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Emily and Jean Paul Selinger papers

Creator:
Selinger, Emily, 1848-1927  Search this
Selinger, Jean Paul, 1850-1909  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1882-1918
Summary:
The papers of painters Emily and Jean Paul Selinger measure 0.2 linear feet and date from 1882 to 1918. The collection provides scattered documentation of the lives and work of the Selingers through biographical materials, family correspondence, photographs, and printed material.
Scope and Contents:
The papers of painters Emily and Jean Paul Selinger measure 0.2 linear feet and date from 1882 to 1918. The collection provides scattered documentation of the lives and work of the Selingers through biographical materials, family correspondence, photographs, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Emily Harris Mcgary Selinger (1848-1927) was a painter, author, and poet in Boston, Massachusetts and New Hampshire. Emily was originally from Wilmington, North Carolina, and was instrumental in establishing the Normal Art School in Louisville, Kentucky. She was known for her still-life and floral paintings.

Emily's husband, Jean Paul Selinger (1850-1909), was a landscape and portrait painter in Boston, Massachusetts and New Hampshire. He opened a summer studio in Glen House, in the White Mountains of New Hampshire in the mid-1880s.
Provenance:
A portion of the papers was donated in 1982 by Charles and Gloria Vogel when acquired through research on White Mountain artists. Additional material was donated in 1982 by Marion C. Keaney, through her grandparents, the D. H. Remingtons, who were neighbors of Emily Selinger's mother, Mrs. McGary.
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 Hampshire  Search this
Painters -- Massachusetts -- Boston  Search this
Authors -- Massachusetts -- Boston  Search this
Authors -- New Hampshire  Search this
Landscape painters -- Massachusetts -- Boston  Search this
Landscape painters -- New Hampshire  Search this
Topic:
Women artists  Search this
Women painters  Search this
Function:
Artists' studios -- Massachusetts
Citation:
Emily and Jean Paul Selinger papers, 1882-1918. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seliemil
See more items in:
Emily and Jean Paul Selinger papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9703c0f9e-6b9f-470a-a3d0-dfb9c979beb8
EDAN-URL:
ead_collection:sova-aaa-seliemil

Bob Thompson papers

Creator:
Thompson, Bob, 1937-1966  Search this
Names:
Billiard Place  Search this
David Anerson Gallery  Search this
Donald Morris Gallery  Search this
Sluggs Jazz Club  Search this
The Billard Palace  Search this
Whitney Museum of American Art  Search this
Baraka, Amiri, 1934-2014  Search this
Beskind, Dorothy Levitt  Search this
Bridwell, Margaret  Search this
Covi, Dario A.  Search this
Crodel, Charles, 1894-1973  Search this
Cruz, Emilio, 1938-  Search this
Ginsberg, Allen, 1926-  Search this
Martin, Mary, 1913-  Search this
May, Mary Spencer  Search this
Ratcliff, Carter  Search this
Schapiro, Meyer, 1904-  Search this
Spellman, A. B., 1935-  Search this
Thompson, Bessie  Search this
Thompson, Carol  Search this
Wilke, Ulfert, 1907-1987  Search this
Wilson, Judith, 1952-  Search this
Young, Kenneth, 1933-  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Date:
1949-2005
Summary:
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.
Scope and Contents:
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.

Biographical material includes certificates, school memorabilia, biographical chronologies, a memorial program and obituaries, and a transcript of "Bob Thompson: His Life and Friendships" panel discussion with several notable artists commenting on Thompson. There is also a video recording copy of a 1965 film by Dorothy Levitt Beskind titled Bob Thompson Happening which was made to accompany a 1999 exhibition at the Whitney Museum of Art.

Carol Thompson's correspondence is with various galleries, dealers, and friends primarily concerning Bob Thompson's artwork and posthumous exhibitions. There is correspondence with art historian Judith Wilson, the artist's mother Bessie Thompson, David Anderson Gallery, and Donald Morris Gallery.

Writings by Bob Thompson include church speeches, a letter to the editor of Louisville Courier Journal, a poem, and an artist statement. There are also writings about Thompson by others, including his mother Bessie Thompson, wife Carol Thompson, and artists and friends, including Margaret Bridwell, Dario Covi, Carl Crodel, Emilio Cruz, Allen Ginsberg, LeRoi Jones, Mary H. Martin, Mary Spencer May, Carter Ratcliff, Meyer Schapiro, A. B. Spellman, Ulfert Wilke, and Ken Young. The writings by friends are mostly in the form of recollections by friends that were gathered as a memorial tribute to Thompson.

Exhibition files consist of material related to posthumous group and solo exhibitions of Bob Thompson's work.

The majority of the personal business records are posthumous and include inventories, loan and consignment forms, sales and appraisal records, and scattered correspondence.

Printed material includes exhibition catalogs, magazine and newspaper clippings about Bob Thompson, blank postcards of artwork, posters, and press releases.

There are photographs of Bob Thompson, family, and friends, including many artists, shot in various locations in New York City and Provincetown, as well as in Spain, France, and Italy. There are images of Thompson's Rivington Street studio, the Billiard Palace and the Slugs Jazz Club in New York City, exhibitions, events, street scenes, and artwork. There are four photographs albums, one of the Thompson's wedding, two of exhibitions (one is disbound), and one personal album with many photographs of friends and family, including the artist's mother Bessie Thompson and wife Carol Thompson.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1953-2003 (0.2 linear feet; Box 1)

Series 2: Carol Thompson's Correspondence, 1971-2000 (0.1 linear feet; Box 1)

Series 3: Writings, 1949-1998 (0.1 linear feet; Box 1)

Series 4: Exhibition Files, 1978-2001 (0.1 linear feet; Box 1)

Series 5: Personal Business Records, 1965-2001 (0.1 linear feet; Box 1)

Series 6: Printed Material, 1960-2005 (0.7 linear feet; Boxes 1-2, 4, OV 5)

Series 7: Photographs, 1951-2000 (0.7 linear feet; Boxes 2-4)
Biographical / Historical:
Bob Thompson (1937-1966) was an African American figurative painter who worked primarily in New York City.

Thompson was born in Louisville, Kentucky in 1937. He attended Boston University as a pre-med student, but quit the program and returned to Kentucky to attend the University of Louisville and study painting under German expressionist artist Ulfert Wilke. As a student, he spent a summer in Provincetown, Massachusetts and immersed himself in the art communities there. In 1958, Thompson moved to New York City and reunited with several artists he had met in Provincetown and participated in some of the earliest "happenings," somewhat informal art events or gatherings usually involving performance art and music, in 1960. He became a regular at the jazz clubs The Five Spot and Slugs and became friends with several jazz musicians. Many of Thompson's paintings reflect his interest in jazz. He also formed friendships with writers Allen Ginsberg and LeRoi Jones. In 1960, he had his first solo exhibition at the Delancy Street Museum.

