Search Results

Editor:

Tesio, Paola Simona 1973-  Search this

Cossa, Gilberto  Search this

Physical description:

47 pages illustrations (chiefly color) 20 x 24 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Place:

Mozambique

Date:

2015

21st century

21e siècle

Topic:

Art, Mozambican  Search this

Art  Search this

Painting  Search this

Photography--Exhibitions  Search this

Artists  Search this

Art mozambicain  Search this

Peinture  Search this

Artistes  Search this

Photography  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1161243

Collection Creator:

Park Place Gallery Art Research, Inc.  Search this

Paula Cooper Gallery  Search this

Container:

Box 27, Folder 32

Type:

Archival materials

Date:

circa 1990s

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.

Collection Rights:

All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. 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.

Collection Citation:

Park Place, the Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund

See more items in:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records / Series 3: Paula Cooper Gallery / 3.3: Artists' Files / Leonard, Zoe

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9787beee8-1719-4790-8d54-58570d625ef2

EDAN-URL:

ead_component:sova-aaa-parkplag-ref663

Creator:

Dehner, Dorothy, 1901-1994  Search this

Names:

Philadelphia Art Alliance  Search this

Willard Gallery  Search this

Graham, John, 1887-1961  Search this

Matulka, Jan, 1890-1972  Search this

Smith, David, 1906-1965  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Sketchbooks

Date:

1920-1987

bulk 1951-1987

Summary:

The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.

Scope and Content Note:

The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.

Comprising a series of biographical material are personal papers such as notes on Dehner's biography and career, a list of things taken from Bolton Landing, and material relating to David Smith including a copy of his last will and testament, a letter of introduction (dating from their trip to Europe in the mid-1930s), and a chronology of Smith's life.

Correspondence consists of numerous letters and enclosures concerning both professional and personal matters. Correspondents include artists, museums, galleries, art dealers, researchers, curators, friends, and relatives. Correspondence documents Dehner's various personal and professional relationships, the active role she played in promoting and exhibiting her art work, as well as the key role she played in fostering art historical research on David Smith, herself, and other artists of her era, and her many other creative activities, including her various writing efforts.

Interviews include sound recordings of four interviews with Dehner, and a recording of an interview conducted with her for a documentary on David Smith. Also found is a transcription of an interview for which there is no recording.

Writings shed light on other aspects of Dehner's creativity and concerns. Dehner's writings include poems, such as one dated from high school and drafts of poems published in Tracks); and various pieces on John Graham. These include versions of a memoir, which were published as a foreword to the re-issue of System and Dialectics of Art, and as an article in Leonardo). Also found are writings on David Smith, including articles recalling Dehner's first meeting with him, and on Smith's 1940 work "Medals for Dishonor;" lectures and speeches; and various writings on art and other topics. Writings by others include essays on Dehner by Joan Marter and Judith McCandless.

Dehner's business and financial records document transactions with various galleries and art organizations and include records of loans, exhibitions, and sales through files for the Parsons-Dreyfuss Gallery, Philadelphia Art Alliance, Willard Gallery, and others. The series also includes scattered records relating to personal business matters and finances, such as Dehner's lists of artwork loaned, exhibited, and sold, receipts, tax records, and exhibition visitor books.

Printed material includes exhibition catalogs and announcements for Dehner's group and solo shows, and clippings on Dehner and a few other artists including David Smith. Artwork consists of two etchings, and photographs include photographs of Dehner, her second husband Ferdinand Mann, John Graham, and various works of art. Also found is an abstract photograph by David Smith, dating from circa 1934.

Arrangement:

The Dorothy Dehner papers are arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1935-1982 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1927-1987 (Boxes 1-3; 2.2 linear feet)

Series 3: Interviews and Transcripts, 1963-1981 (Boxes 3-4; 0.5 linear feet)

Series 4: Writings, 1920-1987 (Box 3; 0.25 linear feet)

Series 5: Business and Financial Records, 1940-1987 (Box 3; 0.25 linear feet)

Series 6: Printed Material, 1940-1987 (Boxes 3, 5; OV 6; 0.5 linear feet)

Series 7: Art Work, circa 1930s-circa 1960s (Box 5, OV 6; 0.05 linear feet)

Series 8: Photographs, 1930s-1986 (Box 5; 0.15 linear feet)

Biographical Note:

Dorothy Dehner was an abstract sculptor of the New York school who was also an accomplished painter, printmaker, author, and educator.

Dehner was born in Cleveland, Ohio in 1901. Her father died when she was about ten and the family moved to Pasadena, California in 1915. After the death of her mother and sister, she was raised by her mother's sister, Aunt Florence. Dehner was exposed to art as a child, receiving instruction in drawing and painting. She studied drama for a year at UCLA in 1922-1923 before moving to New York with the intention of pursuing a theatrical career. In 1925, she traveled alone to Europe, where she visited Italy, Switzerland, and France and where she began to draw seriously.

Upon her return to New York, Dehner enrolled in the Art Students League intending to study sculpture, but, uninspired by the work of William Zorach's sculpture class, ended up studying drawing with Kimon Nicolaides instead. In 1926, she met fellow artist David Smith in the rooming house they shared. At her suggestion, he too enrolled in the Art Students League. In 1927, they were married.

