Skip to main content Smithsonian Institution

Search Results

Collections Search Center
22 documents - page 1 of 2

Chronological

Collection Creator:
Wood, Beatrice  Search this
Container:
Box 23, Folder 10
Type:
Archival materials
Date:
circa 1940s-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.

The unprocessed addtion to this collection is currently closed for processing and digitization. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Beatrice Wood papers
Beatrice Wood papers / Series 7: Printed Material / 7.2: Newspaper and Magazine Clippings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9df8484f3-1c1f-47ea-bf76-059e71310587
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref1092

Doc Cheatham Papers

Creator:
Cheatham, Doc, 1905-1997  Search this
Cheatham, Amanda  Search this
Extent:
11 Cubic feet (23 boxes)
Type:
Collection descriptions
Archival materials
Home movies
Interviews
Parts (musical)
Passports
Photographs
Posters
Programs
Motion pictures (visual works)
Sheet music
Appointment books
Address books
Clippings
Awards
Date:
1939-1998
Summary:
Papers documenting Cheatham's career as a jazz trumpeter. The papers include passports, appointment and address books; photographs, both personal and professional; a transcript of an interview of Cheatham; sheet music, including parts for various instruments; home movies from Cheatham's travels; awards and certificates; printed material including posters, programs, clippings.
Scope and Contents:
The Adolphus "Doc" Cheatham Papers contain publications, photographs, correspondence, memorabilia, autobiographical materials, music, awards, and audio and visual recordings documenting his life and career as a big band and jazz trumpeter.

The collection is 11 cubic feet and is organized into five series: Series 1: Publications, Series 2: Photographs and Artwork, Series 3: Personal Papers and Memorabilia, Series 4: Music and Awards, and Series 5: Audioviusal Materials. The majority of the material dates from the mid-1930s to the late 1990s.
Arrangement:
The collection is arranged into five series.

Series 1: Publications, circa 1950s-1990s

Series 2: Photographs and Artwork, 1930s-1990s

Series 3: Personal Papers and Memorabilia, circa 1930s-1990s

Series 4: Music and Awards, circa 1940s-1990s ' Series 5: Audiovisual Materials, circa 1930s-1990s
Biographical / Historical:
Adolphus "Doc" Cheatham (1905-1997) was born in Nashville, Tennessee. He grew up playing trumpet and saxophone in the pit orchestra of the Bijou Theater where he accompanied such blues artists as Ma Rainey and Bessie Smith. His first professional break was with Marion Hardy's band for the Sunshine Sammy Revue.

After touring with Hardy's band in 1924, Cheatham taught himself to read music and moved to Chicago, where he became acquainted with Louis Armstrong. Under the influence of Armstrong, Cheatham decided to play trumpet exclusively and eventually subbed for Armstrong. While in Chicago, Cheatham also worked with Wilbur De Paris and Chick Webb. Between 1927 and 1930 he toured Europe as the lead trumpet player for Sam Wooding.

When Cheatham returned to the United States in 1930, he joined Marion Hardy's Alabamians, but eventually took a position in McKinney's Cotton Pickers. In 1933 he joined Cab Calloway's Orchestra and toured with him for nine years, including a tour of South America. Cheatham took a few months off in 1933 but soon found himself in recording studios with such jazz legends as Count Basie and Billie Holiday. During recording sessions and performances throughout the 1940s Cheatham continued to develop his skills as a trumpet soloist in big bands and smaller ensembles.

The eventual decline of big bands in the 1950s led Cheatham to explore Latin music. As a result, he performed with Marcelino Guerra, Perez Prado, and Machitos Band. Cheatham reunited with Wilbur De Paris in 1957 for a tour of Africa and in the following year he toured Europe with Sammy Price. In 1960 he returned to Africa with Herbie Mann and later moved to New York where he led his own band.

During the 1960s Cheatham decided to build on his past music influences to improve himself as a soloist and improviser. Consequently, he gained an international reputation as a trumpet soloist. It was at this time that he also began singing on his recordings. Throughout the rest of his career he remained in high demand on the concert and festival circuit.

Cheatham continued performing and recording into the 1990s. Every Sunday for the last years of his life he played at Sweet Basil, his "hangout" club in New York. In 1996 he recorded an album with then newcomer Nicholas Payton. However, the morning after a 1997 concert with Payton in Washington, D.C. Cheatham suffered a fatal stroke. He did not live to see his collaboration with Payton receive a Grammy for Best Jazz Instrumental Performance in 1998.
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds related artifacts: a trumpet, trumpet mutes, bowtie, and pair of glasses.
Provenance:
The collection was donated to the Archives Center by Amanda N. Cheatham, widow of Doc Cheatham, June, 2002.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz musicians -- United States  Search this
Trumpet players -- 20th century  Search this
Genre/Form:
Home movies
Interviews
Parts (musical)
Passports
Photographs -- 20th century
Posters -- 20th century
Programs -- Concerts
Motion pictures (visual works)
Sheet music
Appointment books
Address books
Clippings -- 20th century
Awards
Citation:
Doc Cheatham Papers, 1939-1998, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0814
See more items in:
Doc Cheatham Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83f5c787e-004e-4ef7-aacf-d2032e6b0930
EDAN-URL:
ead_collection:sova-nmah-ac-0814
Online Media:

Dr. Theodore Shell Collection of Duke Ellington Ephemera

Creator:
Shell, Theodore, Dr. (dentist)  Search this
Names:
Ellington, Duke, 1899-1974  Search this
Extent:
1.75 Cubic feet (5 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Broadsides
Correspondence
Drawings
Sketches
Radio scripts
Articles
Programs
Clippings
Date:
1933-1990
Summary:
Periodical articles, news clippings, concert programs, radio transcripts, personal correspondence, broadsides, photographs, and pencil sketches collected by Dr. Shell. The material documents part of Duke Ellington's music career, especially ca. 1940-1974.
Scope and Contents:
The Dr. Theodore Shell Collection of Duke Ellington Ephemera contains autographs, concert programs, publicity booklets, conference materials, correspondence, periodicals, news clippings, photographs, play lists, transcripts of radio broadcasts and a variety of other ephemeral materials that document the life, career, and legacy of Duke Ellington, as well as the early history of Jazz. The collection is arranged alphabetically. Oversized materials are located at the end of the collection but are listed alphabetically within the container list.

