylor's work as a fashion pattern designer, and, more broadly, to the New York art scene starting in 1930. Printed material includes exhibition announcements and catalogs, publications, news clippings, and picture postcards. Photographic material consists of photographs of Wood and Adelaide, their family and friends, and artworks. Artwork includes multiple sketchbooks and sketches by Wood, Adelaide, and their daughter Isabel (Dale).
Arrangement:
This collection consists of seven series.

Series 1: Biographical Material, circa 1890-1979 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1866-1986 (.23 Linear feet: Box 1)

Series 3: Writings, circa 1909-1979 (.7 Linear feet: Box 1)

Series 4: Subject Files, circa 1877-1976 (.5 Linear feet: Box 2)

Series 5: Printed Material, circa 1910-1984 (.5 Linear feet: Box 2, OV 4)

Series 6: Photographic Material, circa 1849-1970 (.4 Linear feet: Boxes 2-3, OV 5)

Series 7: Artwork, circa 1916-1940 (.2 Linear feet: Box 3)
Biographical / Historical:
Samuel Wood Gaylor (1883-1957) and Adelaide Lawson Gaylor (1889-1986) were husband and wife artists who worked primarily in New York.

Samuel Wood Gaylor was a painter and lithographer known for his colorful paintings and colored wood carvings. Wood Gaylor was born in Stamford, Connecticut and moved frequently throughout his childhood. When he turned sixteen, he left school to begin work creating sewing patterns at Butterick's. Wood continued to work in the sewing pattern industry where he advanced from designer to assistant manager for the Home Pattern Company, and finally to head of the Manhattan based locations of the New York Pattern Company.

In 1909, he married his first wife Ruth E. M. Lorick, with whom he had one daughter Ruth Wood Gaylor, and began his art training at the National Academy of Design. He continued in 1912 by taking instruction from Walt Kuhn at the New York School of Art in Fort Lee, New Jersey. In 1926, Wood married his second wife Adelaide Lawson, with whom he had two sons Wynn Lawson and Randall, and one daughter Isabel (Dale) Gaylor who died in 1955.

During his career Wood created artwork in several styles including the impressionist, abstract, and muralistic styles. He had works exhibited in the Armory Show, was a part of the Cooperative Mural Workshop for a short time, and had multiple solo exhibitions. In 1917, Wood joined the Penguin Club with Walt Kuhn and others. This club aimed to provide support for artists who rejected the conservative aesthetics of the National Academy. He exhibited at the Armory Show, the Penguin Club, and the Downtown Gallery and participated in many art organizations including the Kit-Kat Club, Modern Artists of America, American Society of Painters, and Sculptors and Engravers. He served on the board for the Salons of America, the Hamilton Easter Field Art Foundation, the New York City Municipal Art Committee, and the Museum of Art, Ogunquit, Maine.

Wood Gaylor died in 1957 at the age of seventy-three in Glenwood Landing, New York.

Adelaide Lawson Gaylor was a painter known for her modernist oil paintings of figures and landscapes. Adelaide Lawson was born in New York to her parents Simeon Levy and Belle Hart Lawson. She completed her artistic training at the Art Students League of New York under Kenneth Hayes Miller and also studied under Hamilton Easter Field at his Ogunquit School of Painting and Sculpture in Ogunquit, Maine.

Lawson's first public exhibition was at the MacDowell Club in 1916. In 1922, she contributed a painting to a group exhibition held at a segregated high school art studio in Washington D.C. organized and run by black artists. Lawson was a supporter of Black rights and because of her participation in this event her name can be found listed among other black artists. Other exhibitions and shows Lawson participated in were with the Whitney Studio Club, Society of Independent Artists, and the New York Society of Women Artists. She also joined and became a director of the Salons of America founded by Hamilton Easter Field. In 1925, Lawson had her first solo exhibition at Gallery 134.

Adelaide Lawson Gaylor died in 1986 at the age of 97 in Long Island, New York.
Provenance:
The Wood and Adelaide Lawson Gaylor papers were donated in several installments from 1958 to 2015. In 1958 material found on reel D9 was donated by T. J. McCormick. Material on reel D160 was donated in 1964 by Adelaide Lawson Gaylor and the remainder of the material was donated in 1986 by the Gaylors' sons, Wynn L. and Randall Gaylor. Sixteen items, mostly cards and letters to Gaylor were donated in 2008 by Christine Oaklander in honor of Dr. William Innes Homer, Art Historian and Professor Emeritus at the University of Delaware. Oaklander purchased the letters from Wynn Gaylor. An additional twenty-one documents, mostly cards and letters to Gaylor, were donated in 2015 by Wynn Gaylor.
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.
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:
Lithographers -- New York (State)  Search this
Painters -- New York (State)  Search this
Sculptors -- New York (State)  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Modernism (Art)  Search this
Women artists  Search this
Artist couples  Search this
Genre/Form:
Sketchbooks
Citation:
Wood and Adelaide Lawson Gaylor papers, circa 1849-1986, Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gaylwood
See more items in:
Wood and Adelaide Lawson Gaylor papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw997c2632d-47a8-4d87-bbfe-fcd16920015f
EDAN-URL:
ead_collection:sova-aaa-gaylwood

Philip Evergood papers, 1890-1971

Creator:
Evergood, Philip, 1901-1973  Search this
Subject:
Kent, Rockwell  Search this
Kleinholz, Frank  Search this
Kroll, Leon  Search this
Kuniyoshi, Yasuo  Search this
Miró, Joan  Search this
Smith, Charles Edward  Search this
Type:
Watercolors
Sound recordings
Transcripts
Scrapbooks
Sketches
Oil paintings
Photographs
Interviews
Citation:
Philip Evergood papers, 1890-1971. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- New York (State) -- New York  Search this
Artists -- Political activity  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8865
(DSI-AAA_SIRISBib)211050
AAA_collcode_everphil
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211050
Online Media:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
10 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
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  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 4
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  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 8
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 9
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 10
Online Media:

Group portrait at an Art Students League dinner

Photographer:
Milius, Tom  Search this
Subject:
Barnet, Will  Search this
Bishop, Isabel  Search this
Bouché, Louis  Search this
Browne, Byron  Search this
Dickinson, Edwin Walter  Search this
Hale, Robert Beverly  Search this
Hovannes, John  Search this
Kuniyoshi, Yasuo  Search this
Levi, Julian E. (Julian Edwin)  Search this
Marsh, Reginald  Search this
Miller, Kenneth Hayes  Search this
Type:
Photographs
Date:
ca. 1950
Citation:
Tom Milius. Group portrait at an Art Students League dinner, ca. 1950. Julian E. Levi papers, 1846-1981. Archives of American Art, Smithsonian Institution.
Topic:
Artists in groups  Search this
Record number:
(DSI-AAA)3454
See more items in:
Julian E. Levi papers, 1846-1981
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_3454
Online Media:

Art Student League Dinner

Photographer:
Milius, Tom  Search this
Subject:
Bouché, Louis  Search this
Dickinson, Edwin Walter  Search this
Olinsky, Ivan G. (Ivan Gregorewitch)  Search this
Pach, Walter  Search this
Type:
Photographs
Date:
ca. 1930
Citation:
Tom Milius. Art Student League Dinner, ca. 1930. Julian E. Levi papers, 1846-1981. Archives of American Art, Smithsonian Institution.
Topic:
Artists in groups  Search this
Record number:
(DSI-AAA)5298
See more items in:
Julian E. Levi papers, 1846-1981
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_5298
Online Media:

Oral history interview with Philip Evergood, 1968 Dec. 3

Interviewee:
Evergood, Philip, 1901-1973  Search this
Interviewer:
Selvig, Forrest  Search this
Subject:
Baron, Herman  Search this
Hirshhorn, Joseph H.  Search this
Luks, George Benjamin  Search this
Tonks, Henry  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Philip Evergood, 1968 Dec. 3. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- New York (State) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12410
(DSI-AAA_SIRISBib)212048
AAA_collcode_evergo68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212048
Online Media:

Oral history interview with Louis Bouché, 1959 August 7

Interviewee:
Bouché, Louis, 1896-1969  Search this
Interviewer:
Morse, John D., 1906-  Search this
Subject:
DuMond, Frank Vincent  Search this
Romanowsky, Dimitri  Search this
Penguin Club (New York, N.Y.)  Search this
Wanamaker Gallery of Modern Decorative Art  Search this
Armory Show (1913: New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Louis Bouché, 1959 August 7. Archives of American Art, Smithsonian Institution.
Topic:
Abstract expressionism  Search this
Sculptors -- United States -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Muralists -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11613
(DSI-AAA_SIRISBib)212250
AAA_collcode_bouche59
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212250
Online Media:

Manso, Leo - Art Students League of New York

Collection Creator:
Richard Florsheim Art Fund  Search this
Container:
Box 8, Folder 21
Type:
Archival materials
Date:
1955-1992
Collection 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.
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 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:
Richard Florsheim Art Fund records, 1934-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Richard Florsheim Art Fund records
Richard Florsheim Art Fund records / Series 1: Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d3be1526-cece-4fc9-a67a-395887af8804
EDAN-URL:
ead_component:sova-aaa-richfloa-ref242

Art Students League Exhibition - Provincetown Art Association and Museum

Collection Creator:
Richard Florsheim Art Fund  Search this
Container:
Box 1, Folder 21
Type:
Archival materials
Date:
1993
Collection 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.
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 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:
Richard Florsheim Art Fund records, 1934-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Richard Florsheim Art Fund records
Richard Florsheim Art Fund records / Series 1: Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4742be4-2b9d-49f8-948b-223853a3c9e0
EDAN-URL:
ead_component:sova-aaa-richfloa-ref38

Lucile Blanch papers

Creator:
Blanch, Lucile, 1895-1981  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Date:
circa 1898-1963
Summary:
The papers of painter Lucile Blanch (1895-1981) measure 0.5 linear feet and date from circa 1898 to 1963. The scattered papers comment on Blanch's relationships with her husband Arnold Blanch, her sister Beatrice Lundquist, and fellow artists. Found are biographical material, correspondence, a diary fragment by Beatrice Lundquist, and photographs.
Scope and Contents:
The papers of painter Lucile Blanch (1895-1981) measure 0.5 linear feet and date from circa 1898 to 1963. The scattered papers comment on Blanch's relationships with her husband Arnold Blanch, her sister Beatrice Lundquist, and fellow artists. Found are biographical material, correspondence, a diary fragment by Beatrice Lundquist, and photographs.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Minnesota and New York etcher and painter Lucile Blanch (1895-1981) helped to establish the Woodstock Art Colony in Woodstock, New York.

Born Lucile Lundquist in rural northern Minnesota, she studied at the Minneapolis School of Art where she met her future husband, Arnold Blanch. They moved to New York City where Lucile studied at the Art Students League. Lundquist was awarded a Guggenheim Fellowship in the mid-1930s and participated in the Works Progress Administration's Federal Art Project, creating several murals for public buildings, before teaching art classes.

Lucile Blanch died in Georgia in 1981 and is buried in Woodstock, New York.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1003 including a sketchbook; 46 drawings, prints and reproductions of Blanch's work; illustrations from W. H. Hudson's Green Mansions; 3 scrapbooks containing clippings, reproductions of her work, exhibition material, photographs, and letters; and miscellaneous printed material. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Materials on reel 1033 were lent for microfilming in 1975 by Lucile Blanch and the correspondence on frames 297-410 was subsequently donated in 1976 by Blanch. Additional correspondence, photographs and a sketch were donated in 2021 and 2023 by Nancy Lundquist, a relative of Lucile Blanch.
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.
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) -- Woodstock  Search this
Etchers -- New York (State) -- Woodstock  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Scrapbooks  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
Lucile Blanch papers, circa 1898-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blanluci
See more items in:
Lucile Blanch papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw910b6a556-fde0-47e5-8c65-3356dc867960
EDAN-URL:
ead_collection:sova-aaa-blanluci

Oral history interview with Louis Bouché

Interviewee:
Bouché, Louis, 1896-1969  Search this
Interviewer:
Morse, John D., 1906-  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Wanamaker Gallery of Modern Decorative Art  Search this
DuMond, Frank Vincent, 1865-1951  Search this
Romanowsky, Dimitri  Search this
Extent:
23 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1959 August 7
Scope and Contents:
An interview of Louis Bouché conducted on 1959 August 7, by John D. Morse, for the Archives of American Art.
Bouché speaks of his art education in France; painting trips to Brittany; studying at the Art Students League with Dimitri Romanovsky and Frank Vincent DuMond; the Armory Show, 1913; managing a gallery at Wanamaker's (the Wanamaker Gallery of Modern Decorative Art) in the 1920s; his technique and materials; teaching; the Penguin Club; his taste in books and music; and abstract expressionism.
Biographical / Historical:
Louis Bouché (1896-1969) was a painter and teacher in New York, New York.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav file. Duration is 53 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art students -- France  Search this
Topic:
Abstract expressionism  Search this
Sculptors -- United States -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Muralists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bouche59
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ebfa0e74-a7cd-45c8-862d-5e23c48e3a35
EDAN-URL:
ead_collection:sova-aaa-bouche59
Online Media:

Oral history interview with Leroy Davis and Cecily Langdale

Interviewee:
Davis, Leroy  Search this
Langdale, Cecily  Search this
Interviewer:
Berman, Avis  Search this
Names:
Barnes Foundation -- Students  Search this
Hirschl & Adler Galleries  Search this
Tyler School of Art -- Students  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Bly, Boris  Search this
Bouché, Louis, 1896-1969  Search this
Davis, Terry Ritter  Search this
De Mazia, Violette, 1899-  Search this
Levine, David, 1926-2009  Search this
Penn, Arthur, 1922-  Search this
Shikler, Aaron, 1922-  Search this
Extent:
119 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2007 June 26-August 7
Scope and Contents:
An interview of Leroy Davis and Cecily Langdale conducted 2007 June 26-August 7, by Avis Berman, for the Archives of American Art, in New York, New York.
Davis speaks of losing his parents at a young age; attending music school in Philadelphia; studying at Tyler School of Fine Arts and the Barnes Foundation; usage of the word "art" in terms of music and painting; being drafted into the Air Force during World War II; opening a gallery in New York City; working as a framer on the side; working on the White House Fine Arts Commission; selling English watercolors. Langdale speaks of focusing on history, literature, and art history in college; working on shows at Hirschl & Adler gallery; opening a gallery with Davis; writing a book on monotypes. Davis also recalls Aaron Shikler, Boris Bly, Arthur Penn, Violette de Mazia, Albert C. Barnes, Louis Bouché, Terry Ritter Davis, David Levine, Herman Gundersheimer, Arthur Penn, Minnie Cushing, Paul Mellon, Jackie Kennedy, Jock Whitney, and others. Langdale also recalls Robert Walker, Richard Cowdery, Meredith Long, Seymour Remenick, Dr. Thomas Conroy, and others.
Biographical / Historical:
Leroy Davis (1922- ) is an art dealer from New York, New York. Cecily Langdale is an art dealer from New York, New York and Avis Berman is a writer and art historian from New York, New York.
General:
Originally recorded on 1 sound cassette, 3 sound discs, and 3 data compact discs. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 50 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.davis07
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995c26909-9f3c-463b-b2c7-6950120ad525
EDAN-URL:
ead_collection:sova-aaa-davis07
Online Media:

Peppino Mangravite papers

Creator:
Mangravite, Peppino, 1896-  Search this
Names:
Dudensing Galleries  Search this
Frank K. M. Rehn Galleries  Search this
Braque, Georges, 1882-1963  Search this
Chagall, Marc, 1887-1985  Search this
De Chirico, Giorgio, 1888-  Search this
Marini, Marino, 1901-  Search this
Moore, Henry, 1898-1986  Search this
Morandi, Giorgio, 1890-1964  Search this
Rouault, Georges, 1871-1958  Search this
Sutherland, Graham Vivian, 1903-  Search this
Tamayo, Rufino, 1899-1991  Search this
Extent:
6.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Date:
1918-1982
Summary:
The Peppino Mangravite papers measure 6.2 linear feet and are dated 1918-1982. They consist of correspondence, subject files, recorded interviews with significant artists and transcripts, writings and notes, miscellaneous records, printed matter, and photographs documenting Mangravite's career as a painter and educator.
Scope and Content Note:
The Peppino Mangravite papers measure 6.2 linear feet and are dated 1918-1982. They consist of correspondence, subject files, interviews with artists, writings and notes, miscellaneous records, printed matter, and photographs documenting Mangravite's career as a painter and educator.

Series 1: Correspondence includes chronological correspondence documenting Mangravite's career as a painter and educator. Correspondence is with employers, dealers, museums, galleries, collectors, clients, arts and educational organizations, publishers, and other artists. Much of the correspondence is between Mangravite and his dealers, the Dudensing Gallery and the Rehn Galleries, and with other galleries and museums where his paintings were exhibited. Mangravite's mural commissions are also discussed. Additional events documented include Mangravite's two Guggenheim Fellowships and his trip to Europe in 1955 to interview famous artists.

Mangravite's long teaching career is also documented in correspondence with Columbia University, Sarah Lawrence College, Avon School, Fieldston School of the Ethical Culture Schools, Potomac School, Dana Hall School, and the Colorado Springs Fine Art Center. Other topics covered in the correspondence concern Mangravite's published or proposed writings, particularly articles and books reviews, most notably for the Saturday Review of Literature and American Magazine of Art. Mangravite's membership activities in a variety of artists' organizations, such as the College Art Association, the American Society of Painters, Sculptors and Gravers; the American Artists' Congress, and the American Federation of Arts is well-represented in the correspondence.

A list of major correspondents can be found in the series description for Series 1: Correspondence.

Series 3: Interviews with Artists includes audio recordings, transcripts, photographs, notes and reports. During the summer of 1955, Mangravite traveled to England, France, and Italy where he conducted interviews with eight artists - Georges Braque, Marc Chagall, Giorgio De Chirico, Marino Marini, Henry Moore, Giorgio Morandi, Georges Rouault, and Graham Southerland - recording their ideas about art, life, and education. In 1972, Mangravite recorded an interview with Rufino Tamayo in Mexico City, and the two artists were photographed together on that occasion.

Series 4: Writings, Notes, and Lectures consists of articles, papers, talks, lectures, miscellaneous writings, and notes by Mangravite, and a small number of items by other writers. Series 5: Miscellaneous Records includes art work by Mangravite and others, audiovisual records, biographical information, and financial records. Among the printed matter in Series 6 are articles, exhibition announcements, invitations, catalogs, and miscellaneous printed items by and about Mangravite, art-related topics, and other subjects. In Series 7: Photographs, photos of people include Mangravite, students, and other artists. Photos of works of art are of murals and paintings by Mangravite and sculpture by Edgar Britton.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Correspondence, 1918-1977 (Boxes 1-2; 1.75 linear ft.; Reels 5878-5880)

Series 2: Subject Files, 1940-1960 (Box 2; 0.25 linear ft.; Reel 5880-5881)

Series 3: Interviews with Artists, 1955, 1972 (Boxes 3, 8; 0.65 linear ft.; Reel 5881)

Series 4: Writings, Notes and Lectures, 1928-1965 (Box 3; 0.35 linear ft.; Reel 5881)

Series 5: Miscellaneous Records, 1926-1974 (Boxes 4, 8, FC9; 10 folders; Reel 5881)

Series 6: Printed Matter, 1918-1982 (Boxes 4-6; 2.65 linear ft.; Reels 5881-5882)

Series 7: Photographs, circa 1926-circa 1970 (Boxes 7-8; 0.4 linear ft.; Reel 5882)
Biographical Note:
In 1914, at the age of eighteen, Peppino Gino Mangravite (1896-1978) settled in New York City with his father. The young man had already completed six years of study at the Scuole Techiniche Belle Arti in his native Italy, where coursework included the study of anatomy and Renaissance fresco techniques. Upon arrival in New York, he enrolled at Cooper Union, and by 1917 was studying under Robert Henri at the Art Students League.

Mangravite began his teaching career - one that lasted half a century - as assistant to Hans Peter Hansen at the Hansen School of Fine Arts in New York during the academic year 1918/19. He was an involved and committed teacher who worked equally well with young children and college students. For several summers in the 1920s, he ran summer art camps in the Adirondacks for children and adults. From 1926-1928 Mangravite lived in Washington D.C., where he taught at the Potomac School. The majority of his life was spent in New York where he served on the faculties of Sarah Lawrence College, Cooper Union, the Art Students League, and, most notably, Columbia University. In addition, he spent 1937-38 as head of the art department of Colorado Springs Fine Arts Center, and from 1940-1942 taught at the Art Institute of Chicago. Mangravite was active in professional arts and education organizations. He wrote a number of articles about art education and served as chairman of the College Art Association's Committee for the Study of the Practice of Art Courses, 1943-1944.

In addition to teaching studio courses, Mangravite was a working artist. Represented by Dudensing Gallery, and later Rehn Galleries, he exhibited widely throughout the United States, and, occasionally, abroad. He won a number of awards, including a gold medal for mural painting at the Philadelphia Sesquicentennial Exhibition, 1926; the American Gold Medal Purchase Prize, Golden Gate Exposition, San Francisco, 1939; Alice McFadden Eyre Medal for best print, Pennsylvania Academy of the Fine Arts, 1946; and a silver medal for mosaic design, Architectural League of New York, 1955. Mangravite was awarded Guggenheim Fellowships in 1932 and 1935, and during that same period was commissioned by the U.S. Treasury Department to paint murals for post offices in Hempstead, N.Y. and Atlantic City, N.J. Other commissions of note include a mural for the Governor's Mansion in the Virgin Islands, and a mosaic mural for the main altar of the Workers' Chapel, St. Anthony's Shrine, Boston, Mass.

Sponsored by Columbia University and with the assistance of the United States Information Agency, Mangravite met with art department heads of several European universities in 1955 to discuss Columbia University's plans for a new arts center. He also interviewed eight artists - Georges Braque, Marc Chagall, Giorgio De Chirico, Marino Marini, Henry Moore, Giorgio Morandi, Georges Rouault, and Graham Southerland -recording their ideas about art, life, and education.