At the League, Dehner and Smith studied with the modernist painter, Jan Matulka, and befriended Weber and Thomas Furlong, through whom they met the Russian painter and theoretician, John Graham. Graham introduced them to the avant-garde art world and had a profound influence on Dehner and Smith and their work. Other young artists they befriended at this time included Adolph Gottlieb, Mark Rothko, and Edgar and Lucille Corcos Levy. In 1929, after a visit to the Furlong's summer home in upstate New York, Dehner and Smith bought a farm in Bolton Landing, which became their permanent home in 1940 and was later named Terminal Iron Works. They spent eight months in the Virgin Islands, in 1931-1932, where Dehner painted abstract still lifes of shells and marine life. In the fall of 1935, they traveled to Europe, where they met up with Graham in Paris, spent five months in Greece, and toured the Soviet Union, with other stops along the way.

During her years at Bolton Landing (from 1940 to 1950), Dehner progressed in her work, producing a series of paintings titled Life on the Farm and embarking upon a series of abstract geometric drawings in ink and watercolor. In 1943, she had a joint exhibition with Smith at the Albany Institute of History and Art. Three years later, she participated in the annual exhibition of Audubon Artists and was awarded a first prize for drawing, and in 1948, she had her first one-woman show at Skidmore College.

Dehner left Bolton Landing in 1950 (she was divorced from Smith two years later) and returned to school, earning her degree from Skidmore College in 1952. She moved back to New York City, and supported herself over the next several years by teaching at various schools, including the Barnard School for Girls. She had her first solo exhibition in the city at the Rose Fried Gallery in 1952, and studied engraving at Stanley William Hayter's Atelier 17. At this point, Dehner started making sculpture, first experimenting in wax and then casting her wax sculptures in bronze. In 1955, she began working at the Sculpture Center, and from this point on, focused mainly on sculpture with occasional forays in drawing and printmaking. In addition to works in bronze, she went on to create sculptures in wood (during the 1970s) and steel (during the 1980s).

In 1955, Dehner married the New York publisher, Ferdinand Mann. That same year, she joined the Willard Gallery, run by Marian Willard. She had her first exhibition of drawings there in 1955 (which led to a solo exhibition at the Art Institute of Chicago) and her first sculpture show there in 1957. Dehner continued to show at the Willard Gallery regularly until 1976. Over the next several decades, Dehner's work was frequently exhibited in solo and groups exhibitions at museums and galleries across the country, and was acquired for both public and private collections.

In addition to her art work, Dehner was also a published poet and writer. She wrote the foreword to the 1971 re-issue of John Graham's System and Dialectics of Art, and an essay on David Smith's "Medals for Dishonor," which was published in Art Journal in 1977. Two of her poems, "Past Tense" and "Two Lines," appeared in the journal Tracks in 1977.

Dehner continued to work into her nineties, and passed away in 1994.

Related Material:

Other resources in the Archives relating to Dorothy Dehner include oral history interviews with Dehner, October 1965 and December 1966, and a photograph of Dehner by Dena, 1966.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming on reels D298 (portions), D298A, 1269 (portions) and 1372, including photographs of Dorothy Dehner and David Smith, sketchbooks, correspondence between Dehner and Smith, an inventory, and some printed material. Loaned materials were returned to the lender after filming and are not described in the collection Container Listing.

Provenance:

The Dorothy Dehner papers were donated from 1967-1987 in increments by Dorothy Dehner. Dehner also loaned material for microfilming between 1967 and 1977, some of which was subsequently donated. The art work in the collection most likely belonged to Garnett McCoy originally, and was included in the collection during processing in 2005.

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 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:

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

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

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

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

Topic:

Women artists  Search this

Women sculptors  Search this

Women printmakers  Search this

Women authors  Search this

Genre/Form:

Sound recordings

Interviews

Sketchbooks

Citation:

Dorothy Dehner papers, 1920-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the digitization of this collection was provided in part by The Walton Family Foundation.

Identifier:

AAA.dehndoro

See more items in:

Dorothy Dehner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94755f855-b54f-4a52-a95c-a8c0d6e92ba7

EDAN-URL:

ead_collection:sova-aaa-dehndoro

Creator:

Mason, Alice Trumbull, 1904-1971  Search this

Names:

American Abstract Artists  Search this

Kelpe, Paul, 1902-1985  Search this

Lassaw, Ibram, 1913-2003  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1921-1977

Summary:

The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.

Scope and Content Note:

The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.

Biographical material consists of resumes, passports, exhibition files, as well as documentation of her membership and active participation in art organizations, including her work as an officer in the American Abstract Artists group. Also found here are scattered personal financial and legal records. Personal and professional correspondence is with family members, including many detailed letters between her and her husband Warwood, fellow artists, including Paul Kelpe, art organizations, curators, museums, galleries, and others. Professional correspondence generally discusses selection of exhibition and awards, sale of artwork, and art events. Writings and notes, mostly from the 1920s and 1930s, consist of Mason's notes on art history and her creative writings, including poetry and "abstract writing." Also found are a few writings about abstract art and various notes and lists.

Printed material includes news clippings on topics of interest to Mason, and other miscellaneous items such as brochures, and exhibition announcements. Photographs include several portraits of Mason with her artwork, photographs of friends including artist Ibram Lassaw, photographs of an American Abstract Artists exhibition, and artwork by her and others. Original artwork found in this collection includes five sketchbooks belonging to Mason, including two that document her travels through Greece and Italy, and other loose drawings.