Items of particular interest include: a collection of programs, napkins, and menus autographed by Duke Ellington and other members of his orchestra including Johnny Hodges; concert programs spanning forty years of Ellington's career (1933-1973); a pencil-sketched portrait of Duke Ellington; and photographs of Duke Ellington, Cab Calloway, "Peg leg" Bates, Cat Anderson, Harry Carney, Paul Gonsalves, Harold Ashby, Russell Procope and many other Ellington band members taken or collected by Dr. Shell. There are radio broadcast transcripts that contain the scripts, play lists, and promotional spots from various Ellington radio performances between 1943 and 1946. Biographical notes document the life of one of Ellington's public relations agents, Jerome O. Rhea, and there are also some photographs that might possibly be of Rhea's family. Also of interest are a transcript of a meeting related to the organization of a Negro Baseball League and several hand-illustrated poems by African American poets, both of which are found in the Miscellaneous folder.
Biographical / Historical:
Dr. Theodore Shell (1915- ), dentist, "amateur" photographer and Ellington enthusiast, was born in Rahweh, New Jersey. He graduated from Shaw University in 1937 with a degree in science and chemistry, and he served five years in the U.S. Army's chemical warfare service during World War II in the European Theatre. In 1950 he received his dentistry degree from Howard University and began a practice in Washington D.C. Dr. Shell also held the position of Clinical Professor of Dentistry for 43 years at Howard. He retired in 1993.

Dr. Shell first became interested in Ellington's music in 1952. He and Maurice Lawrence, a fellow member of the Omega Psi Phi National Fraternity, founded a Duke Ellington Club in 1956, and it eventually became Chapter 90 of the Ellington Society by 1962. Other founding members of this chapter include Grant Wright, Terrell Allen, and Juanita Jackson. Over the course of his activities with the Ellington Society, Dr. Shell had the privilege of meeting with Duke Ellington on numerous occasions, the first time being in 1964, and in 1971 he hosted Ellington's 72nd birthday party in his own home. Currently, Dr. Shell is serving as president of the organization.
Provenance:
Dr. Theodore Shell donated his collection of Duke Ellington ephemera to the National Museum of American History on November 17, 1993.
Restrictions:
Collection is open for research.
Rights:
Copyright restrictions. Contact the Archives Center.
Topic:
Jazz musicians -- 1940-1980 -- United States  Search this
Jazz  Search this
Music -- 20th century  Search this
Genre/Form:
Photographs -- 20th century
Broadsides -- 1940-1980
Correspondence -- 1940-2000
Drawings -- 20th century
Sketches -- 1940-2000
Radio scripts -- 1940-1980
Articles -- 1940-1980
Programs -- 1940-1990
Clippings -- 20th century
Citation:
Dr. Theodore Shell Collection of Duke Ellington Ephemera, 1933-1990, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0502
See more items in:
Dr. Theodore Shell Collection of Duke Ellington Ephemera
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89c1525b2-b339-4b08-a57d-33d7d5007799
EDAN-URL:
ead_collection:sova-nmah-ac-0502

Bernard A. Pfriem papers

Creator:
Pfriem, Bernard, 1914-1996  Search this
Names:
Lacoste School of the Arts  Search this
Extent:
8.4 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Moving images
Date:
1932-1995
Summary:
The papers of painter and educator Bernard A. Pfriem measure 8.4 linear feet and date from 1932-1995. The material documents Pfriem's career through biographical material, general and business correspondence, writings, subject files, printed matter, photographic material, sound, film, and video recordings, and artwork. A large portion of the papers concern Pfriem's tenure as founder and director of the Lacoste School of the Arts in Provence, France.
Scope and Contents:
The papers of painter and educator Bernard A. Pfriem measure 8.4 linear feet and date from 1932-1995. The material documents Pfriem's career through biographical material, general and business correspondence, writings, subject files, printed matter, photographic material, sound, film, and video recordings, and artwork. A large portion of the papers concern Pfriem's tenure as founder and director of the Lacoste School of the Arts in Provence, France.

Biographical material includes address cards, Pfriem's high school diploma, identification cards, resumes, and correspondence with colleagues, friends, family, and former students.

Writings consist of Pfriem's notes, lesson plans, speeches, and essays as well as writings about Pfriem by others. Subject files contain correspondence, photographs, financial information, legal documents, and printed material that shed light on Pfriem's involvement with various galleries, museums and institutions, and other art organizations.

Papers concerning Pfriem's tenure as founder and director of the Lacoste School of the Arts in Lacoste, in Provence, France, form a large part of the collection. These records include administrative files, photographs taken at the school between 1970 and the 1990s, and material related to "The Stones of Lacoste," a thirty-minute documentary film produced and written by Pfriem about the art school and its historic location.

Printed material includes news clippings about Pfriem and reviews of his work, books, and exhibition catalogs, posters, and announcements.

Photographs, negatives, slides, and transparencies, include snapshots taken of Pfriem while working in Mexico, and in the military during World War II. Photographic material also depicts his exhibitions, his travels in Ethiopia and Greece, and his artwork.