The same year as his first solo exhibition, Thompson married Carol Plenda and the couple lived in Paris from 1961-1962 after he received a Whitney Foundation fellowship. They lived in Ibiza, Spain the following year. Thompson painted prolifically while abroad, and when he returned to New York City in 1963, he brought many paintings with him. He quickly found representation by Martha Jackson Gallery and the gallery featured Thompson's work in solo exhibitions in 1963-1965. His reputation grew and more exhibitions across the country followed.

In late 1965, Thompson and his wife traveled to Rome, Italy, where he continued to study art and paint. Thompson died in Rome in 1966 at the age of 28 from a drug overdose not long after receiving gall bladder surgery.
Provenance:
The collection was donated by Elaine Plenda, the artist's sister-in-law, in 2006, 2010, 2011, and 2012.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of video recording requires advance notice. Contact Reference Services for more information.
Rights:
"Bob Thompson Happening" (1965) video: Permission to publish, quote or reproduce requires written permission from Joanne Elkin. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Video recordings
Photographs
Citation:
Bob Thompson papers, 1949-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thombob
See more items in:
Bob Thompson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95cbba908-2706-4ba6-8bb0-58c271c29d62
EDAN-URL:
ead_collection:sova-aaa-thombob
Online Media:

Joseph Cornell Study Center Collection

Artist:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
196.8 Linear feet
186 Nitrate negatives
Type:
Collection descriptions
Archival materials
Nitrate negatives
Photographs
Place:
New York, New York
Date:
1750-1980, bulk 1930-1972
Summary:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Assemblage (Art)  Search this
Assemblage artists -- New York (State) -- New York  Search this
Found objects (Art)  Search this
Works of art  Search this
Celebrities  Search this
Filmmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs -- 1900-1950 -- Photoprints -- Silver gelatin
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Identifier:
SAAM.JCSC.1
See more items in:
Joseph Cornell Study Center Collection
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
GUID:
https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06
EDAN-URL:
ead_collection:sova-saam-jcsc-1

Katharine Lane Weems papers

Creator:
Weems, Katharine Lane, 1899-1989  Search this
Names:
Brookgreen Gardens  Search this
World's Columbian Exposition (1893 : Chicago, Ill.) -- Photographs  Search this
Cornell, Katharine, 1893-1974  Search this
Cresson, Margaret French, 1889-1973  Search this
Gildersleeve, Basil L. (Basil Lanneau), 1831-1924  Search this
Grafly, Charles, 1862-1929  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Huntington, Anna Hyatt, 1876-1973  Search this
Kroll, Leon, 1884-1974  Search this
Lane, Gardiner M., 1859-1914  Search this
Lane, Katharine Ward, 1862-1893  Search this
Manship, Paul, 1885-1966  Search this
Marans, Moissaye, 1902-1977  Search this
Monjo, Enric, 1895-1976  Search this
Putnam, Brenda, 1890-1975  Search this
Weinman, Adolph A. (Adolph Alexander), 1870-1952  Search this
Wong, Anna May, 1905-1961  Search this
Extent:
14.8 Linear feet
3 Items (rolled docs)
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Place:
Saranac Lake N.Y. -- Photographs
Date:
1865-1989
Scope and Contents:
Biographical material, extensive diaries, correspondence, notes, writings, business records, sketchbooks and drawings, project files, scrapbooks, printed materials, photographs and slides, motion picture film, and videotape relating to Weem's education and career as a sculptor. Also included are ca. 1 foot of papers of Weems' aunt, watercolorist Katharine Ward Lane (1862-1893), including letters, diaries, sketchbooks and photographs.
REEL 724: Biographical sketch, 1974; letters from Frederic Bartlett, George Demetrios, Walker Hancock, Leon Kroll, Lee Lawrie, Moissaye Marans, Adolph Alexander Weinman, and others; four sketchbooks, 1954-1965, containing pencil drawings of animals; a scrapbook of clippings, 1924-1941; and printed material.
UNMICROFILMED: Biographical material includes sketches and documents, and biographical information on Weems grandfather, Basil Lanneau Gildersleeve, and father, Gardiner Lane. Diaries (74 v.), 1906-1983, contain entries relating to art studies and her development as a sculptor; some include clippings and photographs. Correspondence, 1898-1989, includes letters from Gifford Beal, Margaret French Cresson, Charles Grafly, John Gregory, Walker Hancock, Malvina Hoffman, Anna Hyatt-Huntington, Paul Manship, Brenda Putnam, Gurdon Tarbox, and Adolph Weinman, discussing Weems' work and participation in various sculpture organizations. There are four notebooks on art history; recipes for clay and plaster; notes on patinas for bronze; lecture notes; lists of Weems' works and exhibitions; an exhibition guest book, 1931-1957; poems, 1933-1981; invoices and receipts, 1919-1981; copyright records, 1928-1978; and art work, including 15 v. of sketchbooks, 1913-1964, drawings and tracings of animal figures. and a copper printing plate mounted on a wood block.
Fourteen project files contain letters, drawings, photographs, and printed material on: an enlarging machine, the Saltus Medal for Merit, the frieze and Rhinoceros sculpture for the Biological Laboratories at Harvard, 1930-1942, including 7 reels of 16mm motion picture film (with script transferred to VHS), the Lotta Fountain, 1939-1974, Legion of Merit Medal, 1949-1952, War Department project, 1946, Goodwin Medal, 1949-1952, Wallace Goodrich Plaque, 1954, Hospital Teaching Clinic, 1955, Boston Museum of Science, 1964-1965, "Dolphins by the Sea" for the New England Aquarium, 1969-1979, Heredities Limited, 1971-1974, and the Museum School, 1977.
Included are two scrapbooks, one of clippings about the work of other artists and one containing poems, clippings of landscapes, animals, works by others, and autographed photographs of actresses Katharine Cornell and Anna May Wong and sculptor Brenda Putnam. Printed material includes clippings, 1911-1989; exhibition announcements and catalogs, 1922-1981; bulletins, programs, brochures on artists, organizations, Brookgreen Gardens, and supplies; reproductions of art works, and the books, Odds Were Against Me (1985, Weems autobiography, and Enrique Monjo (1955), inscribed by Mongo.
Photographs and slides, 1902-1988, are of Weems, family members, artists Charles Grafly, Walker Hancock, and Anna Hyatt-Huntington, Weems' house "The Chimneys," her studio, gardens, animals, works of art by Weems and others, exhibit installations, and views of New York City, Washington, D.C., Monticello, the University of Virginia, and Brookgreen Gardens. Nine albums, 1920-1980, contain photographs of an art class, Weems in her studio, her home, her friends, scenic views, and works of art. Videos and film include a videotape (5 min., U-matic) of an interview of Weems; a film, "From Clay to Bronze," showing the creation of Weems' sculpture "Dark Warrier" (transferred to VHS); motion picture film of the making of the sculpture "Rhinoceros" (transferred to digital betacam, VHS and DVD), and a home movie of a day at the beach, circa 1935.
The papers' of Weems' aunt, Katharine "Kitty" Ward Lane (d. 1893), include Lane's letters, 1898-1893, to her brother (Weems' father) and to other family members; a travel diary from Germany, 1886; notes; financial records, 1891-1892; 10 sketchbooks; printed material; and photographs, 1865-1893, of Lane, early views of Saranac Lake, and 9 views of the Columbia Exposition, 1893.
Biographical / Historical:
Sculptor; Boston, Mass. Died 1989. Specialized in animal sculpture. Studied at the School of the Museum of Fine Arts, Boston under Charles Grafly, Anna Hyatt-Huntington, George Demetrios, and Brenda Putnam. She married F. Carrington Weems in 1947. Named after her aunt, watercolor painter Katharine Ward Lane, who died in 1893.
Provenance:
Material on reel 724 lent for microfilming by Weems, 1974. The four sketchbooks on reel 724 were subsequently donated in 1989. Unmicrofilmed papers were donated 1975 and 1982 by Weems, and in 1989 by her estate. Eighteen diaries (1961-1965, 1967-1976 [1969 not included], 1978, and 1981-1983) and an apppointment book for 1966 donated by the Schlesinger Library, Radcliffe College, 1991.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Animal sculptors -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Watercolorists -- Massachusetts -- Boston  Search this
Topic:
Art -- Study and teaching -- Massachusetts -- Boston  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Animal sculpture  Search this
Genre/Form:
Sketchbooks
Video recordings
Identifier:
AAA.weemkath
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96c1a0919-a71e-4b49-9b63-7e7e27c9052f
EDAN-URL:
ead_collection:sova-aaa-weemkath