Peppino Mangravite died in 1978.
Provenance:
Most of the collection was donated by Peppino Mangravite in 1977. Additional papers were donated in 2003 by his daughter Denise Mangravite Scheinberg that include records documenting Mangravite's 1955 interviews with European artists, a sound recording and photographs of his meeting with Rufino Tamayo in 1972, a motion picture film of Mangravite's painting class at the Potomac School, and a small number of printed items.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Works of art  Search this
Art -- Economic aspects  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Interviews
Citation:
Peppino Mangravite papers, 1918-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mangpepp
See more items in:
Peppino Mangravite papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw909f49d94-cbdd-4f88-8a7f-99c10e1d5c94
EDAN-URL:
ead_collection:sova-aaa-mangpepp
Online Media:

Betty Esman papers

Creator:
Esman, Betty, 1904-1996  Search this
Names:
Johnson, Ray, 1927-1995  Search this
Lipchitz, Jacques, 1891-1973  Search this
Tamayo, Rufino, 1899-1991  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1936-1979
Summary:
The scattered papers of painter and collector Betty Esman measure 0.9 linear feet and date from 1936 to 1979. Found are artworks, artist files, biographical material, correspondence, photographs of Esman and others, printed material, and a mixed media scrapbook. Of note are files on Ray Johnson which include mail art addressed to and collected by Esman.
Scope and Contents:
The scattered papers of painter and art collector Betty Esman measure 0.9 linear feet and date from 1936 to 1979. Found are artworks, artist files, biographical material, correspondence, photographs of Esman and others, printed material, and a mixed media scrapbook. Of note are files on Ray Johnson which include mail art addressed to and collected by Esman.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Betty Esman (1904-1996) was a painter, collector, and art patron in New York City, New York. Esman studied at the Syracuse University College of Fine Arts and the Art Students League. In the 1950s, Esman taught painting at Ball State College. She maintained personal and professional relationships with artists Ray Johnson, Rufino Tamayo, Jacques Lipchitz and others.
Provenance:
Betty Esman donated her papers to the Archives of American Art in several installments between 1986 to 1994.
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.
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 patrons -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Collectors -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Mail art  Search this
Jewish artists  Search this
Women artists  Search this
Women painters  Search this
Scrapbooks  Search this
Citation:
Betty Esman papers, 1936-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.esmabett
See more items in:
Betty Esman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99e04ce48-5e10-48d1-9442-2ee2305cbcaf
EDAN-URL:
ead_collection:sova-aaa-esmabett

Correspondence

Collection Creator:
Goldwater, Robert John, 1907-1973  Search this
Extent:
0.5 Linear feet (Box 1)
Type:
Archival materials
Date:
1934-1973
Scope and Contents note:
Goldwater's correspondence is with academic colleagues, art museums, arts organizations, publishers, and former students. There is also scattered correspondence with artists and with family. Subjects include: requests to write book reviews and employment references, and to critique others' writings and provide research advice; Magazine of Art and Museum of Primitive Art business; awards and memberships; details about publishing texts by Goldwater and others; and congratulatory letters, comments, and questions about his writings. A small number of letters include comments about the personal lives of the correspondents, usually routine news of family and friends; a few letters are of a purely social nature. There are three letters addressed to Louise Bourgeois: two from Erick Hawkins and one from Ronnie Elliott.

Also found here are condolence letters received upon the deaths of Goldwater's mother and father in 1942 and 1958 respectively, and a small number of letters from his parents. Family letters include a few addressed to Clara A. Goldwater (Mrs. S. S. Goldwater).

Small amounts of additional correspondence can be found in Series 2: Subject Files and Series 3: Teaching Records.

See Appendix for a list of correspondents from Series 1.
Appendix: Correspondents from Series 1:
What follows is a complete list of correspondents (and the years of correspondence) in this series.