Artwork includes several small drawings and sketches by Pfriem, a collage made by a former student, and one unsigned silk screen print.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, 1932-1995 (Box 1, 9, OV 11; 0.6 linear feet)

Series 2: Writings, 1940s-1970s (Box 1; 7 folders)

Series 3: Subject Files, 1942-1993 (Box 1-2, .5 linear feet)

Series 4: Lacoste School of the Arts, 1960s-1995 (Box 2-5, 9, OV 11, FC 13-14; 4 linear feet)

Series 5: Printed Material, 1939-1993 (Box 5-6, 9, OV 11; 1.3 linear feet)

Series 6: Photographs, circa 1936-1990s (Box 6-8, 10; 1.8 linear feet

Series 7: Artwork, circa 1940s-1990s (Box 8, OV 12; 4 folders)
Biographical / Historical:
Painter and educator Bernard A. Pfriem taught at the Cooper Union School of Art and Sarah Lawrence College in the 1960s before helping to found the Lacoste School of the Arts in Provence, in southeastern France.

Pfriem was born in Cleveland, Ohio, in 1916. He was awarded a four-year scholarship at the Cleveland Institute of Art in 1936, and received funding to work in Mexico after graduating in 1940. In Mexico, Pfriem assisted Jose Clemente Orozco with frescoes, collaborated with Julio Castellanos, and exhibited his own paintings and drawings. Pfriem joined the U.S. Army Air Force in 1942. After his service, he settled in New York City and taught drawing at the Museum of Modern Art. Pfriem moved to France in the early 1950s where he established studios in Paris and Lacoste, was awarded the William and Noma Copley Foundation Grant for Painting in 1959, and worked as chief designer for the United States government, organizing exhibitions and pavilions around the world.

After returning from France in the early 1960s Pfriem focused his career on education. He taught drawing at the Cooper Union School of Art (1963-1973), resumed teaching at the Museum of Modern Art (1963-1965), and was an instructor at Silvermine College of Art (1965-1969) and Sarah Lawrence College (1969-1975). In 1970 Pfriem, along with Sarah Lawrence College, established the Lacoste School of the Arts in southeastern France. The Cleveland Institute of Art, Pfriem's alma matter, became the primary affiliate of the school in 1980.

Pfriem's artwork can be found in the permanent collections of the Museum of Modern Art, Chase Manhattan Bank, the Art Institute of Chicago, Atlanta Museum, and the Brooklyn Museum, among others. Pfriem has had solo exhibitions at the Cleveland Institute of Art, Alexandre Iolas Gallery, and Richard Feigen Gallery, and has participated in many group exhibitions including Recent Acquisitions (1961) at the Museum of Modern Art, American Drawings (1965) sponsored by the Smithsonian Institution, and exhibitions at the Corcoran Gallery of Art, the Whitney Museum of American Art, and many others.
Provenance:
The collection was donated in 1997 by Pfriem's nephew, Bernard C. Pfriem.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Researchers interested in accessing audiovisual material in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Educators -- France  Search this
Painters -- France  Search this
Genre/Form:
Sound recordings
Moving images
Citation:
Bernard A. Pfriem papers, 1932-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pfribern
See more items in:
Bernard A. Pfriem papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9620684a5-d75c-4325-b210-eff7730428f6
EDAN-URL:
ead_collection:sova-aaa-pfribern

Michael Lekakis papers

Creator:
Lekakis, Michael, 1907-  Search this
Names:
Cummings, E. E. (Edward Estlin), 1894-1962  Search this
Freeman, Joseph  Search this
Gilford, Henry  Search this
Olson, Charles, 1910-1970  Search this
Pound, Ezra, 1885-1972  Search this
Sweeney, James Johnson, 1900-  Search this
Extent:
0.4 Linear feet ((on 2 microfilm reels))
0.4 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1940-1990
Scope and Contents:
Correspondence; U.S. Army records; postcards; telegrams; a monologue; photographs; catalogs; clippings; and publications.
REEL N69-131: U.S. Army records commenting on Lekakis' work in camouflage during World War II; 11 letters, postcards and telegrams, 1951-1963, from Marion and E.E. Cummings concerning translations, from U.S.I.S. officers, and from the Baltimore Museum of Art, the last concerning a Lekakis painting rejected by the Trustees; a xerox monologue, "Medea at Corinth," by Joseph Freeman, and a comment on Lekakis by Henry Gilford; photographs; catalogs; and clippings.
REELS 3090-3091: Papers pertaining to poets Charles Olson and Ezra Pound. Included are 12 letters and postcards from Olson, a letter from the University of Connecticut Archives requesting information about Olson, and two publications (Y & X, 1948 and Right Angle, 1949) which contain poems by Olson. In addition there are 32 letters and postcards, 1953-1958, from Ezra Pound, two letters from Dorothy Pound, and a letter from James Johnson Sweeney to Ezra Pound about the possibility of acquiring Lekakis's sculpture for the Guggenheim.
ADDITION: Biographical information, including records from the memorial service for Lekakis held at the Art Students League, March 6, 1988; clippings, 1962-1988; exhibition announcements, 1946-1990, and catalogs, 1980-1988; poems by Lekakis; and a transcript of a Voice of America radio interview.
Biographical / Historical:
Painter, sculptor, poet; New York, N.Y.
Provenance:
Donated 1969-1978 by Michael Lekakis, except for Cummings & Pound letters which were returned to Lekakis after microfilming, and in 1992 by Catherine Lekakis Hios, sister of Michael Lekakis.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Poets  Search this
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Identifier:
AAA.lekamich
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96656b223-f201-4784-8df8-58b9841db705
EDAN-URL:
ead_collection:sova-aaa-lekamich