Gyorgy Kepes papers, 1909-2003, bulk 1935-1985

Creator:
Kepes, Gyorgy, 1906-2001  Search this
Subject:
Arnheim, Rudolf  Search this
Bertoia, Harry  Search this
Blee, Michael  Search this
Boghosian, Varujan  Search this
Brazdys, Konslancija  Search this
Burgess, Lowry  Search this
Burnham, Jack  Search this
Calder, Alexander  Search this
Chermayeff, Serge  Search this
Dreyfuss, Henry  Search this
Eames, Charles  Search this
Eames, Ray  Search this
Egawa, Kazuhiko  Search this
Entwhistle, Clive  Search this
Fuller, R. Buckminster (Richard Buckminster)  Search this
Gropius, Walter  Search this
Hayter, Stanley William  Search this
Hélion, Jean  Search this
Johnson, Philip  Search this
Kepes, Juliet  Search this
Kowalski, Piotry  Search this
Lynch, Kevin  Search this
McLuhan, Marshall  Search this
Mead, Margaret  Search this
Moholy-Nagy, Sibyl  Search this
Moholy-Nagy, László  Search this
Nusberg, Lev  Search this
Osborn, Robert Chesley  Search this
Piene, Otto  Search this
Read, Herbert Edward, Sir  Search this
Richards, I. A. (Ivor Armstrong)  Search this
Rickey, George  Search this
Saarinen, Eero  Search this
Sonfist, Alan  Search this
Tacha, Athena  Search this
Takis, Vassilakis  Search this
Tange, Kenzō  Search this
Thiel, Philip  Search this
Steinberg, Saul  Search this
Tovish, Harold  Search this
Tsʻai, Wen-ying  Search this
Wolff, Robert Jay  Search this
Wurster, William Wilson  Search this
Zvilna, Jēkabs  Search this
Center for Advanced Visual Studies  Search this
Illinois Institute of Technology  Search this
Massachusetts Institute of Technology  Search this
Saidenberg Gallery  Search this
Triennale di Milano (Milan, Italy)  Search this
Type:
Caricatures
Designs
Photographs
Sketchbooks
Sketches
Sound recordings
Place:
Times Square (New York, N.Y.)
Citation:
Gyorgy Kepes papers, 1909-2003, bulk 1935-1985. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Philosophy  Search this
Artists' studios--Photographs  Search this
City planning  Search this
Educators--Massachusetts--Cambridge  Search this
Motion pictures (visual works)  Search this
Theme:
Sketches & Sketchbooks  Search this
Architecture & Design  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7252
(DSI-AAA_SIRISBib)209402
AAA_collcode_kepegyor
Theme:
Sketches & Sketchbooks
Architecture & Design
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209402
Online Media:

Blanche Lazzell papers, 1893-1986, bulk 1901-1940

Creator:
Lazzell, Blanche, 1878-1956  Search this
Subject:
Gleizes, Albert  Search this
Henri, Robert  Search this
O'Connor, John  Search this
Pearson, Ralph M.  Search this
Dasburg, Andrew  Search this
Chaffee, Oliver Newberry  Search this
Type:
Sketches
Photographs
Visitors' books
Drawings
Diaries
Citation:
Blanche Lazzell papers, 1893-1986, bulk 1901-1940. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women designers  Search this
Women textile designers  Search this
Theme:
Diaries  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7873
(DSI-AAA_SIRISBib)210040
AAA_collcode_lazzblan
Theme:
Diaries
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210040
Online Media:

Robert Reid papers, circa 1880-circa 1930

Creator:
Reid, Robert, 1862-1929  Search this
Subject:
Reid, Sara Bigelow  Search this
Reid, Charles D.  Search this
Type:
Scrapbooks
Photographs
Citation:
Robert Reid papers, circa 1880-circa 1930. Archives of American Art, Smithsonian Institution.
Topic:
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8400
(DSI-AAA_SIRISBib)210574
AAA_collcode_reidrobe
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210574
Online Media:

Katharine Lane Weems papers, 1865-1989

Creator:
Weems, Katharine Ward Lane, 1899-  Search this
Subject:
Cornell, Katharine  Search this
Cresson, Margaret French  Search this
Grafly, Charles  Search this
Huntington, Anna Hyatt, 1876-1973  Search this
Manship, Paul  Search this
Monjo, Enric  Search this
Putnam, Brenda  Search this
Wong, Anna May  Search this
Gildersleeve, Basil L. (Basil Lanneau)  Search this
Lane, Gardiner M.  Search this
Hancock, Walker Kirtland  Search this
Kroll, Leon  Search this
Marans, Moissaye  Search this
Weinman, Adolph A. (Adolph Alexander)  Search this
Lane, Katharine Ward  Search this
Brookgreen Gardens  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Type:
Sketchbooks
Video recordings
Place:
Saranac Lake N.Y. -- Photographs
Citation:
Katharine Lane Weems papers, 1865-1989. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching -- Massachusetts -- Boston  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Animal sculpture  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8603
(DSI-AAA_SIRISBib)210783
AAA_collcode_weemkath
Theme:
Sketches & Sketchbooks
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210783