Arrangement:

The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Material, 1925-1968 (Box 1, OV 3; 0.2 linear feet)

Series 2: Correspondence, 1922-1977 (Box 1; 0.4 linear feet)

Series 3: Writings and Notes, 1921-1965 (Box 1; 6 folders)

Series 4: Printed Material, 1936-1974 (Box 1; 2 folders)

Series 5: Photographs, 1920s-1967 (Box 1, OV 3; 5 folders)

Series 6: Artwork, 1924-1963 (Box 1-2, OV 3; 0.4 linear feet)

Biographical Note:

Alice Trumbull Mason was born in 1904 in Litchfield, Connecticut. Her mother, Anne Leavenworth Train, was an accomplished artist before she met Alice's father, William Trumbull, a descendent of the Revolutionary War era painter, John Trumbull. Alice spent much of her childhood in Europe with her family. From 1921 to 1922 they lived in Florence and Rome where she studied at the British Academy. In 1923 she continued her studies with painter Charles W. Hawthorne at the National Academy of Design in New York and from 1927 to 1928 attended courses at the Grand Central Art Galleries taught by Arshile Gorky. Gorky inspired her interest in abstract painting, and Mason painted her first non-objective works in 1929. In 1928 she returned to Italy and Greece and was greatly influenced by ancient art, Byzantium, and Italian primitives. She married Warwood Mason, a merchant seaman, in 1930 and her daughter Emily was born in 1932 and her son Jonathan in 1933. During this period she stopped painting and devoted her creative energy to writing poetry inspired by American avant-garde writers.

Mason began painting again in 1934 and was recognized as a key figure of American abstraction. In 1935 she met and became close friends with fellow artist Ibram Lassaw, and they, along with several other artists, began to meet on a regular basis which led to the first American Abstract Artists group exhibition in 1937. Mason remained very active in the group and served as treasurer in 1939, secretary from 1940 to 1945, and president from 1959 to 1963. She was also an activist for abstract art, protesting the decisions of the Museum of Modern Art several times for excluding abstract artists from exhibitions. During the 1940s her paintings and concept of "architectural abstraction" was influenced by the arrival of Piet Mondrian in New York. Also in the 1940s she had two one-woman shows, but throughout her career she felt there was a bias against women in the New York art world and most often she participated in AAA group shows. Her work would be viewed as an important bridge for future abstract and conceptualist artists. In 1958 her son died, and though she continued to paint and participate in exhibitions, she never recovered from this tragedy and in the late 1960s withdrew into seclusion until her death in 1971.

Related Material:

Also found in the Archives of American Art is a collection of interviews by Ruth Bowman of members of the American Abstract Artists group conducted between 1963-1965, that includes an interview with Alice Trumbull Mason. The Archives of American Art also houses 2.3 linear feet of the records of the American Abstract Artists group.

Separated Material:

A portion of the material donated by Alice Trumbull Mason in 1969 relating to her involvement with the American Abstract Artists was separated and filed with the American Abstract Artists records at the Archives of American Art. Files of news clippings about Mason and exhibition catalogs and announcements were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library after microfilming on reel 630 and are not described in the collection container listing.

Provenance:

A portion of this collection was donated by Alice Trumbull Mason in 1969. Additional material was donated from 1972 to 1977 by Mason's daughter, Emily Mason Kahn.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

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

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

Topic:

Women artists  Search this

Women painters  Search this

Women authors  Search this

Genre/Form:

Sketchbooks

Citation:

Alice Trumbull Mason papers, 1921-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the digitization of this collection was provided in part by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.masoalic

See more items in:

Alice Trumbull Mason papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95e72c55c-ce27-48d3-a5d7-2904106402d0

EDAN-URL:

ead_collection:sova-aaa-masoalic

Creator:

Gugler, Eric, 1889-1974  Search this

Names:

Cornell, Katharine, 1893-1974  Search this

Gugler, Frida  Search this

Manship, Paul, 1885-1966  Search this

Roosevelt, Eleanor, 1884-1962  Search this

Extent:

34.9 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Date:

1889-1977

Summary:

The papers of architect and painter Eric Gugler measure 34.9 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Scope and Contents:

The papers of architect and painter Eric Gugler measure 34.4 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Biographical materials include certificates, official documents, curriculum vitae, and histories of the Gugler family. Correspondence consists of professional letters regarding prospective and active projects, and personal correspondence from friends and family, including Eleanor Roosevelt, Katherine Cornell, and Paul Manship. Writings include book proposal drafts, essays, notes, speeches, and writings by others.

Project files consist of correspondence, architectural sketches, blueprints, and photographic and printed materials related to Gugler's work on commercial, residential, governmental, and memorial commissions. Renderings of specific design objects, sculptures, and Gugler's collaborative work on preservation efforts are also included.

Personal business records include correspondence related to Gugler's firm, including office leases, prospective client lists, and service fees. Printed material consists of clippings, exhibition material, postcards, and other miscellaneous items.

Photographic materials are of Eric Gugler and members of the Gugler family. Artwork includes sketches, watercolors, paintings, photographs of artwork, and artwork by Frida Gugler.

Arrangement:

The collection is arranged as 8 series. Glass plate slides are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Missing Title

Series 1: Biographical Material, 1898-1975 (0.5 linear feet; Box 1, OV 33)

Series 2: Correspondence, 1906-1974 (4 linear feet; Boxes 1-5, 20, OV 33)

Series 3: Writings, 1932-1973 (16 folders; Box 5)

Series 4: Project Files, 1889-1977 (28.2 linear feet; Boxes 5-18, 20-24, 70-72, OV 25-31, OV 33-49, RD 50-69)

Series 5: Personal Business Records, 1928-1972 (0.3 linear feet; Box 18)

Series 6: Printed Material, 1923-1977 (0.3 linear feet; Boxes 19, 24)

Series 7: Photographic Materials, 1890-1966 (9 folders; Box 19)

Series 8: Artwork, 1895-1970 (0.4 linear feet; Box 19, OV 32)

Biographical / Historical:

Architect and painter Eric Gugler (1889-1974) lived and worked in New York City, New York. Known for his work on monuments and memorials, Gugler was selected by President Roosevelt to head the redesign and building of the White House's West Wing in 1934.