Mary Reardon papers

Creator:
Reardon, Mary, 1912-2002  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Date:
1920-2002
bulk 1940-1990
Scope and Contents:
Biographical material; printed material; early childhood drawings by Reardon; photographs of Reardon and her works of art; files on major mural commissions and programs; files on Mexico, including the mural school of David Alfaro Siquieros; studio records; photographs of Reardon and her work; correspondence; sketches; and clippings. Major mural commissions include the Baltimore Cathedral, 1959, National Shrine of the Immaculate Conception, Washington, DC, 1973, and the St. Louis Cathedral, 1984.
Biographical / Historical:
Painter and muralist; Hingham, Mass.; b. 1912; d. 2002.
Provenance:
Donated 2004 by the Reardon estate via Martha A. R. Bewick, Reardon's niece and executor.
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:
Muralists -- Massachusetts  Search this
Mosaicists -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women muralists  Search this
Genre/Form:
Drawings
Scrapbooks
Identifier:
AAA.rearmary
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f932a858-f758-4222-8c77-18842391cd10
EDAN-URL:
ead_collection:sova-aaa-rearmary

Ethel Edwards papers

Creator:
Edwards, Ethel, 1914-1999  Search this
Names:
Art Students League (New York, N.Y.)  Search this
United States. Bureau of Reclamation  Search this
Wellfeet Art Gallery  Search this
Backus, Franklin T., 1813-1870  Search this
Croce, Elaine  Search this
Gonzalez, Xavier, 1898-1993  Search this
Reynolds, Sally K.  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Storrs, Immi  Search this
Truro Center for Arts -- Faculty  Search this
Extent:
11.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Travel diaries
Scrapbooks
Transcripts
Sketchbooks
Date:
circa 1929-1999
Summary:
The papers of painter, illustrator, and educator Ethel Edwards (1914-1999) measure 11.2 linear feet and date from circa 1929 to 1999. The papers are comprised of biographical materials, correspondence, writings and notes, business records for the Wellfeet Art Gallery that she operated with her husband Xavier Gonzalez along with records for Edwards' personal business activities, printed materials, three scrapbooks, photographic materials, artwork, and 32 sketchbooks.
Scope and Contents:
The papers of painter, illustrator, and educator Ethel Edwards (1914-1999) measure 11.2 linear feet and date from circa 1929 to 1999. The papers are comprised of biographical materials, correspondence, writings and notes, business records for the Wellfeet Art Gallery that she operated with her husband Xavier Gonzalez along with records for Edwards' personal business activities, printed materials, three scrapbooks, photographic materials, artwork, and 32 sketchbooks.

Biographical materials consist of address, awards, membership documents, obituaries, resumes, and scattered teaching files for the Art Students League and the Truro Center for the Arts. Correspondence is with Xavier Gonzalez, galleries, and friends and colleagues including Franklin Backus, Sally Knudson Reynolds, Hall Groat, and Immi Storrs.

Writings and notes include a travel journal; various writings, essays, and notes about art by Edwards; a few writings about Edwards by others; and a speech transcript by Nelson A. Rockefeller. Business records consist of files for Wellfleet Art Gallery and Studio; documents concerning painting commissions for the Department of Interior Bureau of Reclamation; records of sales, inventory, and artwork donations; scattered exhibition files; and funding applications.

Printed materials include printed reproductions of artwork, brochures and clippings, exhibition catalogs and announcements, magazines and journals, posters, and press releases. There are three scrapbooks containing exhibition announcements, clippings, and photographs of artwork.

Photographs are of Edwards, her studio, family and friends, students, works of art, photographer Elaine Croce, and travel in Asia. Artwork includes sketches by Edwards, Ulrich Erben, and unidentified artists, as well as 32 sketchbooks by Edwards.
Arrangement:
The collection is arranged as 9 series.

Missing Title

Series 1: Biographical Materials, 1936-1999 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1940s-1990s (2.0 linear feet; Box 1-3)

Series 3: Writings and Notes, 1937-1980s (0.5 linear feet; Box 3)

Series 4: Business Records, 1949-1994 (0.5 linear feet; Box 3-4)

Series 5: Printed Materials, circa 1940s-1990s (2.0 linear feet; Box 4-6, 13)

Series 6: Scrapbooks, 1940s-1960s (0.2 linear feet; Box 6, 13)

Series 7: Photographic Materials, 1937-circa 1992 (3.0 linear feet; Box 6-9, 13)

Series 8: Artwork, circa 1929-1980s (0.2 linear feet; Box 9)

Series 9: Sketchbooks, circa 1936-circa 1994 (2.3 linear feet; Box 9-12, 14)
Biographical / Historical:
Ethel Edwards (1914-1999) was a painter, illustrator, and educator active in New Orleans, LA, New York City, Provincetown, RI, and Wellfleet, MA.

Ethel Edwards was born in New Orleans in 1914 and attended Newcomb College in 1933 on scholarship. Her instructor for life drawing, watercolor, and portrait drawing was painter Xavier Gonzalez, whom she married in 1936 in Texas, where Gonzalez ran a summer school. She studied in Paris from 1937 to 1938. She returned to Alpine, Texas where, in 1939, she won a national mural competition to paint a mural in the U.S. Post Office in Lampasas, Texas. In 1942 she completed a second post office in Lake Providence, Louisiana.

In 1942, Edwards and Gonzalez moved to New York City, where Edwards continued to paint, working with powdered color and egg-oil emulsion and experimenting with line in various media and surfaces. She also worked as a fashion illustrator for Town and Country and Fortune magazines in 1944 and 1945. In 1946, her illustrations for Oscar Wilde's The Happy Prince were shown at the Museum of Modern Art. She regularly exhibited in New York City, Provincetown, and Wellfleet, Massachusetts on Cape Cod, where she and Gonzalez also operated the Wellfleet Art Gallery which served as a gallery, studio, and art school. For many years, she taught at the Art Students League and Truro Center for the Arts.