Stanley Woodward papers, 1875-1970, bulk 1905-1970

Creator:
Woodward, Stanley Wingate, 1890-1970  Search this
Subject:
Merrill, Gary  Search this
Nichols, Hobart  Search this
Lee, Madaline  Search this
Lupino, Ida  Search this
Hayworth, Rita  Search this
Kent, Norman  Search this
Fabri, Ralph  Search this
Grant, Gordon  Search this
Tarbell, Edmund Charles  Search this
Thieme, Anthony  Search this
Smith, Alexis  Search this
Smith, Howard (Howard Everett)  Search this
Ryder, Chauncey F.  Search this
Oakley, Thornton  Search this
Powell, Eleanor  Search this
Beal, Gifford  Search this
Cady, Harrison  Search this
Butler, Mary  Search this
Craine, Jeanne  Search this
Carter, Janis  Search this
Darnell, Linda  Search this
Custis, Eleanor Parke  Search this
Day, Laraine  Search this
Davis, Bette  Search this
Salmagundi Sketch Club  Search this
Type:
Photographs
Diaries
Writings
Drawings
Scrapbooks
Citation:
Stanley Woodward papers, 1875-1970, bulk 1905-1970. Archives of American Art, Smithsonian Institution.
Topic:
Educators -- Massachusetts  Search this
World War, 1914-1918  Search this
Marine painting -- Technique  Search this
Illustrators -- Massachusetts  Search this
Artists' studios  Search this
World War, 1939-1945  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8640
(DSI-AAA_SIRISBib)210820
AAA_collcode_woodstan
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210820
Online Media:

Charles Henry Turner papers, 1875-circa 1973, bulk circa 1890-circa 1910

Creator:
Turner, Charles Henry, 1848-1908  Search this
Subject:
Lesrel, Adolphe Alexandre  Search this
Murray, Henry  Search this
Carlsen, Emil  Search this
Garrett, Edmund H. (Edmund Henry)  Search this
Type:
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Citation:
Charles Henry Turner papers, 1875-circa 1973, bulk circa 1890-circa 1910. Archives of American Art, Smithsonian Institution.
Topic:
Artists' studios -- Pictorial works  Search this
Painting, Modern -- 19th century  Search this
Etching -- 19th century  Search this
Etchers  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9256
(DSI-AAA_SIRISBib)211451
AAA_collcode_turnchar
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211451
Online Media:

Bernard Chaet papers, circa 1944-2012

Creator:
Chaet, Bernard, 1924-2012  Search this
Type:
Sketchbooks
Citation:
Bernard Chaet papers, circa 1944-2012. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Technique  Search this
Artists' studios -- Photographs  Search this
Drawing -- Study and teaching  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6571
(DSI-AAA_SIRISBib)215865
AAA_collcode_chaebern
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215865

Tony Vevers papers, 1947-2008, bulk 1960-1999

Creator:
Vevers, Tony, 1926-2008  Search this
Subject:
L'Engle, Lucy  Search this
L'Engle, William  Search this
Motherwell, Robert  Search this
Smith, Houghton Cranford  Search this
Stout, Myron  Search this
Tworkov, Jack  Search this
Andersen, Yvonne  Search this
Yamamoto, Gwen  Search this
Yamamoto, Taro  Search this
Dickinson, Edwin Walter  Search this
Vevers, Tabitha  Search this
Webster, E. Ambrose (Edwin Ambrose)  Search this
Hofmann, Hans  Search this
Halvorsen, Elspeth  Search this
Grooms, Red  Search this
Falcone, Dominic  Search this
Sun Gallery (Provincetown, Mass.)  Search this
Long Point Gallery (Provincetown, Mass.)  Search this
Purdue University  Search this
Provincetown Art Association  Search this
Type:
Prints
Photographs
Portraits
Watercolor paintings
Place:
Provincetown (Mass.) -- description and travel
Citation:
Tony Vevers papers, 1947-2008, bulk 1960-1999. Archives of American Art, Smithsonian Institution.
Topic:
Transcripts  Search this
Artists' studios -- Photographs  Search this
Art -- History -- Study and teaching  Search this
Art, Modern -- 19th century  Search this
Art -- Study and teaching  Search this
Abstract expressionism  Search this
Educators -- Massachusetts  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)16136
(DSI-AAA_SIRISBib)363703
AAA_collcode_vevetony
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_363703
Online Media:

Elizabeth Campbell Fisher Clay papers, circa 1873-circa 2015, bulk 1890-1930

Creator:
Clay, Elizabeth Campbell Fisher, 1871-1959  Search this
Subject:
Henri, Robert  Search this
Rothenstein, William, Sir  Search this
Smith College  Search this
Type:
Sketches
Photographs
Sound recordings
Drawings
Travel diaries
Paintings
Sketchbooks
Diaries
Place:
Netherlands -- description and travel
New York (N.Y.) -- Description and views
France -- description and travel
California -- description and travel
England -- description and travel
Citation:
Elizabeth Campbell Fisher Clay papers, circa 1873-circa 2015, bulk 1890-1930. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Women artists  Search this
Women printmakers  Search this
Artists' studios -- Photographs  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)16256
(DSI-AAA_SIRISBib)370921
AAA_collcode_clayeliz
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_370921
Online Media:

Garabed Der Hohannesian papers, 1929-2007

Creator:
Der Hohannesian, Garabed, 1908-1992  Search this
Subject:
Massachusetts School of Art  Search this
Type:
Sketchbooks
Citation:
Garabed Der Hohannesian papers, 1929-2007. Archives of American Art, Smithsonian Institution.
Topic:
Artists' studios -- Photographs  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)17329
(DSI-AAA_SIRISBib)379855
AAA_collcode_derhgara
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_379855

Sidney Simon papers

Creator:
Simon, Sidney, 1917-1997  Search this
Names:
Budd (Firm : New York, N.Y.)  Search this
Century Association (New York, N.Y.)  Search this
Colby College  Search this
Graham Gallery  Search this
Pennsylvania Academy of the Fine Arts  Search this
Skowhegan School of Painting and Sculpture -- Faculty  Search this
United States. Army. Corps of Engineers  Search this
Emmerich, André  Search this
Gonzalez, Xavier, 1898-1993  Search this
Gotfryd, Bernard  Search this
Hélion, Jacqueline  Search this
Jencks, Penelope  Search this
Kelly, Ellsworth, 1923- -- Photographs  Search this
King, William, 1925-2015  Search this
Meredith, Burgess, 1907-1997  Search this
Motherwell, Robert -- Photographs  Search this
Nevelson, Louise, 1899-1988 -- Photographs  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
23.7 Linear feet
2.21 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Date:
circa 1917-2008
bulk 1940-1997
Summary:
The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and drawings for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.
Scope and Contents:
The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

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

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

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.
Arrangement:
The collection is arranged as 10 series.