Abramson, Jerry, 1969

Albright Art Gallery, 1947, 1954-1955

Allen Memorial Art Museum, Oberlin College, 1953

Allen, Harold, 1953

Allert de Lange Verlag, 1952-1954

American Association of University Professors, 1946

American Council of Learned Societies, 1967-1968

American Federation of Arts, 1953

American Studies Association of Metropolitan New York, 1955

Anderson, Wayne V., 1964

Andiron Club of New York City, 1945-1946

Argent Galleries, 1947

Arnason, H. Harvard, 1948

Arnheim, Rudolf, 1945

Art Bulletin, 1940-1945, 1955

Art Forum, 1967

Art Gallery of Ontario, 1970

Art Gallery of Toronto, 1972

Art In America, 1941-1947, 1955

Art Institute of Chicago, 1940

Art News, 1946-1947

Art Students League of New York, 1940, 1943

Arts Magazine, 1964, 1967

Atlantic Transports, 1952

Auchincloss, James C., 1953

Authors Guild, 1947

Baltimore Museum of Art, 1946, 1954

Baltrusaitis, Mr., 1952, 1973

Barnard College, 1954

Barr, Alfred H., Jr., 1938-1939, 1949, 1951-1952

Becker, Marion R., 1945, 1949

Bellew, Peter, 1951

Bennington College, 1950

Benz, Helen, 1946

Bernheimer, Richard, 1955

Bernier, Rosamond, 1955

Besson, Mr., 1946

Black Mountain College, 1948

Board of Higher Education, City of New York, , 1944

Booth, Cameron, 1942

Boston Art Festival, 1954

British Council, 1951

British Museum, 1934

Brooklyn College, 1946

Brown University, 1964, 1968

Burlington Magazine, 1954

Busa, Peter, 1946

California Arts and Architecture, 1944

California School of Fine Arts, 1949

California State College, 1969

Carnegie Corporation, 1942-1943

Carnegie Institute of Technology, 1942

Chanticleer Press, Inc., 1955

Chapman, Ed, 1946

Choate, Mabel, 1946

Church, Howard, 1947

Cincinnati Modern Art Society, 1946-1946

Cleveland Institute of Art, 1952

Cleveland Museum of Art, 1952-1953

Colorado College, 1952

Columbia University Press, 1948

Columbia University, 1940, 1953-1955, 1962, 1965

Comité des Arts du Congres pour la Liberté de la Culture, 1964

Cook, Walter W. S., 1942-1943, 1945-1946, 1949-1950, 1955

Criterion Books, Inc., 1955

Critique, 1946

Crosby, Sumner McK., 1942

Dartmouth College, 1942

Davis, Stuart, 1943, 1945

Dersky, Morris, 1966

Dictionary of the Arts, 1941

Direction Départmentale de la Population de la Giornde, 1948

Dodd, Mead & Company, 1945

Duke University, 1946-1948, 1950

Edman, Irwin, 1942

Elliott, Ronnie, 1950*

Elsen, Al, 1969

Engel, Eugene W., 1946-1947

Exhibition Momentum, 1953, 1956

Falkenstein, Claire, 1951

Farwell, Beatrice, 1968-1969

Federation of Modern Painters and Sculptors, Inc., 1946, 1950

Fitzsimmon, Jim, 1953

Florida State University, 1953

Fogg Art Museum, Harvard University, 1945-1947, 1949, 1954, 1956, 1971

Ford Foundation, 1969

Fox, Milton, 1958

[Frankenthaler?], Helen, 1950-1951

Frederick A. Praeger, Inc., 1969

Frick Collection, 1941

Fried, Richard N., 1950

Friedensohn, Elias, 1956

Fund for the Republic, Inc., 1956

G. P. Putnam's Sons, 1956

Gallatin, A. E., 1944

Goldwater, Barry, 1966

Goodrich, Lloyd, 1945

Goucher College, 1967

Greene, Balcomb, 1942, 1947, 1951-1953

Guggenheim Foundation, 1945-1946, 1953-1955

Hallmark Art Award, 1949

Hammacher, Mr., 1952

Harcourt, Brace and Company, Inc., 1945

Harcourt, Brace and Company, Inc., 1952

Harper and Brothers Publishers, 1939-1942

Harry N. Abrams Incorporated, 1953, 1955, 1957

Harvard University, 1949-1951, 1968

Hawkins, Erick, 1950*

Herbert, Robert L., 1954

Hollins College, 1950

Hope, Henry R., 1943-1944, 1947, 1955

Horizon, 1949

Hunter College, 1967

Hunter, Sam, 1955

Indiana University, 1966

Ingram Merrill Foundation, 1966-1967

Institute for Advanced Study, 1964, 1966

Institute for Sex Research, Inc, Indiana University, 1966

Institute of Contemporary Arts, 1951

Institute of Design, 1947

Institute of Fine Arts Alumni Association, 1954

Institute of Fine Arts, 1969

Institute of International Education, 1953-1955

Intercultural Publications, Inc., 1953

International Ladies' Garment Workers' Union, 1954

Janson, H. W., 1952-1954

Johns Hopkins Press, 1966-1967

Joslin, Andrew, 1972

Kamer, Henri A., 1964

Karl, Aline, 1953

Kenyon Review, 1945-1947, 1954

Kerns Foundation, Theosophical Society in America, 1968

Keyserling, Leon H., 1948

Kimball, Fiske, 1945, 1949

Knowles, Edwin B., Jr., 1945

Koch, Bob, 1954

Komroff, Manuel, 1944, 1946

[Krautheimer], Richard, 1944

Ladies' Garment Workers' Union, 1944

Lee, Rensselaer W., 1942, 1944

Levy, Adele R., 1956

Levy, Julien, 1944

Leylan, Robert M., 1941

Library of Congress, 1944-1947, 1952-1953

Loran, Erle, 1941

Loshak, David, 1946

Lougee and Company, 1952

M. I. T. Press, 1967

MacAgy, Douglas, 1948

Magazine of Art, 1944-1945, 1948, 1950-1951

Massachusetts Institute of Technology, 1967

Masson, Rose, 1944

Mayhew, Edgar deN., 1944

McGraw, Patricia, 1953

McGraw-Hill Book Company, Inc., 1950, 1965

Mellquist, Jerome, 1951

Metropolitan Museum of Art, 1940, 1954

Miller, Peter, 1944

Mitchell, Eleanor, 1945

Moffett, Charles, 1969

Museum of Modern Art, 1942, 1946-1947, 1949, 1953, 1955, 1969

Museum Purchase Fund, 1952

National Arts Club, 1946

Nelson, Kathleen L., 1945

New School Associates, 1953

New School for Social Research, 1949

New School, 1953, 1955

New York Times, 1946

New York University, 1934, 1937-1941, 1945, 1947, 1954, 1956-1959, 1963, 1966, 1970