Edwards died in New York in 1999.
Related Materials:
Also found at the Archives of American Art are the papers of Ethel Edwards' husband, Xavier Gonzalez.
Provenance:
The collection was donated in 1999 by the estate of Ethel Edwards Gonzalez.
Restrictions:
Use of original papers requires an appointment and is limited to the 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 -- Louisiana -- New Orleans  Search this
Muralists -- Louisiana -- New Orleans  Search this
Educators -- Louisiana -- New Orleans  Search this
Illustrators -- Louisiana -- New Orleans  Search this
Topic:
Art -- Study and teaching  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Painting, Modern  Search this
Artists' studios -- Photographs  Search this
Women muralists  Search this
Genre/Form:
Photographs
Travel diaries
Scrapbooks
Transcripts
Sketchbooks
Citation:
Ethel Edwards papers, circa 1929-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.edwaethe
See more items in:
Ethel Edwards papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f4149c98-e280-4c2a-987b-d1c12f384a98
EDAN-URL:
ead_collection:sova-aaa-edwaethe

Printed Materials

Collection Creator:
Edwards, Ethel, 1914-1999  Search this
Extent:
2 Linear feet (Boxes 4-6, 13)
Type:
Archival materials
Date:
circa 1940s-1990s
Scope and Contents:
This series contains artwork reproductions, four books that reference Edwards' artwork, brochures and clippings, catalogs and announcements for exhibitions of artwork by Edwards and others, magazines and journals, posters for exhibitions, and press releases.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning 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:
Ethel Edwards papers, circa 1929-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.edwaethe, Series 5
See more items in:
Ethel Edwards papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fbf61ad5-16b8-4db4-88df-242e219d1fd9
EDAN-URL:
ead_component:sova-aaa-edwaethe-ref17

Juliette Elkon Hamelecourt papers

Creator:
Hamelecourt, Juliette Elkon  Search this
Names:
Chelsea Hotel  Search this
Bettina, 1903-  Search this
Brown, Robert Delford  Search this
Childs, Bernard, 1910-1985  Search this
Fecher, Rita  Search this
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Glassgold, Adolph, 1899-  Search this
Gordon, Maxwell, 1910-1982  Search this
Extent:
3.1 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1911-2000
bulk 1940s-2000
Summary:
The Juliette Elkon Hamelecourt papers measure 3.1 linear feet and date from 1911-2000, with the bulk of the records dating from 1940s-2000. The papers document Hamelecourt's career through resumes, personal business records, and writings, as well as general correspondence, printed material, scrapbooks, and photographs. The collection also contains a series of interviews conducted by Hamelecourt with artists at the Chelsea Hotel in New York.
Scope and Contents:
The Juliette Elkon Hamelecourt papers measure 3.1 linear feet and date from 1911-2000, with the bulk of the records dating from 1940s-2000. Biographical material consists of resumes, notes and other writings, as well as some personal business records such as contracts, price lists, loan agreements, and consignment lists. Correspondents include customers, museums, galleries, friends, publishers, and family members and discussions regard exhibitions, sales, food, and personal matters. The collection's printed material consists of clippings about Hamelecourt, Haiti, the Chelsea Hotel, and other artists; exhibition announcements, invitations, and catalogs; press releases, newsletters, and bulletins; articles written by Hamelecourt; reproductions of her artwork; and the book jacket from Hamelecourt's Edith Cavell: Heroic Nurse (1958). Hamelecourt's scrapbooks contain a variety of material such as correspondence with museums, galleries, and family members about her life and artwork as well as correspondence for historical and cultural research purposes; photographs and slides of Hamelecourt, artwork, family, and friends; printed material; sketches; drafts of her autobiography; and biographical papers pertaining to her marriage in 1969. The collection also contains a series of interviews conducted by Hamelecourt with artists at the Chelsea Hotel including Arman, Bettina, Bernard Childs, Rita Fetcher, Eugenie Gershoy, Adolph Cook Glassgold, Maxwell Gordon, and others.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, 1972-1991 (Box 1; 7 folders)

Series 2: Correspondence, 1943-1999 (Box 1; 12 folders)

Series 3: Interviews with Chelsea Hotel Artists, circa 1980 (Box 1; 5 folders)

Series 4: Printed Material, 1943-2000 (Box 2; .8 linear feet)

Series 5: Scrapbooks, 1911-1999 (Box 2-3, OV 4; 1 linear foot)

Series 6: Photographs, 1940-1990s (Box 3; 5 folders)
Biographical / Historical:
Juliette Elkon Hamelecourt (1912-2002) was a fiber artist, tapissiere, and lecturer in Haiti, New York, and Cleveland. Hamelecourt was born in Belgium and spent her early years traveling with her father in England and China. Hamelecourt first learned needlework in China at the age of 10. After her father's death a couple of years later, she returned to live in Belgium with her grandparents where Hamelecourt worked alongside her grandmother who was a volunteer conservationist, repairing chasubles for the local clergy. Hamelecourt's early tapestries were ultimately lost or destroyed during World War II when she and her family moved to New York as refugees. Until the late 1950s she worked as a culinary editor, food consultant, and author of non-fiction, while needlework remained a hobby. Hamelecourt first visited Haiti reporting on French Caribbean cuisine in the late 1950s, and soon after moved there as a representative for the World Craft Council. In Haiti, she trained local women to embroider designs from their own environment and folklore. Hamelecourt moved to the Chelsea Hotel in New York around 1970, at this time she began receiving commissions for her work--some of which she sub-contracted to her Haitian embroiderers--and consulting as a designer. She established an embroidery workshop at the hotel with a grant from the New York Council on the Arts. Hamelecourt moved to Cleveland, Ohio in 1980.
Provenance:
The collection was donated by Juliette Hamelecourt, 1978-1997, and by the Juliette Elkon Hamelecourt estate via Leonard Spremulli in 2014.
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 born-digital records or 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:
Fiber artists -- New York (State) -- New York  Search this
Tapissiers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women textile artists  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Juliette Elkon Hamelecourt papers, 1911-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hamejuli
See more items in:
Juliette Elkon Hamelecourt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw951728de8-3289-4416-aeef-b0efe2d11a53
EDAN-URL:
ead_collection:sova-aaa-hamejuli