Missing Title

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

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

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

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

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

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

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

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

Series 9: Photographs, circa 1917-1997 (Boxes 5-10; 3.0 linear feet)

Series 10: Unprocessed Addition, circa 1940-1997, 2008 (Boxes 11-27, OV 28-43; 15.7 linear feet)
Biographical / Historical:
Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

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

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.
Related Materials:
The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009. Additional material donated in 2022 by the Renee A. Simon Revocable Trust via trustees Barbara Sussman, Alexa Elam and Susanne Howard.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
War artists  Search this
Topic:
Art -- Study and teaching  Search this
World War, 1939-1945 -- Art and the war  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.simosidn
See more items in:
Sidney Simon papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973588e01-af09-4ddf-ae4c-721c446d46c3
EDAN-URL:
ead_collection:sova-aaa-simosidn

Jack Tworkov papers

Creator:
Tworkov, Jack  Search this
Names:
Egan Gallery  Search this
Leo Castelli Gallery  Search this
Nancy Hoffman Gallery  Search this
Poindexter Gallery  Search this
Stable Gallery (New York, N.Y.)  Search this
Zabriskie Gallery  Search this
Ashbury, John  Search this
Ashton, Dore  Search this
Bartlett, Jennifer, 1941-  Search this
Blinken, Donald M., 1925-  Search this
Calfee, William H. (William Howard), 1909-1995  Search this
Cavallon, Giorgio, 1904-1989  Search this
Cézanne, Paul, 1839-1906  Search this
Demarco, Ricky  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Forge, Andrew  Search this
Hartigan, Grace  Search this
Herzbrun, Helene  Search this
Katz, Paul  Search this
Knaths, Karl, 1891-1971  Search this
Lindeberg, Linda, 1915-1973  Search this
Matter, Herbert, 1907-1984  Search this
Newman, Arnold, 1918-2006  Search this
Newman, Michael  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Ponsold, Renate  Search this
Praeger, David A.  Search this
Rothko, Mark, 1903-1970  Search this
Summerford, Joe  Search this
Thorne, Joan, 1943-  Search this
Westenberger, Theo  Search this
Wheeler, Dennis  Search this
Wise, Howard  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
9.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Video recordings
Interviews
Motion pictures (visual works)
Sound recordings
Sketches
Diaries
Date:
1926-1993
Summary:
The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.
Scope and Content Note:
The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993, with the bulk from the period 1931-1982. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.

Biographical material includes Tworkov's citizenship certificate, awards, diplomas, a copy of Jack Tworkov: Video Portrait, produced by Electronic Arts Intermix, and a motion picture film, USA Artists: Jack Tworkov, produced by National Education Television.

Correspondence consists largely of incoming letters. It is both professional and personal in nature and often combines both spheres. Correspondents include artists Jennifer Bartlett, William H. Calfee, Giorgio Cavallon and Linda Lindeberg, Grace Hartigan, Helene Herzbrun (also named Helene McKinsey), Karl Knaths, Joe Summerford, Joan Thorne, and Adja Yunkers; cartoonist Robert C. Osborn; collectors Donald M. Blinken and David A. Praeger (who was also Tworkov's lawyer); illustrator Roger Dovoisin; critics Dore Ashton and Andrew Forge; critic and poet John Ashbury; galleries that represented Tworkov: Egan Gallery, Leo Castelli, Nancy Hoffman Gallery, Poindexter Gallery, Stable Gallery and Zabriskie Gallery; and many museums, arts organizations, colleges and universities.

Interviews with Tworkov include one with Ricky Demarco videotaped in 1979 and two conducted on video by Twokov's daughter Helen in 1975. The remaining interviews are sound recordings, one conducted by Grace Alexander for the show Artists in New York in 1967, one conducted by Michael Newman in 1980, and the remainder by unidentified interviewers. None have transcripts.

All writings are by Tworkov and include poems, an artist's statement, and documentation for two children's books by Tworkov illustrated by Roger Duvoisin. Two additional notebooks contain miscellaneous notes, teaching notes, and some specific to identified courses. Lectures exist as untranscribed sound recordings.

Tworkov's journals (33 volumes) span a period of 35 years, from 1947 until 1982, with the final entry dated a few weeks before his death. They record his reflections on painting, his challenges as a painter, aesthetics, the role of the artist in society, Jewish identity, painters he admired (especially Cézanne and Edwin Dickinson), politics, and teaching. They also recount everyday life: the comings and goings of friends and family members, social engagements, professional activities, illness, and travel.

The lone subject file concerns Mark Rothko and includes a photograph of Rothko and the guest list for the dedication of the Rothko Chapel in Houston.

Artwork consists of a small number of sketches by Tworkov in pencil and ink. Tworkov's sketchbooks (28 volumes) contain sketches and some finished drawings. Most are in pencil, but scattered throughout are a few pencil sketches embellished with colored marker or pastel, and a small number in ink.

Photographs are of people, places and events. Most photographs are of Tworkov alone and with others including Giogio Cavallon, though most friends and students are unidentified. Of note are views of Tworkov producing a series of prints at Tamarind Institute. Also found is an informal portrait of Wally Tworkov. Events recorded include the jurying of "Exhibition Momentum" in Chicago, 1956. Among the places shown are Tworkov's studios at Black Mountain College and in Provincetown. When known, photographers are noted; among them are Paul Katz, Herbert Matter, Arnold Newman, Renate Ponsold, Theo Westenberger, Dennis Wheeler, and Howard Wise.

A separate series of audiovisual recordings was established for those recordings that could not be readily identified to be arranged in other series. They consist of three videocassettes (2 VHS and 1 miniDV).
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1933-1981 (Boxes 1, 9, 11, FC 13; 0.7 linear ft.)

Series 2: Correspondence, 1926-1993 (Boxes 1-5; 3.8 linear ft.)

Series 3: Interviews, 1978-1982 (Boxes 5, 9-10; 1 linear ft.)

Series 4: Writings, Notes, and Lectures, 1955-1982 (Boxes 5, 9; 0.5 linear ft.)

Series 5: Journals, 1947-1982 (Boxes 5-7; 2.0 linear ft.)

Series 6: Subject File, 1961-1977 (Box 7; 1 folder)

Series 7: Printed Material, 1952-1981 (Box 7, OV 12; 0.1 linear ft.)

Series 8: Artwork, circa 1950s-1960s (Box 7: 3 folders)

Series 9: Sketchbooks, circa 1950s-1960s (Boxes 7-8, 11; 1.0 linear ft.)

Series 10: Photographic Materials, 1941-1981 (Boxes 8-9; 0.5 linear ft.)

Series 11: Audiovisual Recordings, 1961-1975 (Box 9; 0.1 linear ft.)
Biographical Note:
New York School painter Jack Tworkov (1900-1982), best known for his Abstract Expressionist paintings and as a highly regarded teacher, lived and worked in New York City and Provincetown, MA.

At age 13, Tworkov (born Yakov Tworkovsky) emigrated from Poland with his mother and sister to join his father already in the United States. In America, they chose to use the name of distant relatives, the Bernsteins, who were their sponsors. Eventually, Jack and his sister, Janice, reclaimed and shortened their name to Tworkov; later, she adopted the name of their hometown in Poland and became the painter Janice Biala.

As a high school student in New York City, Tworkov attended drawing classes. After graduating from Columbia University, where he had been an English major and considered becoming a writer, Tworkov instead turned to art. He studied with Ivan Olinsky at the National Academy of Design between 1923 and 1925, and from 1925 to 1926 attended painting classes taught by Guy Péne Du Bois and Boardman Robinson at the Art Students League. During his college years, Tworkov began visiting museums and became a great admirer of Cézanne. Tworkov's early paintings - still life, landscapes, and portraits - showed the influence of European modernism and Cézanne.

