This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Segura Publishing Company records, 1976-2014. Archives of American Art, Smithsonian Institution.
The papers of landscape painter and art instructor William Kienbusch measure 5.0 linear feet and date from 1915 to 2001, with the bulk of the materials dating from 1936 to 1980. The collection documents Kienbusch's life as an artist in New York City and Cranberry Island, Maine. Files include biographical material; correspondence with family, friends, and colleagues; writings and notes; scattered printed material; photographs; and artwork, including 17 sketchbooks.
Scope and Content Note:
The papers of landscape painter and art instructor William Kienbusch measure 5.0 linear feet and date from 1915 to 2001, with the bulk of the materials dating from 1936 to 1980. The collection documents Kienbusch's life as an artist in New York City and Cranberry Island, Maine. Files include biographical material; correspondence with family, friends, and colleagues; writings and notes; scattered printed material; photographs; and artwork, including 17 sketchbooks.
Biographical materials include military records, identification and membership documents, guestbooks, and an album entitled "Book of Friendship" containing short notes written by friends for Kienbusch on the occasion of his 60th Birthday. Also of note is copy of the "In Memoriam" written for Kienbusch by Karl Schrag.
The bulk of the papers consist of family and general correspondence. Family correspondence includes letters from Kienbusch to his parents regarding school, summer camps, travel, and the army. General correspondence includes many letters he sent to his close friend, Stanley Clifford, as well as letters from friends and associates, such as Stuart Davis, Antionette Kraushaar, Walter Maitland, Henry Varnum Poor, Abraham Rattner, Karl Schrag, Reuben Tam, and others.
Writings and notes include scattered notes, lists, and draft writings, as well as three notebooks, including one on casein technique. Printed material includes several armed forces publications and maps from World War II, clippings, and press releases. Photographs are of William Kienbusch, including two snapshots of Kienbusch with friends Dorothy Andrews and Reuben Tam. Also found are numerous travel and nature photographs. Artwork includes drawings created by Kienbusch while on his military tour in Guam and seventeen sketchbooks containting drawings in pencil, ink, and pastel.
Arrangement:
The collection is arranged as 6 series:
Missing Title
Series 1: Biographical Material, 1915-1980 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1920-2001 (Box 1-3; 2.3 linear feet)
Series 3: Writings and Notes, circa 1940s-1970s (Box 3; 0.2 linear feet)
Series 4: Printed Material, circa 1937-1980 (Box 3; 0.2 linear feet)
Series 5: Photographs, circa 1920-1980s (Box 3-5; 1.3 linear feet)
Series 6: Artwork, circa 1930s-1970s (Box 5; 0.8 linear feet)
Biographical Note:
William Kienbusch (1914-1980) was a painter and art instructor in New York, NY, and Cranberry Island, Maine.
Kienbusch was born in New York City and attended boarding school at Hotchkiss Preparatory school, where he was taught painting by Robert Osborn. During the summers of 1934 and 1935, while attending Princeton University, he studied watercolor with Eliot O'Hara at Goose Rocks Beach, Maine. After graduating from Princeton in 1936, he attended the Art Students League, studied with Henry Varnum Poor at the Colorado Springs Fine Arts Center, and spent a year in Paris, studying at the Academie Colarossi. During this time he also had the opportunity to travel throughout Europe before the outbreak of World War II. He returned to New York City in the winter of 1938 and settled in Greenwich Village, at one point living above artist Stuart Davis.
Kienbusch spent the summers of 1940 and 1941 in Stonington, Maine. Here he found his true identity as an abstract expressionist landscape painter. During World War II he served in the Army, teaching camouflage design and making maps in Guam. When he returned to New York in 1946, he began painting in casein rather than oils or watercolor. In 1947 he joined Kraushaar Galleries, which would continue to be his dealer for the remainder of his career. From 1948 to 1969 he taught at the Brooklyn Museum of Art School and spent summers in Maine. Kienbusch lost much of his artwork and personal papers in a 1969 fire at his New York studio apartment. His work is included in the collections of the Museum of Modern Art, Whitney Museum of American Art, and the Metropolitan Museum of Art among many others. After several years of poor health, Kienbusch died in 1980.
Related Material:
Also found in the Archives of American Art is the Walter Maitland correspondence with and about William Kienbusch, 1969-1981; the William Kienbusch letters to Francis and Sydney Hamabe, 1958-1977; the Thomas Barrett and Leni Mancuso papers relating to William Kienbusch, 1950-1980; and an oral history interview with William Kienbusch conducted by Forrest Selvig, November 1-7, 1968.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-22) including a scrapbook of clippings, exhibition catalogs, photographs of Kienbusch, letters, writings, and two journals describing his travels in Europe and Asia. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
William Kienbusch lent materials for microfilming in 1970. Other papers were donated by his sisters, Millicent Kelly and Juliana Little, and his friend Stanley Clifford as co-executives of the Kienbusch estate from 1985-1991. Stanley Clifford donated additional materials in 2008 and 2010.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York Search this
Topic:
Landscape painters -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. 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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. 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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. 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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist, and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.