Born in Milwaukee, Wisconsin to lithographer Julius Gugler and his wife, Bertha Bremer, Gugler attended Columbia University and received a three year scholarship to continue his studies at the American Academy in Rome. In 1919, he opened his architectural firm on Park Avenue in New York City and began accepting residential and commercial commissions. In addition to designing buildings and houses for clients, Gugler also completed smaller design objects for ceiling details, sculptures, murals, and decorative structures. In the late 1920s and early 1930s, his firm won commissions to complete World War I Memorials in New York and Chicago, Illinois, and also received a major commission to design the Educational Building in Harrisburg, Pennsylvania. Around this time, Gugler married Broadway actress and dancer Anne Tonetti and designed a second residence in the artist's community of Sneden's Landing, New York.

Gugler's interest and willingness to work on large scale memorials and institutional buildings aided in his appointment to a number of prominent commissions in the 1930s to the 1950s. These include the design of the White House's West Wing and the Sicily-Rome American Cemetery and Memorial in Italy, new construction and renovations to the Forman School (Conn.) and Wabash College (Ind.), and the building of residential houses for Katherine Cornell, Barry Faukner, and Paul Manship. In the 1960s, he was selected to head memorial designs for the Franklin Delano Roosevelt and Theodore Roosevelt Memorials in Washington, D.C., and also spent considerable time and energy developing the "Hall of Our History" project. Gugler remained active designing and working on projects until his death in 1974.

Related Materials:

The White House Historical Association's Office of the Curator holds additional Eric Gugler Papers related to the expansion and redesign of the West Wing in 1934.

Provenance:

The papers were donated in 1977 by Gugler's wife, Anne Tonetti Gugler. Additional materials were donated between 1979 and 1980 by Gugler's business associate, Ferdinand Eiseman.

Restrictions:

Use of 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:

Architects as artists -- New York (State) -- New York  Search this

Topic:

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

Architecture -- Designs and plans  Search this

Architecture, Modern -- 20th century  Search this

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

Genre/Form:

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Citation:

Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.gugleric

See more items in:

Eric Gugler papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a729ea25-2ca9-4693-95a4-2f15b5651aab

EDAN-URL:

ead_collection:sova-aaa-gugleric

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2013-07-29T14:03:08.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_T27bAr1X6h4

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2022-09-19T16:52:13.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_qq_lMrQEYfY

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2023-11-01T11:56:38.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_s_T9jk0-0oU

Creator:

Stewart, Jack, 1926-2005  Search this

Names:

New York City Transit Authority  Search this

World Trade Center (New York, N.Y.)  Search this

Yale University -- Students  Search this

Baxter, Violet  Search this

Egan, Charles, 1911-  Search this

Gold, Nancy  Search this

Goulet, Lorrie, 1925-  Search this

Kahn, Wolf, 1927-  Search this

Romano, Clare  Search this

Thomas, Steffen, 1906-  Search this

Toney, Anthony  Search this

Townsend, Rodman  Search this

Walker, Herbert Brooks, 1927-  Search this

Weiner, Sam  Search this

Extent:

9.9 Linear feet

7.31 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Sound recordings

Paintings

Sketchbooks

Interviews

Transcripts

Video recordings

Date:

1926-2010

Summary:

The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.

Scope and Content Note:

The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.

Biographical materials include a "Video Archive" in digital format, consisting mainly of Jack Stewart being interviewed on several occasions by Nancy Gold for her television show, "What It Takes." In addition to discussions about Stewart's career, the shows include examples of his paintings and murals along with views of him at work.

Correspondence mostly documents Stewart's artistic career and work as an educator and administrator; there is some personal correspondence, as well. Of particular note are letters to Rodman Townsend who commissioned a mural about the human brain; they discuss the details of the project and its evolution, brain research, and subsequent exhibitions of related paintings. Illustrated letters and greeting cards with original artwork are from Violet Baxter, Lorrie Goulet, Wolf Kahn, Clare Romano, Anthony Toney, and Sam Weiner. Herbert Brooks Walker sent several pieces of mail art and, while in Italy, collected graffiti information for Stewart. Letters Stewart wrote to his mother span decades; the best represented periods are the years he served in the U.S. Army and studied at Yale University.

Writings and notes consist of Stewart's dissertation ("Subway Graffiti: An Aesthetic Study of Graffiti on the Subway"), miscellaneous writings and notes, and art and architecture notebooks. Dissertation documentation includes the manuscript, drafts, and related records. Among the miscellaneous writings and notes - published and unpublished - are shorter pieces, articles, student papers, and teaching notes. Of particular interest are notes/instructions for a performance piece titled "Endless Subway," "Memories of Steffan Thomas" and "My Recollection of Charles Egan." Also found are minutes of Cooper Union adjunct faculty meetings (1965-1966), and reports written when provost of the Rhode Island School of Design. Art and architecture notebooks (5 volumes) were compiled while at Yale University.