Tworkov spent his first summer in Provincetown while still a student and subsequently returned to study with Ross Moffet. In Provincetown he met and was greatly influenced by Karl Knaths and developed a lifelong friendship with Edwin Dickinson. By 1929, Tworkov was painting there year round. Over the years, Tworkov and his family continued to return for long stretches, and in 1958 he purchased a house in Provincetown.

During the Great Depression, Tworkov participated in the Treasury Department's Public Works of Art Project until 1934, and then moved to the easel division of the WPA Federal Art Project. He felt uncomfortable with the growing ideological and political influences on art and found it depressing to paint for the WPA rather than for himself, so he left the WPA in 1941. Tworkov, who had studied mechanical drawing while in high school, spent most of the War years employed as a tool designer and draftsman at an engineering firm with government contracts.

By the 1940s, Tworkov was painting in the Abstract Expressionist style. Between 1948 and 1953, he leased a studio on Fourth Avenue that adjoined that of his friend Willem de Kooning. During this time, they mutually influenced each other as they developed into mature Abstract Expressionists. At Yale in the 1960s, Tworkov became close friends with fellow student Josef Albers. Alber's influence on Tworkov resulted in a turn to geometric compositions of small, systematic, and repetitive strokes defined by a grid. He experimented with diagonal compositions, and later geometric work that featured large areas of color and soft texture.

Tworkov's first teaching experience was during 1930-1931 when he served as a part-time painting instructor at the Ethical Culture Fieldston School. His teaching career began in earnest when he joined the faculties of Queens College, 1948-1955, and Pratt Institute, 1955-1958. During the summers he taught at various schools, most notably Black Mountain College's 1952 summer session. Tworkov was a visiting artist at the Yale University School of Art and Architecture, 1961-1963, and became chairman of its Art Department from 1963 until his retirement in 1969. In retirement he lived in Provincetown and was a visiting artist for both short and extended periods at various universities and art schools.

An avid reader of literature and poetry, Tworkov also wrote poems and essays. He published essays in It Is, Art Digest, and Art In America; his most notable piece, "The Wandering Soutine," appeared in Art News, November 1950. Tworkov also kept a journal for 35 years (1947-1982) that recorded his thoughts on a wide range of subjects concerning professional, personal, and philosophical issues, as well as details of everyday life.

Tworkov was among the founders of the Artists' Club or The Club in 1949, and for a decade actively participated in the stimulating discussions for which the group was known. In 1968 he helped to establish the Fine Arts Work Center in Provincetown. Its residency program enabled younger artists and writers to advance their careers and kept Provincetown's historic artists' colony active year round.

He was the recipient of the William A. Clark Award and Corcoran Gold Medal from the Corcoran Gallery of Art, 1963; Skowhegan School of Art's Painter of the Year Award, 1974; and Distinguished Teaching of Art Award from College Art Association, 1976. Tworkov was appointed to serve on the Massachusetts Art Commission, 1970-1971, and in 1981 was named a Fellow of The Cleveland Museum of Art and of the Rhode Island School of Design.

Following his second divorce in 1935, Rachel (Wally) Wolodarsky became Tworkov's third wife and their marriage endured. They had two daughters. Hermine Ford (b. 1939) is an artist married to fellow painter Robert Moskowitz. Helen Tworkov (b. 1943) is the founder of Tricycle: The Buddhist Review and the author of a book about yoga.

Tworkov remained physically and intellectually active after a diagnosis of bone cancer around 1980, and continued to paint until shortly before his death in Provincetown on September 4, 1982.
Related Material:
Among the holdings of the Archives of American Art are two oral history interviews with Jack Tworkov, one conducted by Dorothy Seckler, Aug. 17, 1962, and another by Gerald Silk, May 22, 1981. There is also a small collection of three letters written by Jack Tworkov to friend Troy-Jjohn Bramberger.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N70-38 and 62) including writings by Tworkov, notebooks, notes for teaching and talks, notes on art and miscellaneous subjects, poems, artist's statements, biographical data, the transcript of a 1970 interview with Tworkov conducted by Phyllis Tuchman, and a few letters and drafts of letters, 1950-1963. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jack Tworkov lent the Archives of American Art papers for microfilming in 1970-1971. Jack Tworkov's daughters, Hermine Ford and Helen Tworkov, donated the rest of the collection in 2009, which included some of the material from the original loan.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Reels N70-38 and 62: Authorization to publish, quote, or reproduce requires written permission from Helen Tworkov or Hermine Ford. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Massachusetts  Search this
Topic:
Painting -- New York (State)  Search this
Painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Photographs
Sketchbooks
Video recordings
Interviews
Motion pictures (visual works)
Sound recordings
Sketches
Diaries
Citation:
Jack Tworkov papers, 1926-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tworjack2
See more items in:
Jack Tworkov papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9345f5838-057f-4572-8063-0df7b8d00ad0
EDAN-URL:
ead_collection:sova-aaa-tworjack2
Online Media:

Oral history interview with Rosanne Somerson

Topic:
Fine woodworking
Interviewee:
Somerson, Rosanne, 1954-  Search this
Interviewer:
Michie, Thomas S.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Haystack Mountain School of Crafts  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Peters Valley (Craft center)  Search this
Rhode Island School of Design -- Faculty  Search this
Rhode Island School of Design -- Students  Search this
Richard Kagan Gallery  Search this
Snyderman Gallery  Search this
Abramson, Ron  Search this
Callahan, Harry M.  Search this
Capanigro, Paul  Search this
Cooke, Ned  Search this
Dunnigan, John, 1950-  Search this
Fairbanks, Jonathan L.  Search this
Follen, Eck  Search this
Frid, Tage  Search this
Jackson, Dan  Search this
Joseph, Peter T. (Peter Thomas), 1950-1998  Search this
Kagan, Richard  Search this
Keck, Hardu  Search this
Kranov, James  Search this
Maruyama, Wendy, 1952-  Search this
Mattia, Alphonse  Search this
Melanson, Gracie  Search this
Osgood, Jere, 1936-  Search this
Sfirri, Mark  Search this
Siskind, Aaron  Search this
Swanson, Charlie  Search this
Szasz, Merlin  Search this
White, Leroy  Search this
Wolf, Hans  Search this
Extent:
61 Pages (Transcripts)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2006 August 7 and 2007 June 22
Scope and Contents:
An interview of Rosanne Somerson conducted 2006 August 7-2007 June 22, by Thomas Michie, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Rhode Island School of Design, in Providence, Rhode Island. In part one of this interview, Somerson speaks of growing up outside of Philadelphia, Pennsylvania; attending RISD beginning in 1971; being asked to teach there nine years later; creating a new department of furniture design; tailoring that furniture design program to encompass the development from design to manufacture; introducing materials other than wood into the program; garnering international attention through worldwide exhibits; her first show at the Richard Kagan Gallery in Philadelphia; participating in a group show in New York City for female woodworkers; making connections through the Snyderman Gallery and Pritam and Eames Gallery; working directly with clients on commissioned pieces; the financial stability of teaching; designing a piece for the headquarters of Khon, Peterson Fox, and Conway in New York; the sculptural elements present in many of her works; moving from a small studio in Boston, Massachusetts, to a larger studio in Westport, Connecticut, and finally to a shared studio in Fall River, Massachusetts; the supportive and proud reaction of her children to her work; creating a production company with colleagues and designing furniture for the RISD dormitories; attempting to make these designs both flexible and environmentally-friendly; putting aside teaching for an administrative position in the department; recent travel to Japan, Australia, England, Israel, and France; enrolling in summer programs with art schools like Haystack Mountain School of Craft in Maine and others; and excitement for her upcoming sabbatical.
In the second portion of the interview, she discusses living in a house built by her father in Wyncote, Pennsylvania; enjoying the location of the house on a former cherry orchard and consequently being drawn cherry wood as a medium; the feeling of her parents that anything could be accomplished with a certain amount of study; her mother's interest in weaving and spinning later in life; the creative pursuits of her older brothers, including creative writing and photography; verbally communicating the outside world to her blind grandfather and gaining an aptitude for interpreting visual imagery; being more academically than artistically focused in her youth; visiting art museums and having other cultural experiences with her family; being fascinated with photography by seeing her brother's work; deciding to put off college in order to spend a year in Denmark studying photography; enrolling in RISD and feeling overwhelmed at first by her inexperience; taking a winter course in wood-working and preferring it to photography; being advised by her teacher Tage Frid to gain a wood-working education by pursuing sculpture at RISD; transferring into industrial design later; learning a great deal from and being extraordinarily influenced by Tage Frid as a furniture designer and teacher; taking a semester off to attend Peters Valley Craftsmen in New Jersey; spending a few years after graduation assisting Frid with the writing and publication of his articles; working as an assistant editor for Fine Woodworking magazine; being offered a job at RISD in the furniture department; creating the furniture design program; using RISD's collection as inspiration for her work and as a teaching tool; moving towards using more local woods in her designs; her recent lecture and travel in China; and looking forward to focusing on her work in the new studio.
Somerson recalls John Dunnigan, Dick Kagan, Ned Cooke, Jonathan Fairbanks, Wendy Maruyama, James Krenov, Dan Jackson, Jere Osgood, Alphonse Mattia, Peter Joseph, Ron Abramson, Charlie Swanson, Eck Follen, Peter Walker, and others. In the second part, Somerson recalls Merlin Szasz, LeRoy White, Hardu Keck, Gracia Melanson, Harry Callahan, Aaron Siskind, Paul Crot, Paul Capanigro, Tage Frid, Hans Wolfe, Mark Sfirri, and others.
Biographical / Historical:
Rosanne Somerson (1954- ) is a professor of furniture design and furniture designer and maker in Westport, Massachusetts. Thomas Michie is a curator of decorative arts, Los Angeles County Museum of Art, Los Angeles, California.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 3 hr., 3 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Furniture designers -- Rhode Island  Search this
Topic:
Decorative arts  Search this
Educators -- Rhode Island -- Interviews  Search this
Photography  Search this
Women artists  Search this
Women designers  Search this
Women educators  Search this
Furniture design  Search this
Function:
Artists' studios
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.somers06
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db2e506b-fd9b-42d1-b6a2-f24d806027dc
EDAN-URL:
ead_collection:sova-aaa-somers06
Online Media:

David Ireland Papers

Artist:
Ireland, David, 1930-2009  Search this
Names:
American Academy in Rome  Search this
Arts Club of Chicago  Search this
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Center for the Arts at Yerba Buena Gardens  Search this
Gallery Paule Anglim  Search this
Helmhaus Zürich  Search this
Mattress Factory  Search this
New Museum of Contemporary Art (New York, N.Y.)  Search this
Perth Institute of Contemporary Arts  Search this
San Francisco Art Institute  Search this
San Francisco Museum of Modern Art  Search this
Skowhegan School of Painting and Sculpture  Search this
Stanford University  Search this
Walker Art Center  Search this
Washington State Arts Commission  Search this
Western Washington University  Search this
Coppola, Eleanor  Search this
Grobart, Jeffrey  Search this
Lee, Margie  Search this
Lienhard, Marie-Louise  Search this
Marion, Paul  Search this
Tingle, Alta  Search this
Extent:
24.8 Linear feet
8.39 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Date:
circa 1910s-circa 2009
bulk 1960-2005
Summary:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
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. 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:
Sculptors -- California -- San Francisco  Search this
Conceptual artists -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Installations (Art)  Search this
Public art  Search this
Genre/Form:
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ireldavi
See more items in:
David Ireland Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw927567772-c71f-4f30-a427-adbd535e1009
EDAN-URL:
ead_collection:sova-aaa-ireldavi
Online Media:

Edwin Burrage Child photographs

Creator:
Child, Edwin Burrage, 1868-1937  Search this
Extent:
2.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Glass plate negatives
Place:
Dorset (Vt.) -- Photographs
Central Park (New York, N.Y.) -- Photographs
Date:
1902-1936
Summary:
The photographs of painter Edwin Burrage Child measure 2.2 linear feet and date from 1902-1936. Included in this collection are original photographic prints and copy prints; 101 negatives; 59 glass plate negatives; and one folder of miscellaneous papers including a sketch by Edwin Burrage Child. Photographs depict artwork, interiors, furniture, and people.
Scope and Contents:
The photographs of Edwin Burrage Child measure 2.2 linear feet and date from 1902-1936. Included in this collection are original photographic prints and copy prints; 101 negatives; 59 glass plate negatives; and one folder of miscellaneous papers including a sketch by Edwin Burrage Child. Photographs depict artwork, interiors, furniture, and people.

Photographs of people and other subjects depict several portrait images of Edwin Burrage Child, as well as many photographs and negatives of unidentified groups and events, children, men building a log cabin structure at Child's Dorset, Vermont home, and several models for painting.

Photographs of landscapes, buildings, and animals include a series of landscape photographs of Central Park, complete with the city in the background; many images of the Dorset, Vermont landscape with Child's house and barn structures depicted; landscapes with rainclouds and lightning, also in Dorset, Vermont; and images of horses attached to carriages and wagons, and cows and sheep, as well as several images of a dead horse on the streets of a small town.

Photographs of interiors, furniture, and lighting are made up primarily of copy prints and negatives, and include images of pieces of furniture, light fixtures and sconces, as well as entire interior rooms of what is probably Child's Dorset home. Additionally, photographs of Child's studio with paintings hung on walls are also found here.

Photographs of artwork make up the bulk of the collection, with original prints, copy prints, negatives, and glass plate negatives of primarily portrait paintings by Edwin Burrage Child. Many of the original photographic prints have been annotated on the backs with descriptive information about the portrait model, where they are from, and their occupation. Some annotations contain anecdotal information about Child's interactions or experiences with the sitters, and have been written by Child's youngest son, Sargent Burrage Child. While some of the descriptive information has been identified as written by both Edwin Burrage Child and Sargent Burrage Child, some writing could not be identified. A set of glass plate negatives without prints also depicts several of Child's landscape paintings. Additionally, a dismantled photograph album contains original prints of Child's portraits of men, women, and children, as well as containing the most descriptive information of all the prints in the collection.