New York University Press, 1970

Newark Museum, 1944

Okun, Henry, 1967-1968

Old Dominion Foundation, 1969

Ozenfant, [Amédée], 1949

Pantheon Books, Inc., 1944-1946, 1953-1954

Partisan Review, 1946, 1961-1962

Perry, William, 1941

Perspectives U.S.A., 1952

Phillips, Duncan, 1952

Photo Berard, 1951

Pietrantoni, M. L., 1955

Plass, Margo, 1962

Porter, James A., 1942

Prendergast, Charles, 1945

Prentice-Hall, Inc., 1950

Princeton University, 1943, 1949

Princeton University Press, 1947-1949, 1954-1955, 1959

Prior, Harris, 1946

Quadrum, 1956

Queens College, 1938-1957, 1972, undated

Rand School of Social Science, 1945

Random House, 1964

[Rattner], Abe, 1945

Redon, Ari, 1951

Rewald, John, 1941-1942, 1946

Rhode Island School of Design Museum of Art, 1946

Rice Institute, 1954

Rice, Philip, 1952

Richter, H., 1952, 1954

Rijksmuseum Kröller-Müller-Otterlo, 1957

Robb, David M., 1946-1947

Robinson, Cortland A., 1945

Rockefeller Foundation, 1946, 1951, 1954, 1956

Rockefeller, Nelson A., 1957-1958, 1965

Roditi, Edouard, 1951

Rodman, Selden, 1946

Rose Art Museum, Brandeis University, 1967-1968

Ruksmuseum voor Volkenkunde, 1952

Sachs, Mrs. H. F., 1941

Samuel Kress Foundation, 1968

San Francisco Museum of Art, 1953

Sandström, Sven, 1954

Sarah Lawrence College, 1949-1950

Saturday Review, 1951, 1954

Schaefer-Sinnevenm 1945

Scheeffner, Denise Pauline, 1964

Schmalenbach, Fritz, 1951-1952, 1954

Seeman, Hugh, 1953

Seligman, Germain, 1947

Seuphor, Michel, 1951-1953, 1955

[Schapiro?], Meyer, 1941, 1943, 1952, 1960

Sihara, Laxmi P., 1968

Sloane, Joe, 1941

Smyth, Craig Hugh, 1952-1954, 1956

Soby, James Thrall, 1946-1947, 1950, 1955-1956

Société des Africanistes, 1936

Sokol, David M., 1969

Solomon, Alan, undated

State University of New York, Buffalo, 1969

State University of New York, Stony Brook, 1969

Stix, Hugh, 1952

Stokowski, Gloria (Mrs. Leopold), 1952

Sweeney, James Johnson, 1953, 1956

Sypher, Wylie, 1954

Time, 1945

Times Book Club, 1945

Tobé-Coburn School for Fashion Careers, 1947, 1950

[Trilling], Lionel, 1945-1946

Twin Editions, 1944

United States Educational Commission for France, 1951

United States Information Agency, 1959

University Club of Jamaica, New York, 1941

University of Birmingham, 1969

University of Birmingham, 1970

University of California, 1968-1969

University of California, Berkeley, 1948

University of Connecticut, 1950

University of Guelph, 1970-1971

University of Illinois, 1967

University of Iowa, 1968-1969

University of Massachusetts, 1966-1967, 1972

University of New Mexico, 1967

University of North Carolina, 1953

University of Texas, 1947

University of Washington Press, 1967

Valentin, Curt, 1953

Venturi, [illegible], 1941

Viking Press, Inc., 1944, 1968

Virginia Museum of Fine Arts, 1953

Visson, Assia R., 1942-1943, 1947, 1950

Vytlacil, Vaclav, 1942

Walker Art Center, 1954

Walker, Hudson D., 1948

Wardwell, Allen, II, undated

Webster J. Carson, 1945, 1955

Webster, J. Carson, 1955

Weller, Allen S., 1958

Werner-Gren Foundation for Anthropological Research, 1970

Wescher, Herta, 1956

Wesleyan University Press, 1965

Western Illinois University, 1969

Western Reserve University, 1946, 1954

Western Review, 1948

White Art Museum, Cornell University, 1954

Whitney Museum of American Art, 1948, 1954

Who's Who In America, 1952

Who's Who in the Western Hemisphere, 1943

Wiggin, Florence B., 1944

Wilber, Allen S., 1947

Wildenstein and Co., 1949

Williams College, 1969

Withers, William, 1941

Wittenborn, Shcultz, Inc., 1948

Wolff, Werner, 1945

Wurster, E. B., 1944

Yale French Studies, 1956

Yale University, 1954, 1962, 1967, 1972

[illegible], 1943, 1945-1946, 1950-1954, 1962, 1964, undated

[unknown], Alan, 1954

[unknown], Annie, 1952, 1954

[unknown], Donald, 1969

[unknown], Eddie, 1950

[unknown], Edith, 1957

[unknown], Ethel, 1955

[unknown], Fred, 1947, 1954

[unknown], Gerry, 1968

[unknown], Joe, 1953-1954

[unknown], John, 1953

[unknown], Marco, 1954

[unknown], Margaret, 1945

[unknown], Roy, 1969

[unknown], Russell, 1946

[unknown], Sarah, 1970

[unsigned], 1942

[unsigned], 1950
Collection Restrictions:
This material is ACCESS RESTRICTED; permission; written permission is required. Contact Reference Services for more information.
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:
Robert John Goldwater papers, 1902-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.goldrobe, Series 1
See more items in:
Robert John Goldwater papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fd94b039-91d9-4960-a152-b76121978eb3
EDAN-URL:
ead_component:sova-aaa-goldrobe-ref12

Harry Sternberg papers

Creator:
Sternberg, Harry, 1904-2001  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Idyllwild School and Museum for the Arts -- Faculty  Search this
Blume, Peter, 1906-1992  Search this
Evergood, Philip, 1901-1973  Search this
Kent, Rockwell, 1882-1971  Search this
Secunda, Arthur  Search this
Siqueiros, David Alfaro, 1896-1974  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Warner, Malcolm, 1953-  Search this
Wickey, Harry  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
3.4 Linear feet
0.553 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Date:
1927-2000
Summary:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.
Scope and Content Note:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.

Biographical material includes an interview of Sternberg conducted by art curator Malcolm Warner, two ledgers documenting business activities, scattered financial and legal documents, and files regarding a few of his projects, including the film "Many Worlds of Art". Sternberg's personal and professional correspondence is with friends, artists, including Harry Wickey, Rockwell Kent, Philip Evergood, and Peter Blume, collectors and curators such as Hudson Walker and Carl Zigrosser, and art organizations, universities, and galleries.

The small number of writings by Sternberg in this collection includes drafts of articles and lectures, a manuscript for a book on etching, and notes. Writings by others consists of draft writings about Sternberg, draft exhibition catalogs, and writings by the artists Arthur Secunda and David Alfaro Siqueiros. Over one-third of this collection is printed material, including exhibition catalogs and announcements, news clippings, books written by Sternberg, school publications, and material regarding art events.

Also found are photographs of Sternberg in his studio, with students, with his wife Mary, and at the Idyllwild School. Other photographs include group photographs of Art Students League faculty as well as photographs of exhibitions, murals, and artwork. The collection also contains original artwork including two sketchbooks and three loose drawings by Sternberg and one scrapbook of news clippings and exhibition materials. Audio and video materials include several interviews of Sternberg and a video copy of his film "Many Worlds of Art".
Arrangement:
The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1927-2000 (Box 1, OV 5; 0.3 linear feet)

Series 2: Correspondence, 1928-2000 (Box 1; 0.3 linear feet)

Series 3: Writings, circa 1940s-2000 (Box 1, 4; 0.2 linear feet)

Series 4: Printed Material, 1933-2000 (Box 1-3; 1.2 linear feet)

Series 5: Photographs, circa 1930s-1998 (Box 3, 4; 0.3 linear feet)

Series 6: Artwork, circa 1928-1980s (Box 3, OV 5; 0.2 linear feet)

Series 7: Audio Visual Material, circa 1980s-2000 (Box 3; 0.5 linear feet, ER01; 0.553 GB)

Series 8: Scrapbook, 1929-1958 (Box 4; 0.2 linear feet)
Biographical Note:
Harry Sternberg (1904-2001) was a New York painter, muralist, printmaker, etcher, teacher, and political activist who relocated to California in 1957.

Harry Sternberg was born in 1904 in the Lower East Side of New York City and grew up in Brooklyn. As a child he attended his school art club where he met and became lifelong friends with artists Peter Blume and Philip Reisman. He took free Saturday art classes at the Brooklyn Museum of Art for two years and attended the Art Students League part time from 1922 to 1927 where he studied with George Bridgman. In 1926 he shared a studio with Philip Reisman where they received private instruction in etching from Harry Wickey. Sternberg began exhibiting his etchings and intermittently had drawings published in New Masses, a prominent American Marxist publication. In the late 1920s he became friends with Hudson Walker who also became a major collector of his work. In 1933 Sternberg was hired as instructor of etching, lithography, and composition at the Art Students League and continued teaching there for the next 33 years. Also around this time he became politically active in artist rights organizations, serving on the planning committee to create the American Artists' Congress and later serving as an active member of the Artists Equity Association. In 1935 he became the technical advisor of the Graphic Art Division of the Federal Art Project. From 1937 to 1939 he completed three federal mural commissions. His first mural Carrying the Mail was created for the Sellersville, Pennsylvania post office in 1937. His most famous mural Chicago: Epoch of a Great City was painted for the Lakeview post office in Chicago. It depicts the history of the city and its workers, particularly life for the workers in Chicago's stockyards and steel mills.

During the 1940s Sternberg remained very active in arts organizations, as one of the founders of the National Serigraph Society and a member of the Committee on Art and Education in Society. In 1942 he published the first of five books on printing. Sternberg had his first retrospective in 1953 at ACA Galleries, and in 1957 he taught summer painting courses at the Idyllwild School of Music and the Arts in California. He continued teaching in the summers there from 1960 to 1967 and 1981 to 1989. Suffering from lung disease, Sternberg moved with his wife, Mary, to Escondido, California in 1966 in hopes that the climate would improve his health. In 1972 he was elected to the American Academy and Institute of Arts and Letters. During the 1970s and 1980s Sternberg traveled extensively throughout the US and Mexico where he found new inspiration for his artwork. He continued teaching, exhibiting, and creating new work until his death in 2001.
Related Material:
Also found in the Archives of American Art are the May Konheim papers concerning Harry Sternberg, 1934-1981, and an oral history interview of Harry Sternberg, conducted March 19, 1999, October 8, 1999, and January 7, 2000, by Sally Yard for the Archives of American Art
Provenance:
The Harry Sternberg papers were donated by Sternberg in several installments from 1967 to 2001.
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:
Painters -- California  Search this
Topic:
Printmakers -- California  Search this
Printmakers -- New York (State) -- New York  Search this
Educators -- California  Search this
Painting, American  Search this
Educators -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Citation:
Harry Sternberg papers, 1927-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterharr
See more items in:
Harry Sternberg papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw904413d6d-fce2-4bc8-9eef-9641dce75f12
EDAN-URL:
ead_collection:sova-aaa-sterharr

Emmet family papers

Creator:
Emmet family  Search this
Names:
Berkshire Museum  Search this
Danforth Museum  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Beaux, Cecilia, 1855-1942  Search this
Casals, Pablo, 1876-1973  Search this
De Glehn, Jane Erin Emmet, 1873-1961  Search this
De Glehn, Wilfrid-Gabriel, 1870-1951  Search this
Doyle, Nancy  Search this
Emmet, Julia Colt Pierson, 1829-1908  Search this
Emmet, Lydia Field, 1866-1952  Search this
Emmet, Robert, 1778-1803  Search this
Fontanne, Lynn  Search this
James, Henry, 1843-1916  Search this
La Farge, Bancel, 1865-1938  Search this
Lunt, Alfred  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Metcalfe, Susy  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Monod, Lucien  Search this
Morgan, Elizabeth Emmet, d. 1934  Search this
Ormond, Violet Sargent  Search this
Quilter, Roger, 1877-1953  Search this
Rand, Ellen Emmet, 1875-1941  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sargent, Emily, 1857-  Search this
Sargent, John Singer, 1856-1925  Search this
Sherwood, Robert E. (Robert Emmet), 1896-1955  Search this
Sherwood, Rosamond, 1899-  Search this
Sherwood, Rosina Emmet, 1854-1948  Search this
White, Stanford, 1853-1906  Search this
Extent:
9.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Date:
1792-1989
bulk 1851-1989
Summary:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts, whose artistic talents flourished during the later 19th through the mid-20th centuries. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators.
Scope and Content Note:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators, whose artistic talents flourished during the late nineteenth through the mid-twentieth centuries.