National Photographic Society Records

Topic:
The Finder (newsletter)
Creator:
Revenue Camera Club  Search this
National Photographic Society  Search this
Donor:
Schroeder, Barbara  Search this
Names:
Greater Washington Council of Camera Clubs  Search this
National Museum of American History (U.S.). Division of Photographic History  Search this
Photographic Society of America  Search this
Extent:
3.5 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Photographs
Newsletters
Clippings
Minutes
Date:
1942-1986
Summary:
Collection documents the National Photographic Society, an amateur camera club in Washington, D.C.
Scope and Contents:
The Executive Records, 1944-1978, consist of copies and drafts of the constitution, by-laws, correspondence, and the Board of Trustee Meeting Minutes. The Treasurer Records, 1956-1973, include bank account information that deals with authorization to open an organizational bank account, correspondence about monies collected and expenses incurred and the treasurer's annual reports that document receipts, disbursements, and special activities. The Membership Records, 1945-1984, contain directories (with mailing addresses and telephone numbers), officer information detailing which members served as trustees and/or on what committee. The club had several committees—slide, projector, portrait, special activities, publicity, finance, reception, dinner, membership, salon, audit, print, nominating, program, library and by-laws. The membership applications were maintained on 3" x 5 and 5" x 8" index cards. The annual awards information contains certificates awarded to Barbara Schroeder for a variety of honors, but the majority of documentation deals primarily with annual awards given for color slides. The Henry B. Shaw Memorial Trophy was a specific award and honor that was presented to the NPS member who made the greatest contribution to the well being of NPS. The award was named for Henry B. Shaw, former president of NPS.

The club published a monthly bulletin titled The Finder, 1942-1986, which was distributed to club members and photographic dealers. The Finder was a one-page newsletter from 1942 to April 1945, but in May of 1945 enlarged to four pages, in some instances with inserts. The Photographs and Negatives, 1959-1960, provide documentation of the club's annual banquet and presentation of awards in 1959 and a holiday outing to Petersburg, West Virginia. The photographs and negatives are approximately 4" x 5". The Salons, 1944-1959, includes schedules and other printed materials about salons that club members participated in or attended in the Washington, D.C. area. Camera Clubs, 1949-1967, documents the Greater Washington Council of Camera Clubs, an organization with which NPS was affiliated, and the Metropolitan Camera Club Council, Inc. of New York, New York. The newspaper clippings, 1948-1955, contain information on two columns, "Camera Angles," a weekly written by Alexander J. Wedderburn, Curator of Photography at the Smithsonian Institution and the "Monthly Print Clinic" featuring a photograph with narrative description.
Includes documents concerning the National Photographic Society's affiliations with the Greater Washington Council of Camera Clubs and the Photographic Society of America.
Arrangement:
The collection is divided into six series

Series 1: Executive Records

Series 2: Treasurer Records

Series 3: Membership Records

Series 4: The Finder Newsletter

Series 5: Photographs and Negatives

Series 6: Salons

Series 7: Camera Clubs

Series 8: Newspaper Clippings
Biographical / Historical:
The Revenue Camera Club was organized in Washington, D.C. on March 14, 1938. It changed its name to The National Photographic Society (NPS) on April 1, 1943. It became affiliated with the Greater Washington Council of Camera Clubs and the Photographic Society of America. The NPS was incorporated in 1944 with a constitution and by-laws as a "non-profit organization under the provisions of Chapter 5 of the Code of the District of Columbia for the promotion of art and science of photography in all its various branches, through individual memberships, associated camera clubs and other photographic organizations, research and the dissemination of photographic knowledge and the promotion of photographic salons and exhibitions." The management of the society was vested in a board of trustees that was made up of nine members. The club held meetings in each other's homes, church basements or at the Mt. Pleasant or Georgia Avenue libraries where they showed member's prints and eventually held meetings at the Arts Club of Washington. The club dissolved in 1986.
Provenance:
Collection donated by Ms. Barbara Schroeder, February 12, 1999.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Clubs -- Photography -- 1940-1990 -- Washington (D.C.)  Search this
Exhibitions -- 1940-1990 -- Washington (D.C.)  Search this
Camera clubs -- 1940-1990 -- Washington (D.C.)  Search this
Genre/Form:
Correspondence -- 1940-2000
Photographs -- Black-and-white negatives -- Acetate film -- 1900-2000
Newsletters -- 20th century
Clippings -- 1940-1990 -- Washington (D.C.)
Minutes
Citation:
National Photographic Society Records, 1942-1986, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0681
See more items in:
National Photographic Society Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8cbfb397c-5584-47a8-9d62-112bcc45bfaf
EDAN-URL:
ead_collection:sova-nmah-ac-0681

Frederick Douglass Dwellings Collection

Extent:
1.5 Linear feet ((3 boxes))
Type:
Collection descriptions
Archival materials
Magazines (periodicals)
Slides (photographs)
Photographic prints
Black-and-white photographs
Clippings
Color photographs
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
Date:
circa 1940s-1990s
Summary:
The collection, which dates from circa 1940s to 1990s and measures 1.15 linear feet, documents the daily lives and activities of the residents of the Frederick Douglass Dwellings and other areas of Anacostia, as well as the demolition of the Frederick Douglass Dwellings. The collection is comprised of color and black-and-white photographs, studio portraits, slides, negatives, documents from community organizations, magazines and clippings.
Biographical/Historical note:
Built as temporary housing for World War II workers, the Frederick Douglass Dwellings were located on land previously owned by Tobias Henson, a former slave, who, after purchasing his freedom and that of his family, purchased and developed a 24-acre tract called The Ridge. Henson added to his landholdings and by the 1870s his family was the principal landholder in the black community of Stantontown; they remained on the land until the 1940s, when the federal government condemned the community to build the Frederick Douglass Dwellings. Deemed uninhabitable in 1998 and left vacant, the Frederick Douglass Dwellings were demolished in 2000 to make way for a new mixed-income community.
Restrictions:
Use of materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
African Americans  Search this
Public housing  Search this
African Americans -- Social life and customs  Search this
African American neighborhoods  Search this
Genre/Form:
Magazines (periodicals) -- 20th century
Slides (photographs)
Photographic prints
Black-and-white photographs
Clippings
Color photographs
Citation:
Frederick Douglass Dwellings collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of members of the Southeast Voices.
Identifier:
ACMA.06-066
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa786444b3d-0017-4365-8d9a-479c83a7265e
EDAN-URL:
ead_collection:sova-acma-06-066