Research files on graffiti contain many sound recordings and some transcripts of interviews with graffiti writers, voluminous lists of graffiti writers' names/tags, correspondence, notes, photographs, and a wide variety of printed material. Some of the material is in digital format. Stewart began collecting these materials as his interest in graffiti developed. They were used for his dissertation and material continued to be added after the dissertation was completed.

Printed material mentioning Stewart or containing reproductions of his work includes exhibition catalogs, posters, and newsletters.

Artwork by Jack Stewart consists of drawings, paintings, and one etching; also found are designs and plans for tables, murals, and other projects. Drawings include figure studies, heads, and landscapes; most are in pencil and some in ink. The small number of paintings are oil on canvas (removed from stretchers), and gouache on paper and board. Sketchbooks (44 volumes) contain mostly pencil drawings and sketches, and a few studies for paintings and murals. Two volumes include writings about travels and events; of particular interest are "Notes on Kline's funeral May 1962," "Visit to Roman Bronze Art Foundry," and "Notes on My Development."

Photographic materials consist mainly photographs, but also include digital images and 35-mm color slides. Images of Stewart include views of him with paintings and working in his studio. Identified individuals with whom he appears are: Regina Stewart (wife), Brandon Stewart (son), Lil Stewart (mother), Ninalee Craig, Irving Sandler, and students in Urbino, Italy. Photographs of artwork document murals such as Raw Material (composed of shirt labels), and Versailles Hotel in Miami Beach; among the paintings documented are State of the Union, Icons of Western Art and Revelation XVI-16 (both with keys to individuals portrayed). Exhibition openings and installations are shown in photographs, color slides, and video recordings. Also found are photographs of the World Trade Center site taken by Stewart in December 2001.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1926-circa 2009 (Boxes 1,11; 0.6 linear foot, ER01-ER02, 3.92 GB)

Series 2: Correspondence, 1944-2009 (Boxes 1-2; 0.7 linear foot)

Series 3: Writings and Notes, circa 1947-2003 (Boxes 2-5; 3.1 linear foot)

Series 4: Research Files on Graffiti, 1972-2010 (Boxes 5-7,11; 2.8 linear foot, ER03-ER05, 3.18 GB)

Series 5: Printed Material, circa 1945-2002 (Boxes 8, 11, OV 13; 0.7 linear foot)

Series 6: Scrapbooks, circa 1990-2003 (Box 8; 0.2 linear foot)

Series 7: Artwork, 1946-2000 (Boxes 8, 11, OV 12; 0.3 linear foot)

Series 8: Sketchbooks, 1951-2004 (Boxes 8-9; 1.3 linear foot)

Series 9: Photographic Materials, circa 1950s-2010 (Boxes 10-11; 0.4 linear foot, ER06-ER07, 0.208 GB)

Biographical Note:

Jack Stewart (1926-2005) was a painter, muralist, designer, educator and administrator in New York City. After developing an interest in graffiti in the 1970s, Stewart eventually wrote a dissertation on the subject, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989) and was recognized as an expert on mass transit art.

Jack Stewart began studying art at the High Museum School in his hometown of Atlanta when he was 10 years old. At age 14, he began a 4 year apprenticeship with painter and sculptor Steffen Thomas. After serving in World War II, he enrolled at Yale University (B.F.A. 1951) as a sculpture student, but soon switched to the painting department where he studied with Josef Albers and Willem de Kooning. After graduation, Stewart began receiving mural commissions and enrolled in classes at Columbia University School of Architecture (1951-1953). His interest in architecture was tied to understanding how to work effectively with architects on mural projects. Later, Stewart developed an interest in graffiti which he pursued through graduate study at New York University (M.A., 1975 and Ph.D., 1989).

Stewart created murals in ceramic tile, mixed media and stained glass. In addition to mosaic murals, he designed tables with mosaic tops. As an outgrowth of his mosaic work, Stewart developed a technique for laminating stained glass onto plate glass that, by eliminating the need for lead, opened new design possibilities. Mural commissions included work for Hamilton Hotel in Chicago, Versailles Hotel in Miami Beach, Public School 28 in New York City, and several ocean liners. The most unusual mural, Raw Material commissioned by Cluett Peabody and Company, was composed of shirt labels embedded in acrylic.

Beginning in 1950 Stewart participated regularly in group shows and enjoyed solo exhibitions mainly in the New York City area. He also showed in Philadelphia, Georgia, Rhode Island, Mexico and Italy, and was included in exhibitions circulated by the American Federation of Arts.

Stewart taught at the college level for nearly thirty years, including: The New School (art and architecture, 1953-1958); Pratt Institute (interior architectural design, 1955-1960); The Cooper Union for the Advancement of Science and Art (painting, drawing, human anatomy, art history, 1960-1976; Art Department Chairman, 1971-1976); International Center of Mythymna, American Division, Lesbos, Greece (summer school, 1962-1965); Columbia University (M.F.A. program instructor, 1966-1976); and New York University (drawing, 1967-1975). In 1976 he was appointed Vice President and Provost of the Rhode Island School of Design.

Stewart was active in several professional organizations. He served as New York Artists Equity Association Secretary (1986-1987) and President (1987-1989); President of the National Society of Mural Painters (1996-2000); member of the advisory board of the Steffen Thomas Museum and Archives, Buckhead, GA (1997- 2000s); and President of the Fine Arts Federation of New York (2003-2004). The National Academy of Design elected Jack Stewart an Academician in 1995.

Jack Stewart and Margot Schwarzhaupt, an artist, were married in 1947; they had one son, Brandon. Painter and arts administrator, Regina Serniak, became Jack Stewart's wife in 1976.