Biographical material consists of family trees and family histories; individual biographical accounts, award certificates, and documentation for Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and Wilfrid de Glehn; a diary titled "Sedgemere Diary" containing drawings and entries primarily by Rosina Emmet Sherwood, and a smaller diary which mentions Rosina's son, future playwright Robert Sherwood; a documentary by Nancy B. Doyle on two VHS videocassettes, entitled The Emmets: Portrait of a Family; and artifacts comprising a rear-view optical device and locks of hair from an early nineteenth century generation of the Emmet family.

Correspondence forms the bulk of the collection and illustrates the interaction between members of this large and influential family and their colleagues and friends, offering a wide-ranging view of life in the late nineteenth through the mid-twentieth centuries, and through two World Wars. The series consists of letters between family members, primarily Julia Colt Pierson Emmet and her daughters, as well as cousins Henry James, Ellen "Bay" Emmet Rand, and Rosamond Sherwood, and friends Cecilia Beaux, Louis Bancel LaFarge, Frederick MacMonnies, Lucien Monod, Roger Quilter, Augustus Saint-Gaudens, Emily and John Singer-Sargent, Violet Sargent Ormond, and Stanford White. Topics include experiences of the Emmets while studying art in Paris, Rosina's presentation at Queen Victoria's court, Lydia's work at the Columbia Exposition, Jane's marriage to Wilfrid de Glehn and her friendship with John Singer Sargent, portrait painting activities, the troubles of their friend Susy Metcalfe in her marriage to Pablo Casals, and the activities of Rosina's son, playwright Robert Emmet Sherwood, and friends Alfred Lund and Lynn Fontanne.

Writings and notes consist of scattered manuscripts and poems by family members, two notebooks, one identified as belonging to Jane Erin Emmet de Glehn, and typescripts about Wilfrid de Glehn following his death. Also found is a book, Out of Town, written and illustrated by Rosina Emmet Sherwood, and Edna St Vincent Millay's poem "Autum Daybreak" written in Millay's handwriting.

Exhibition files document an exhibition held at the Berkshire Museum/Danforth Museum in Pittsfield/Farmingham, Massachusetts in 1982 entitled The Emmets: A Family of Women Painters, and include two audio cassettes of recordings from the "Art for Lunch" series at the Berkshire Museum discussing the exhibition.

Business records include account books belonging to Lydia Field Emmet and Rosina Emmet Sherwood, both of which document income from artwork and other sources, and expenses; a contract for the reproduction of Lydia Field Emmet's artwork; and a document concerning ownership of property, possibly of Emmet family ancestors.

Printed Material consists of clippings, exhibition announcements and catalogs, and reproductions of artwork by Emmet family members and others.

Two scrapbooks contain a combination of drawings, primarily by Rosina Emmet Sherwood, reproductions of artwork, and photographs.

Artwork includes drawings and sketchbooks by Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn Ellen Emmet Rand, and other Emmet relatives, illustrating the early development of their talent.

Photographs are of family members, including Julia Colt Pierson Emmet and William Jenkins Emmet, their daughters Lydia Field Emmet, Jane Erin Emmet de Glehn and husband Wilfrid de Glehn, Rosina Emmet Sherwood and husband Arthur Murray Sherwood, and Robert Emmet Sherwood as a young man. Also found are photos of friends Richard Harding Davis, Frederick MacMonnies, and Augustus Saint-Gaudens; a series of photographs of the installation at Arden Galleries, New York (1936) for the exhibition Paintings, Drawings and Sculptures by Five Generations of the Emmet Family; and photographs of artwork by Emmet family members.
Arrangement:
The Emmet family papers are arranged as nine series.

Missing Title

Series 1: Biographical Material, circa 1855-1988 (0.6 linear feet; Boxes 1, 10, OV 12)

Series 2: Correspondence, 1792-1985 (6.2 linear feet; Boxes 1-7)

Series 3: Writings and Notes, circa 1870s-1981 (11 folders; Box 7)

Series 4: Exhibition Files, 1947-1983 (0.3 linear feet; Boxes 7-8)

Series 5: Business Records, circa 1799-1945 (7 folders; Box 8)

Series 6: Printed Material, 1872-1989 (0.35 linear feet; Boxes 8, 10)

Series 7: Scrapbooks, 1870-1890 (0.2 linear feet; Boxes 8, 10)

Series 8: Artwork, circa 1850-circa 1920 (0.35 linear feet; Boxes 8, 10)

Series 9: Photographs, circa 1870s-circa 1950s (1 linear foot; Boxes 8-9, 11)
Biographical Note:
The Emmet family, descended from patriot Thomas Addis Emmet, brother of Irish martyr Robert Emmet, counts many physicians, lawyers, and writers (including cousin Henry James) among its ranks. Although evidence of artistic talent existed in several previous generations, it flourished during the later 19th through the mid-20th centuries in the professional portraiture of sisters Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and their cousin Ellen "Bay" Emmet Rand.

The eldest daughter of Julia Colt Pierson Emmet (1829-1908), herself a talented illustrator who had studied under Daniel Huntington, Rosina "Posie" Emmet (1854-1948) studied under William Merritt Chase at his Tenth Street Studio in New York and under Robert-Fleury at the Academie Julian in Paris. Before her marriage to Arthur Murray Sherwood in 1887, Rosina established a studio in New York and continued to submit illustrations to various publications. During her marriage, she slowed her creative activities, until financial reverses dictated her return to her career around the turn of the 20th century. Her daughter Rosamond Sherwood (1899-1990) was also a portrait painter. Her son, Robert Emmet Sherwood (1896-1955) became a four-time Pulitzer Prize-winning playwright.

Lydia Field Emmet (1866-1952) studied under Collin, Bouguereau, MacMonnies, and Robert-Fleury at the Academie Julian. Upon her return to New York, Lydia continued her studies under Chase, Kenyon Cox, H. Siddons Mowbray, and Robert Reid at the Art Students League, as well as at Chase's Shinnecock Summer School of Art. She established her portrait studio in New York City and began spending summers at Stockbridge, Massachusetts, where she built her home, "Strawberry Hill," in 1905. Best known for her portraits of children, Lydia's subjects were members of the socially prominent families of New York, Boston, and Philadelphia.

The youngest sister, Jane Erin Emmet (1873-1961), also studied with Chase in New York, and in Paris. In 1904, she married British landscape painter Wilfrid Von Glehn, who had visited the United States with his friend John Singer Sargent. (The Von Glehns' surname was changed to De Glehn, in 1919.) Settling in London, Jane continued her painting, befriended many artists and composers, and accompanied her husband and Sargent on several art-related journeys through Europe.