Miscellaneous papers contains a sketch with note by Edwin Burrage Child; a handwritten letter in pencil, on Child's stationery, by Child; a typed exhibition inventory of portraits in the Washington, D. C. exhibit, "Portraits by Edwin Burrage Child," in 1930; and a copy of the 5 x 7 glass plate negatives box that previously stored glass plate negatives.
Arrangement:
The collection is arranged as 6 series. Glass plate negatives are housed in Series 6 and are closed to researchers.

Missing Title

Series 1: Photographs of People and Other Subjects, circa 1908-circa 1936 (15 folders; Box 1)

Series 2: Photographs of Landscapes, Buildings, and Animals, 1903-circa 1936 (24 folderst; Box 1)

Series 3: Photographs of Interiors, Furniture, and Lighting, circa 1902-circa 1936 (0.1 linear feet; Box 1)

Series 4: Photographs of Artwork, 1902-1936 (28 folders; Boxes 2-3, 6)

Series 5: Miscellaneous Papers, circa 1930 (1 folder; Box 3)

Series 6: Glass Plate Negatives, 1910-circa 1930 (0.9 linear feet; Boxes 4-5)
Biographical / Historical:
Edwin Burrage Child (1868-1937) was a landscape and portrait painter who lived and worked in New York City and Dorset, Vermont, and was most known for his male portraiture.

Child was born in Gouverneur, New York in 1868 to Jonathan Bush Child and Sarah Burnham. In the 1880s, Child attended Amherst College and received art lessons during the summers from artist Margaret C. Whiting (1860-1946). In 1890, he graduated from Amherst College and moved to New York City to pursue a career as an artist, becoming a student in 1891 at the Art Students League. Child's artistic debut was in 1892 at the National Academy of Design annual exhibition. From 1891 to 1895, he studied under painter, muralist, and stained-glass designer John LaFarge (1835-1910), and worked as his assistant from 1896-1901. Edwin Burrage Child then spent many years working as an illustrator and writer for leading periodicals such as Scribner's, Harper's, McClure's, and others.

As a landscape painter, Child was awarded a medal at the Louisiana Purchase Exhibition in St. Louis in 1904, and the majority of his landscapes were modeled from his summer home in Dorset, Vermont. In 1908, his focused moved to easel painting -- primarily landscapes and portraits. Child was most known for his portraits of intellectual males, with sitters including Senator Dwight M. Morrow, Governor Wilbur L. Cross of Connecticut, Professor John Dewey, and painter Ivan G. Olinsky, among many others. His work appeared in shows at the National Academy of Design and the Society of Independent Artists in New York, as well as the Pennsylvania Academy of Fine Arts, the Art Institute of Chicago, and the Corcoran Gallery of Art in Washington, D. C. He also had many one-man shows over the years, primarily in New York City. In 1930, the National Gallery of Art in Washington, D. C. held an exhibition of his portraits.

Child was married to Anna Gertrude Sykes in 1894, and they had three children: Katherine E. (1895-1966), Bradford (1896-1948), and Sargent Burrage (1900-1972). Child also made furniture as a hobby and remodeled his home in Dorset Hollow, as well as Gray's Tavern, which later became the Dorset Village Public Library. Additionally, he was a frequent lecturer, speaking at colleges and universities, including Yale, Michigan State College, Columbia, City College of New York, and Massachusetts State College at Amherst. Child spent the last ten years of his life living in Dorset, Vermont, and died in 1937.
Provenance:
The Edwin Burrage Child photographs were transferred to the Archives of American Art on June 6, 1979, from the National Collection of Fine Arts (NCFA) Library.
Restrictions:
Use of original papers requires an appointment. Glass plates are housed separately and not available to researchers. 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.
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Photographs
Sketches
Glass plate negatives
Citation:
Edwin Burrage Child photographs, 1902-1936. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chiledwi
See more items in:
Edwin Burrage Child photographs
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eb01763f-f8bb-4835-80cb-ace78ac9c4e1
EDAN-URL:
ead_collection:sova-aaa-chiledwi
Online Media:

Oral history interview with Michael Cohen

Interviewee:
Cohen, Michael, 1936-  Search this
Interviewer:
Williams, Gerald, 1926-2014  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art  Search this
Haystack Mountain School of Crafts  Search this
Massachusetts College of Art  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Burke, Ron  Search this
Glick, John Parker, 1938-  Search this
Goodwin, Harriet  Search this
Leach, Bernard, 1887-1979  Search this
Merritt, Francis Sumner, 1913-2000  Search this
Sedestrom, Bob  Search this
Voulkos, Peter, 1924-2002  Search this
Wyman, William, 1922-1980  Search this
Extent:
37 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 August 11
Scope and Contents:
An interview of Michael Cohen conducted 2001 August 11, by Gerry Williams, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at his home, in Pelham, Massachusetts.
Cohen speaks of his childhood, living outside of Boston, Massachusetts; his first adventures in art; attending Mass Art; his attraction to clay; his mentors; his first job with Bill Wyman; joining the Army; his travels; his unhappy experience at Cranbrook Academy of Art; his first studio in his mother's basement; enjoying his first summer at Haystack Mountain School of Crafts and the other schools of craft; how his pottery is meant to be functional; his fear of dying at 59 and the great sculptural work he did in that year; exhibition shows and how they have changed over the course of his career; why he's moved to primarily making tiles; apprenticeship and the benefits of paying your apprentices; how expensive being in the pottery business has become; various teaching and workshop experiences; local pottery guilds he is a part of; the creation and design of his studio space; technological advances in the field and the distinctive tools he loves to use; specialized periodicals that he reads or looks at; what makes a pot beautiful; limitations in clay; commissions and the lack of benefits involved with commissions; the permanent collections of museums that he is a part of; how he thinks he will be remembered; his most memorable exhibitions; where he gets his ideas from; social and political issues he's involved in and how he does not include them in his work; the craft organizations; curators he's enjoyed working with; his ex-wife Harriet Goodwin and how their collaboration was important to his work. Cohen also recalls Francis Merritt, Bernard Leach, Peter Voulkos, Ron Burke, John Glick, Bob Sedestrom, and others.
Biographical / Historical:
Michael Cohen (1936-) is a ceramist from Amherst, Massachusetts. Gerry Williams (1926-) is the editor of Studio Potter from Goffstown, New Hampshire.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr.; 6 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:
For more information on how to access this interview contact Reference Services.
Occupation:
Ceramicists -- Massachusetts -- Interview  Search this
Topic:
Ceramics -- Study and teaching  Search this
Decorative arts  Search this
Ceramics  Search this
Function:
Artists' studios
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.cohen01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw941e71885-f8e1-4431-9dbe-e9e6c9e72351
EDAN-URL:
ead_collection:sova-aaa-cohen01
Online Media:

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