Jack Stewart died in New York City in 2005.

Related Materials:

Jack Stewart papers, 1926-2015, are located at Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library.

Provenance:

Donated in 2010 by Regina Stewart, widow of Jack Stewart.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. This collection is copyright restricted.

Rights:

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

Occupation:

Arts administrators -- New York (State) -- New York  Search this

Topic:

Street art  Search this

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

Mail art  Search this

Art -- Study and teaching  Search this

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

Graffiti art  Search this

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

Genre/Form:

Drawings

Sound recordings

Paintings

Sketchbooks

Interviews

Transcripts

Video recordings

Citation:

Jack Stewart papers, 1926-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.stewjack

See more items in:

Jack Stewart papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c355e0c-59b2-47e7-ab80-c8ea7d8bf859

EDAN-URL:

ead_collection:sova-aaa-stewjack

Creator:

Suttman, Paul, 1933-1993  Search this

Names:

American Academy in Rome  Search this

Cranbrook Academy of Art  Search this

Extent:

7.1 Linear feet

8 Items (rolled docs)

Type:

Collection descriptions

Archival materials

Sketchbooks

Video recordings

Date:

1947-1998

Scope and Contents:

Biographical material, correspondence, subject and teaching files, photographs, works of art, financial records, motion picture film and video recordings, and printed material concerning Suttman and his career as a sculptor and educator.

Biographical material includes address books, resumes, diplomas, awards, academic records, health records, obitutaries for Paul Suttman and a guest book from his funeral, 1993. Correspondence is with dealers, galleries and artists. Included are one illustrated letter from Mimi Gross and Red Grooms to Elisse and Paul Suttman and Edward C. Flood, ca. 1968 and one illustrated letter from Mimi Gross and Red Grooms to Elisse and Paul Suttman, Sept. 19, 1971. Subject and teaching files concern Cranbrook Academy of Art, the University of Michigan, Italy (1962-1965), the American Academy in Rome (1965-1968), Roswell, Rome and Pieve (1970-1975), University of New Mexico (1975-1979), Texas A & M, Columbia University.

Photographs are of Suttman as well as slides of works of art. Works of art include studies, sketches and sketcbhooks. Financial material includes expense and income records. Motion picture and videos consist of 3 reels of 16mm film by Paul Suttman, 1965, including one untitled art film shot at the American Academy of Rome, and 1 VHS copy of the 16mm film; 1 VHS tape of an exhibition and the Suttman house and studio; and 1 VHS biography of Suttman composed by his son Mark Bertin, 1993-1995. Printed material includes press books, 1958-1995, exhibition catalogs, brochures and newspaper clippings. Also found are material regarding the Paul Suttman memorial fund, memorial projects, and the Paul Suttman catalog raisonné, organized by Virginia Bush Suttman.

Biographical / Historical:

Sculptor and educator. b. 1933; d. 1993 Suttman studied at the Cranbrook Academy of Art, The American Academy in Rome.

Provenance:

Donated 2005 by Virginia Bush Suttman, Suttman's widow.

Restrictions:

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

Occupation:

Sculptors -- New York (State)  Search this

Genre/Form:

Sketchbooks

Video recordings

Identifier:

AAA.suttpaul

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93a069c59-9e8d-40ce-b3a8-2e456e74bb9f

EDAN-URL:

ead_collection:sova-aaa-suttpaul

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2016-06-29T19:06:08.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_RvrjfvWpAeI

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2019-07-24T18:37:07.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_d80lchBTpkE

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2023-02-16T02:10:14.000Z

YouTube Category:

Entertainment  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_vmvhzOWhOKs

Creator:

Cascieri, Arcangelo, 1902-1997  Search this

Subject:

Boston Architectural Center  Search this

Type:

Drawings

Citation:

Arcangelo Cascieri papers, circa 1902-1989. Archives of American Art, Smithsonian Institution.

Topic:

Church decoration and ornament  Search this

Artists' preparatory studies  Search this

Architecture  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8317

(DSI-AAA_SIRISBib)210489

AAA_collcode_cascarca

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210489

Creator:

Bufano, Beniamino, 1898-1970  Search this

Subject:

Goetz, William  Search this

Manship, Paul  Search this

Federal Art Project  Search this

Citation:

Beniamino Bufano papers, circa 1910-1972. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6132

(DSI-AAA_SIRISBib)216348

AAA_collcode_bufabeni

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216348

Creator:

Bufano, Beniamino, 1898-1970  Search this

Names:

Federal Art Project  Search this

Goetz, William, 1931-1988  Search this

Manship, Paul, 1885-1966  Search this

Extent:

2.7 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1910-1972

Summary:

The papers of sculptor Beniamino Bufano measure 2.7 linear feet and date from circa 1910 to 1972. The collection sheds light on the artist's career through personal and professional papers, printed materials, photographic materials, and scrapbooks that contain primarily letters, clippings, and photographs.

Scope and Contents:

The papers of sculptor Beniamino Bufano measure 2.7 linear feet and date from circa 1910 to 1972. The collection sheds light on the artist's career through personal and professional papers, printed materials, photographic materials, and scrapbooks that contain primarily letters, clippings, and photographs.

Personal and professional papers include scant biographical materials, letters of approval and disapproval regarding the placement of St. Francis of Assisi in California, a framed letter from Bufano to Soviet Premier Nikolai Bulganin, writings by Bufano on peace, and a proposal for the San Francisco Art Commission's Open Air Art Exhibit that was drafted by Bufano while serving as commissioner. This series also includes photographs, negatives, and transparencies of Bufano, his studio, and artwork.