Alexander Liberman papers

Creator:
Liberman, Alexander, 1912-1999  Search this
Names:
André Emmerich Gallery  Search this
Bennington College  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Solomon R. Guggenheim Museum  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Beaton, Cecil Walter Hardy, Sir, 1904-  Search this
Cartier-Bresson, Henri, 1908-  Search this
Chernow, Burt  Search this
Dalí, Salvador, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Dietrich, Marlene  Search this
Emmerich, André  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hopps, Walter  Search this
Klein, William  Search this
Kline, Franz, 1910-1962  Search this
Leibovitz, Annie, 1949-  Search this
Motherwell, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Newton, Helmut, 1920-  Search this
Parks, Gordon, 1912-2006  Search this
Parsons, Betty  Search this
Penn, Irving  Search this
Picasso, Pablo, 1881-1973  Search this
Ritts, Herb  Search this
Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this
Steichen, Edward, 1879-1973  Search this
Vogel, Lucien  Search this
Vreeland, Diana  Search this
Extent:
59 Linear feet
Type:
Collection descriptions
Archival materials
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Date:
circa 1912-2003
Summary:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.
Scope and Contents:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.
Arrangement:
The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Missing Title

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)
Biographical / Historical:
Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.
Related Materials:
Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.
Provenance:
The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Publishers -- New York (State) -- New York  Search this
Graphic designers  Search this
Topic:
Photographers -- New York (State) -- New York  Search this
Photography  Search this
Sculptors -- France -- Paris  Search this
Fashion photography  Search this
Painters -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- France -- Paris  Search this
Genre/Form:
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw942e7024f-773e-4db8-b545-31138550580a
EDAN-URL:
ead_collection:sova-aaa-libealex
Online Media:

Printed Material

Collection Creator:
Blaine, Nell, 1922-1996  Search this
Extent:
0.7 Linear feet (Boxes 2-3, OV 5)
Type:
Archival materials
Date:
1940s-1980s
Scope and Contents:
Printed material includes a book by Jean Garrigue with a Blaine illustration, clippings, exhibition announcements and catalogs, and reproductions of works of art.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning 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:
Nell Blaine papers, 1942-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blainell, Series 5
See more items in:
Nell Blaine papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90d182ad6-47fc-42f0-8ec3-931dbb3e9fc6
EDAN-URL:
ead_component:sova-aaa-blainell-ref39

Otto and Vivika Heino papers

Creator:
Heino, Otto, 1915-2009  Search this
Heino, Vivika, 1910-1995  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Video recordings
Date:
1895-2000
bulk 1940s-2000
Summary:
The papers of ceramicists and educators Otto and Vivika Heino measure 2.3 linear feet and date from 1895 to 2002, with the bulk of the records dating from the 1940s to 2000. The material documents the lives and careers of Otto and Vivika Heino through a mix of personal and professional papers, printed material, a video recording of a documentary, and photographs.
Scope and Contents:
The papers of ceramicists and educators Otto and Vivika Heino measure 2.3 linear feet and date from 1895 to 2002, with the bulk of the records dating from the 1940s to 2000. The material documents the lives and careers of Otto and Vivika Heino through a mix of personal and professional papers, printed material, a video recording of a documentary, and photographs.

Personal and professional papers consist of correspondence, personal business records, exhibition papers, scant financial records, resumes, writings, and a video recording of a documentary titled "You Are the Miracle: Exploring the Creative Process."

Printed material includes newspaper and magazine clippings, mailings and advertisements from The Pottery, announcements, advertisements, and some catalogs from Heino exhibitions, studio events, and sales. Printed material can also be found in two scrapbooks.

Photographs depict Otto and Vivika working and teaching in their studios, exhibitions, professional events, family and friends and friendly gatherings, marionette shows, pets, and properties.
Arrangement:
This collection is arranged as three series.

Series 1: Personal and Professional Papers, 1942-2000 (Box 1; 0.8 linear feet)

Series 2: Printed Material, 1933-2000 (Box 1, 3; 0.7 linear feet)

Series 3: Photographs, 1895-2000, bulk 1940s-1990s (Box 1-3; 0.8 linear feet)
Biographical / Historical:
Vivika and Otto Heino were ceramicists and educators active primarily in California, New Hampshire, and Rhode Island.

Vivika Heino (1910-1995) was born Vivika Place in Caledonia, New York. She attended Rochester Normal School and took a sculpture class, a drawing class at the Memorial Art Gallery, and a design class at the University of Rochester Extension. She then attended Colorado College of Education where she received her BA and became involved with puppeteering. By 1934 she had moved to California, where she apprenticed with a bookbinder, Mr. Bitteroff, making candlesticks, tin trays, and other small crafts. She also apprenticed with wood carver Charlie Sayers in Carmel, carving picture frames and furniture for about seven months, before learning weaving at Swedish Applied Arts in San Francisco.

While at Swedish Applied Arts, Place worked and became friends with Harry Dixon, Armank Harranian, Margaret Gravandar, and Bill Saroyan. She also found time to work as a puppeteer with Ralph Chesse and the Works Progress Administration. She also began studying pottery with Manuel Eugene Jalanivich at California University of Fine Arts, and subsequently focused primarily on pottery for the rest of her career.