The Emmet sisters' cousin, Ellen Gertrude "Bay" Emmet (1875-1941), studied in New York at the Art Students League and under Frederick MacMonnies in Paris, becoming a National Academician in 1934. She married William Blanchard Rand in 1911 and settled in Salisbury, Connecticut. After the stock market crash of 1929, Bay's portraits of prominent society figures provided most of her family's income.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4544) including one scrapbook, compiled by Rosina Emmet Sherwood, consisting of portrait sketches, drawings of her dogs, genre scenes, travel views, and photographs of travels, friends, actors, and the ship "Scythia,". Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1988-1991, the bulk of the Emmet family papers were donated by Rosamond Sherwood, daughter of Rosina Emmet Sherwood (via Katharine Emmet Bramwell of New York), by Rosamond Sherwood's estate (via F. Douglas Cochrane, executor, from Boston), and by Rosamond's nieces, Virginia Sherwood and Julia Shipway. Additionally, one scrapbook was lent for microfilming in 1990 and subsequently donated by Mrs. Earl Maize. Douglas Cochrane then loaned another scrapbook for microfilming (reel 4344) in 1991 which was returned to Mrs. Earl Maize.
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.
Occupation:
Painters -- England -- London  Search this
Topic:
Art -- Study and teaching -- France -- Paris  Search this
Works of art  Search this
Painting, American -- New York (State)  Search this
Illustrators -- New York (State)  Search this
Playwrights  Search this
Portrait painters -- New York (State) -- New York  Search this
Singers  Search this
World War, 1914-1918  Search this
World War, 1939-1945  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Citation:
Emmet family papers, 1792-1989 (bulk 1851-1989). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.emmefami
See more items in:
Emmet family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d9921791-cc0b-425c-810b-1da218cafcec
EDAN-URL:
ead_collection:sova-aaa-emmefami
Online Media:

Lilian Swann Saarinen papers

Creator:
Saarinen, Lilian Swann, 1912-1995  Search this
Names:
Cambridge Art Center  Search this
Cranbrook Academy of Art -- Faculty  Search this
G Place Gallery (Washington, D.C.)  Search this
Knoll Associates, inc.  Search this
Massachusetts Institute of Technology -- Faculty  Search this
Midtown Galleries (New York, N.Y.)  Search this
Otava Publishing Company  Search this
Reynal & Hitchcock  Search this
Armitage, Merle, 1893-1975  Search this
Crosby, Caresse, 1892-  Search this
Eames, Charles  Search this
Eames, Ray  Search this
Koch, Carl  Search this
Kreis, Henry, 1899-1963  Search this
Milles, Carl, 1875-1955  Search this
Moholy-Nagy, László, 1895-1946  Search this
Moholy-Nagy, Sibyl, 1905-  Search this
Saarinen, Eero, 1910-1961  Search this
Saarinen, Eliel, 1873-1950  Search this
Saarinen, Loja  Search this
Venturi, Robert  Search this
Weese, Harry, 1915-1998  Search this
Extent:
9 Linear feet
Type:
Collection descriptions
Archival materials
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Date:
circa 1909-1977
Summary:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Scope and Contents:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.

Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.

Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.

Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.

Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.

Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.

Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.

Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.

Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.

Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.

Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.
Arrangement:
The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)

Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)

Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)

Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)

Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)

Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)

Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)

Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)

Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)

Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)

Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)
Biographical / Historical:
Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.

At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.

Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.

Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.

Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.

Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.
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:
Sculptors -- Massachusetts -- Cambridge  Search this
Topic:
Women artists  Search this
Art -- Study and teaching  Search this
Illustrated books, Children's  Search this
Gateway Arch (Saint Louis, Mo.)  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Illustrators -- Massachusetts  Search this
Art, Municipal  Search this
Women sculptors  Search this
Women illustrators  Search this
Function:
Art commissions
Genre/Form:
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Citation:
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.saarlili
See more items in:
Lilian Swann Saarinen papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97f1e4305-3886-479a-9db7-48c98fd8d2dd
EDAN-URL:
ead_collection:sova-aaa-saarlili
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Online Media:

Barbara Latham papers

Creator:
Latham, Barbara, 1896-1989  Search this
Names:
Cook, Howard Norton, 1901-1980  Search this
Leith-Ross, Harry, b. 1886  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
circa 1900-1972
Summary:
The papers of illustrator and painter Barbara Latham date from circa 1900 to 1972 and measure 3.4 linear feet. The collection documents Latham's career through biographical material, correspondence, writings and notes, printed material, photographs, and artwork. Artwork includes sketches and original Christmas cards, six sketchbooks, pencil and pen sketches, and prints. Works by others include four oil paintings by Henry Leigh-Ross and drawings by Howard Cook.
Scope and Contents:
The papers of illustrator and painter Barbara Latham date from circa 1900 to 1972 and measure 3.4 linear feet. The collection documents Latham's career through biographical material, correspondence, writings and notes, printed material, photographs, and artwork. Artwork includes sketches and original Christmas cards, six sketchbooks, pencil and pen sketches, and prints. Works by others include four oil paintings by Henry Leigh-Ross and drawings by Howard Cook.

Biographical material is scattered and also includes sales records of Latham's prints. Correspondence is with family, friends, and colleagues. Correspondents include Howard Cook, Allen Latham, Amalia M. de Schulthess, and the Vancil Foster Christmas Cards company. Writings by Latham are short stories. Book files are for publications illustrated by Latham and may include drafts and proofs.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, 1928-1970 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1902-1972 (Box 1, 5; 0.5 linear feet)

Series 3: Writings and Notes, 1934-1965 (Box 1; 0.2 linear feet)

Series 4: Printed Material, 1925-1972 (Boxes 1-2, 6; 0.5 linear feet)

Series 5: Photographs, circa 1900-circa 1960s (Box 2; 3 folders)

Series 6: Artwork and Sketchbooks, 1907-1963 (Boxes 2-4, 6-7; 2.0 linear feet)
Biographical / Historical:
Barbara Latham (1896-1989) was an illustrator and painter active in Taos, New Mexico. She illustrated many children's books and designed Christmas cards from the 1920s to 1940s.

Barbara Latham was born in Walpole, Massachusetts to Allen and Caroline Walker Latham. Her parents were naturalists and she was influenced by the natural surroundings of the farmhouse in which she was raised. Latham received a scholarship to study art at eight years old at the Norwich Free Academy. She continued her education at Pratt Institute and the Art Students League during their regular and summer sessions.

Latham married fellow painter Howard Cook. They settled in Taos and Sante Fe, New Mexico. She painted the natural landscape of New Mexico and designed Christmas cards for the Norcross Company. She was well known for her work as a children's book illustrator and her paintings may be found in museums around the United States.

Barbara Latham died in Sante Fe, New Mexico in 1989.
Related Materials:
Barbara Latham's papers relating to her work as a children's book illustrator are located in the Kerlan Collection at the University of Minnesota, Minneapolis.
Provenance:
Barbara Latham donated her papers to the Archives of American Art in 1972-1973.
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.

Correspondence with Harriet Latham Robinson is access restricted: written permission is required.
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:
Illustrators -- New Mexico  Search this
Painters -- New Mexico  Search this
Topic:
Women painters  Search this
Women artists  Search this
Women illustrators  Search this
Genre/Form:
Sketchbooks
Citation:
Barbara Latham papers, circa 1900-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lathbarb
See more items in:
Barbara Latham papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f043b863-3b39-4ae2-9e8c-62fed0ac989b
EDAN-URL:
ead_collection:sova-aaa-lathbarb

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