Printed materials include articles and clippings about Bufano's art, controversies he was involved in, and his lifestyle; reproductions of Bufano's work; travel ephemera; and miscellaneous printed materials including topics of interest to Bufano.

Scrapbooks were compiled after Bufano's death by his friend and volunteer assistant William Goetz. They include clippings and writings about Bufano, letters, writings by Bufano, press releases for unveiling ceremonies, fact sheets relating to Bufano's travels, and photographs of Bufano working, his artwork around the San Francisco area, scenes from his studio, and Bufano working with others, including Goetz.

Arrangement:

The collection is arranged as 3 series.

Series 1: Personal and Professional Papers, circa 1943-1970 (Box 1; 8 folders)

Series 2: Printed Materials, 1922-1972 (Box 1, 4; 0.3 linear feet)

Series 3: Scrapbooks, circa 1910-1972 (Box 1-4; 2.2 linear feet)

Biographical / Historical:

Italian-born sculptor Beniamino Bufano (1898-1970) was active primarily in San Francisco for most of his career. Bufano was known for his large-scale monuments and modernist work which often featured smooth and rounded animal forms.

Bufano was born in San Fele, Italy, and moved to New York in 1901. He studied at the Art Students' League under James Fraser, Herbert Adams, and Paul Manship. In 1914, Manship invited Bufano and Robert Treat Paine to work in San Francisco on sculptures for the Panama-Pacific International Exposition, and in 1915 Bufano won first prize in an art exhibition held by Gertrude Vanderbilt Whitney. Bufano married in 1918 and moved to California where he met art patrons Sara Bard Field and Charles Erskine Scott Wood. This patronage allowed Bufano to travel to China, where he studied glazing and became friends with Sun Yat-Sen, India, Cambodia, and elsewhere for the next several years; he was profoundly influenced by his experiences on this and subsequent trips.

Bufano returned to San Francisco in 1921 and taught at the San Francisco Art Institute until 1923 when he founded the short-lived Davinci School of Allied Arts. In 1925 he launched a solo exhibition at the City of Paris Galleries which, over the next eight years, traveled to other locations in the Uninted States and abroad including Paris, London, Berlin, and Moscow.

During this time, Bufano spent two years in Paris where he completed St. Francis of Assisi, which he intended to give to the City of San Francisco and which became perhaps his best known and most controversial work.

In the 1930s Bufano was employed by the Works Progress Adminstration's Federal Arts Project, during which time he completed some of his abstracted bronze and stone animals and a statue of Sun Yat-sen. In 1946 he established Bufano Studios Inc., also known as Bufano Society for the Arts, with a nine-person board of directors.

Also an educator, Bufano lectured on art over the radio and in classrooms, and in the 1960s taught at the University of California at Berkeley and the California College of Arts and Crafts in Oakland. He held a position on the San Francisco Arts Commission from 1944-1948, serving as commissioner in 1947.

Provenance:

The collection was donated by Pauline B. Goetz in 1997.

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:

Sculptors -- California -- San Francisco  Search this

Citation:

Beniamino Bufano papers, circa 1910-1972. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.bufabeni

See more items in:

Beniamino Bufano papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw999bd9450-715a-42f9-9cfe-c9368ab05fa2

EDAN-URL:

ead_collection:sova-aaa-bufabeni

Creator:

Cascieri, Arcangelo, 1902-1997  Search this

Names:

Boston Architectural Center  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Date:

circa 1902-1989

Summary:

The Arcangelo Cascieri papers measure 4 linear feet and date from circa 1902-1989. They illustrate his career through correspondence, writings, project files, personal business records, printed and photographic material, and artwork.

Scope and Contents:

The Arcangelo Cascieri papers measure 4 linear feet and date from circa 1902-1989. Correspondence is with family, friends, and colleagues. Also included is a folder of letters about several of Cascieri's sculpture projects including various churches, cathedrals, and schools. Writings consists of multiple speeches by Cascieri for lectures and events and writings by others which include a term paper by Richard Doyle.

Project files contain correspondence, printed material, and designs for Cascieri's many commissions for church sculptures and other projects. Personal business records consist of materials related to the Boston Architectural Center, Cascieri's resume, and other professional organizations such as the Architectural League of New York.

Printed material contains various pamphlets and publications featuring architecture and projects of Cascieri's. Also included are news clippings and prints of drawings. Photographic material contains personal photographs of Cascieri and his family and friends. Also included are photographs of artwork and architecture. Artwork contains oversize folders of drawings from Cascieri's time as a student, preparatory sketches for his projects, and miscellaneous drawings.

Arrangement:

This collection contains seven series.

Series 1: Correspondence, circa 1935-1982 (.2 Linear feet: Box 1)

Series 2: Writings, circa, circa 1960-1988 (.1 Linear feet: Box 1)

Series 3: Project Files, circa 1931-1981 (2 Linear feet: Boxes 1-2, Rolled Documents 12 and 13)

Series 4: Personal Business Records, circa 1902-1979 (.5 Linear feet: Box 2, OV 11)

Series 5: Printed Material, circa 1930-1989 (.2 Linear feet: Box 2)

Series 6: Photographic Material, circa 1920-1950 (.1 Linear feet: Box 2)

Series 7: Artwork, circa 1902-1981 (.9 Linear feet: OVs 4-10)

Biographical / Historical:

Arcangelo Cascieri (1902-1997) was a sculptor who worked primarily in Boston.