Place began working with Glen Lukens at the University of Southern California in 1940. Lukens and Dr. Morley, director of the San Francisco Museum of Modern Art, recommended her for a scholarship at New York State College of Ceramics in Alfred, New York, from which she graduated in 1944. She subsequently took a teaching position at the League of New Hampshire Arts and Crafts where she met Otto Heino.

One of twelve siblings, Otto Heino (1915-2009) was born in East Hampton, Connecticut, to a market gardening family of Finnish descent. The family moved to New Hampshire to sell milk when Otto was 12, and around that time he began apprenticing as a wood turner for Louie Harr. Heino was then drafted into the military and became a gunner in the United States Air Force. Between flying twenty-five missions in Europe, Heino took classes in England, made jewelry, did wood working, traveled to museums, and met individual potters and silversmiths. After visiting Leach's Pottery in Cornwall, and investigating pottery in other parts of Europe, Otto was determined to study pottery on the GI Bill on his return to the United States.

Otto and Vivika met while Otto was a student at the League of New Hampshire Arts and Crafts, where Vivian was an instructor. They married in 1950 and went on to establish their reputations as artists and educators by widely exhibiting their work, leading workshops, conducting studio open houses, consulting on film productions, and teaching at various schools and institutions. They both taught at the University of Southern California, the Chouinard Art Institute, and Rhode Island School of Design; Vivika also taught at the Sheridan School of Design in Ontario, Canada, and New England College in Henniker, New Hampshire. They operated The Potter, a studio and retail store in Ojai, California, from 1973 to 1995.

The work of Otto and Vivika Heino can be found in the collections of many museums, including the Smithsonian's Cooper-Hewitt National Design Museum, the Long Beach Museum of Art, the Los Angeles County Museum of Art, and the Ariana Museum, in Geneva, Switzerland.
Provenance:
The collection was donated in 2003 and 2004 by Otto Heino as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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 born-digital records or 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:
Ceramicists -- California  Search this
Ceramicists -- New Hampshire  Search this
Ceramicists -- Rhode Island  Search this
Educators -- California  Search this
Educators -- Rhode Island -- Providence  Search this
Educators -- New Hampshire  Search this
Topic:
Pottery craft  Search this
Women potters  Search this
Women art teachers  Search this
Women artists  Search this
Women ceramicists  Search this
Women educators  Search this
Genre/Form:
Scrapbooks
Video recordings
Citation:
Otto and Vivika Heino Papers, 1895-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.heinotto
See more items in:
Otto and Vivika Heino papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94ba3af3b-8bc0-4722-9051-e04e20e5bd73
EDAN-URL:
ead_collection:sova-aaa-heinotto

Newspaper Clippings

Collection Creator:
Davis, Gene, 1920-1985  Search this
Container:
Box 10, Folder 23
Type:
Archival materials
Date:
circa 1945-1985
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Gene Davis papers
Gene Davis papers / Series 6: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4cafad4-0cbe-4a9d-bd7f-bda95fba4ff2
EDAN-URL:
ead_component:sova-aaa-davigene-ref544

Maltby Sykes papers, 1936-1992

Creator:
Sykes, Maltby, 1911-1992  Search this
Subject:
Rivera, Diego  Search this
Christ-Janer, Albert  Search this
Eichenberg, Fritz  Search this
Miller, George Charles  Search this
Type:
Drawings
Scrapbooks
Citation:
Maltby Sykes papers, 1936-1992. Archives of American Art, Smithsonian Institution.
Topic:
Mural painting and decoration -- Mexico -- Mexico City  Search this
Prints -- Technique  Search this
Lithography  Search this
Latino and Latin American artists  Search this
Theme:
Latino and Latin American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)13473
(DSI-AAA_SIRISBib)208803
AAA_collcode_sykewill
Theme:
Latino and Latin American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208803

Michael Lekakis papers, 1940-1990

Creator:
Lekakis, Michael, 1907-1987  Search this
Subject:
Sweeney, James Johnson  Search this
Cummings, E. E. (Edward Estlin)  Search this
Freeman, Joseph  Search this
Gilford, Henry  Search this
Olson, Charles  Search this
Pound, Ezra  Search this
Citation:
Michael Lekakis papers, 1940-1990. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9131
(DSI-AAA_SIRISBib)211325
AAA_collcode_lekamich
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211325

Mary Reardon papers, 1920-2002, bulk 1940-1990

Creator:
Reardon, Mary, 1912-2002  Search this
Type:
Drawings
Scrapbooks
Citation:
Mary Reardon papers, 1920-2002, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women muralists  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)11154
(DSI-AAA_SIRISBib)248822
AAA_collcode_rearmary
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_248822

Clippings

Collection Creator:
Johnson, Buffie  Search this
Container:
Box 2, Folder 5-7
Type:
Archival materials
Date:
1940s-1990s
Scope and Contents:
Oversized clippings housed in Box 4, Folders 1-5
Collection 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.
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:
Buffie Johnson papers, circa 1920-2010. Archives of American Art, Smithsonian Institution.
See more items in:
Buffie Johnson papers
Buffie Johnson papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d3ee63f6-2b5e-40a8-82d8-1ca044a957bd
EDAN-URL:
ead_component:sova-aaa-johnbuff-ref30

Claire Falkenstein scrapbook

Creator:
Falkenstein, Claire, 1908-1997  Search this
Subject:
Falkenstein, Claire  Search this
Type:
Albums
Date:
1959-1961
Citation:
Claire Falkenstein. Claire Falkenstein scrapbook, 1959-1961. Claire Falkenstein papers, circa 1914-1997. Archives of American Art, Smithsonian Institution.
Topic:
Artists at or with their work  Search this
Exhibitions  Search this
Record number:
(DSI-AAA)13501
See more items in:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_13501

Modify Your Search







or


Narrow By