Scope and Contents:
The papers of painter Joan Semmel measure 5.9 linear feet and span the dates of 1949-2013 with the bulk of the material dated circa 1960s-2013. The papers reflect her career and activities as a painter, writer, feminist and educator through biographical materials, correspondence, interviews, writings, project files, teaching files, printed material, and photographic materials.
Among the biographical materials are awards, educational records,and audiovisual recordings about Joan Semmel and her work.
There are two interviews with Joan Semmel on video recordings, one was conducted for a television broadcast and the other is unidentified.
Writings by Semmel include the manuscript, illustrations, research material, and letters relating to her unpublished book about women's erotic art. Also found are articles, artist's statements, and notes for talks about her work. The writings about Semmel consist of several student papers.
Project files relate to two exhibitions curated by Semmel, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds (2000). One file is related to a project in which Semmel was involved to document the role and status of women in the arts.
Scattered teaching files concern a course about contemporary women artists developed and taught by Semmel for the women's studies program at Rutgers University, circa 1978. Also documented are summer programs at Skowhegan and Sommerakademie in Austria where Semmel served as an instructor.
Binders (now unbound) of printed materials were compiled by Semmel consisting of exhibition catalogs and announcements for solo and group shows, reviews, posters, and miscellaneous printed matter.
Series 1: Biographical Materials, 1949-2013 (Box 1; 0.6 linear feet)
Series 2: Correspondence, 1973-2013 (Boxes 1-2; 1.2 linear feet)
Series 3: Interviews, circa 1970s-1986 (Box 2; 0.2 linear feet)
Series 4: Writings, 1970s-2009 (Box 3; 0.7 linear feet)
Series 5: Project Files, 1972-2000 (Box 3; 3 folders)
Series 6: Teaching Files, 1970s-2000 (Box 3; 0.4 linear feet)
Series 7: Printed Material, circa 1960s-2013 (Boxes 4-6, OV 8; 2.2 linear feet)
Series 8: Photographic Materials, circa 1965-2013 (Boxes 6-7; 0.6 linear feet)
Biographical / Historical:
Joan Semmel (1932- ) is an abstract painter working in New York City and Easthampton, N. Y. Semmel's work explores erotic themes and the female body. She taught painting at the Mason Gross School of the Arts at Rutgers University from 1978-2000.
Born in New York City in 1932, Joan Semmel studied at the Cooper Union, the Art Students League of New York, and received her BFA in 1963 and MFA in 1972 from Pratt Institute. Semmel moved to Spain in 1963 and exhibited her abstract expressionist work in galleries and museums there before returning to New York in 1970.
Upon Semmel's return to New York, she became involved in the feminist art movement. One of the original Guerrilla Girls, Semmel was involved with several feminist activist art groups devoted to gender equality in the art world. Semmel spent years researching a book about women's erotic art. At the same time, her painting style shifted to incorporate more figurative imagery and she began working on series that explored the themes of the female body, desire, and aging. Each series consisted of 10-30 paintings, produced over several years, among them First and Second Erotic Series, Self Images, Portraits, Figure in Landscape, Gymnasium, Locker Room, Overlays, and Mannequins.
In addition to her teaching career at Rutgers University as a tenured Professor of Painting, Semmel taught briefly at the Brooklyn Museum Art School, Skowhegan, and the Summer Academy of Fine Arts in Salzburg, Germany. Over the years she served as a visiting artist, critic, and lecturer at many colleges, and participated in numerous symposia, panel discussions and conferences. She has received several grants and awards including Macdowell Colony and Yaddo residencies.
Semmel has exhibited widely and prolifically in the United States, Spain, the Netherlands, and South America, in addition to curating two exhibitions, Contemporary Women: Consciousness and Content (1977) at The Brooklyn Museum of Art School and Private Worlds - Art in General (2000). Her work is represented in the permanent collections of many museums including the Brooklyn Museum of Art, Chrysler Museum, Guild Hall, Museum of Women in the Arts, Parrish Art Museum, and Vassar College Museum.
Joan Semmel continues to live and work in New York City and Easthampton, NY.
Provenance:
Donated by Joan Semmel in 2014.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Joan Semmel papers, 1949-2013, bulk circa 1960s-2013. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