Cascieri was born in Pescara province, Italy. In 1905 his father moved to Boston's North End and the rest of the family joined him in 1907. Eventually the family moved to East Boston where Cascieri began attending school and learning English. In his early teens he was taken out of school and began work in the shipping room of a shoe factory. During this time, he learned woodworking and carving. As his talent increased, he was offered an apprenticeship to Johannes Kirchmayer the chief sculptor at the W.F. Ross Studio in Cambridge. Kirchmayer also introduced Cascieri to the Boston Architectural Club in which he would be involved for the rest of his life.

In 1922, Cascieri began studying at the Boston Architectural Center (BAC) and finished the program in four years. After graduating he studied Fine Arts at Boston University until 1936. He was named head of the BAC in 1937 and was appointed Dean in 1943. Because faculty of the BAC worked on a volunteer basis, Cascieri supported himself, opening a studio with his brother-in-law Adio diBiccari. In 1952 they worked on projects such as the World War One Memorial at Belleau Wood in France and the World War Two Memorial at Margarten in the Netherlands. The most famous of their works in Boston is the Parkman Plaza fountain in Boston Common.

Cascieri died at the age of 94 on January 17, 1997.

Related Materials:

The Archives also hold an oral history conducted 1972, November 21 to 1974, January 24 by Robert F. Brown.

Provenance:

Papers were donated 1980-1982 by Arcangelo Cascieri.

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:

Sculptors -- Massachusetts -- Boston  Search this

Art teachers -- Massachusetts -- Boston  Search this

Topic:

Church decoration and ornament  Search this

Artists' preparatory studies  Search this

Architecture  Search this

Genre/Form:

Drawings

Citation:

Arcangelo Cascieri papers, circa 1902-1989, Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cascarca

See more items in:

Arcangelo Cascieri papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed05d53e-41c5-41eb-b9bc-2f0979eb72ae

EDAN-URL:

ead_collection:sova-aaa-cascarca

Creator:

Bicknell, Clarence, 1842-1918  Search this

Berry, Edward E. (Edward Elhanan), 1861-1931  Search this

Extent:

40 Sheets (rubbings and squeezes)

17 Photographic prints

1 Negatives (photographic)

4 Letters

Container:

Box 2369

Folder 2369

Type:

Collection descriptions

Archival materials

Sheets

Photographic prints

Negatives (photographic)

Letters

Photographs

Rubbings

Squeezes

Place:

Europe

France

Italy

Date:

1901-1902

Scope and Contents:

The collection consists of material related to the petroglyphs near Vallée des Merveilles, including 40 rubbings and squeezes, 17 photographic prints, 1 negative, and 4 letters related to the creation and transmittal of the collection. The rubbings and squeezes were made in the summer of 1901.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Clarence Bicknell (1842-1918) was a British vicar, amateur archaeologist, botanist, artist, Esperantist, author, and philanthropist. Bicknell was born in London, and, after studying at Cambridge University, became an Anglican priest. In 1879, he cut ties with the church and relocated to Bordighera, Italy. Bicknell first visited the Vallée des Merveilles (at that time part of Italy and known to him as Valle or Laghi delle Meraviglie) in 1881 in search of rare plants. Annexed by France in 1947, the "Valley of Marvels" is the site of 40,000 petroglyphs, dating from the Neolithic era, the Bronze and Iron Ages, and the Roman and medieval periods. Starting in 1885, Bicknell documented the petroglyphs in notes, drawings, rubbings, squeezes, and photographs, eventually creating 12,000 images of the carvings. In 1886 he founded the Bicknell Museum in Bordighera to house his botanical and archaeological collections, as well as his extensive library.

Edward Elhanan Berry (1861-1931) was the nephew of Clarence Bicknell. In 1891, he moved to Bordighera near his uncle. In Italy, he founded a bank, become an agent for the travel agency Thomas Cook, and created a service agency for British residents. In 1897, he became vice-British Consul in Bordighera. Berry collaborated and helped Bicknell in all his projects, including the creation of Bicknell Museum and his botanical and archaeological research.

Local Numbers:

NAA MS 2369

Variant Title:

Laghi delle Meraviglie, Italy, photographs, rubbings and squeezes of petroglyphs

Laghi delle Meraviglie, Italy, photographs, rubbings and squeezes

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Archaeology  Search this

Petroglyphs  Search this

Genre/Form:

Photographs

Rubbings

squeezes

Citation:

MS 2369 Clarence Bicknell and Edward E. Berry rubbings, squeezes and photographs of petroglyphs near Vallée des Merveilles, France, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2369

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3ecd4423b-5d76-4679-9409-a1abc874473c

EDAN-URL:

ead_collection:sova-naa-ms2369

Artist:

James McNeill Whistler (1834-1903)  Search this

Medium:

Etching; ink on paper

Dimensions:

H x W: 12.9 x 22.2 cm (5 1/16 x 8 3/4 in)

Type:

Print

Origin:

United States

Date:

1879-1880

Topic:

commerce  Search this

work  Search this

architecture  Search this

Italy  Search this

United States  Search this

American Art  Search this

store front  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1905.195

Restrictions & Rights:

CC0

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3a0683ada-1543-4b22-9977-7f58559c5193

EDAN-URL:

edanmdm:fsg_F1905.195

Creator:

Smithsonian American Art Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2013-07-25T20:19:59.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt__cCBvVSi86o