The papers of curator, gallery director, educator, and Latin American art historian Stanton L. Catlin (1915-1997) measure 56.4 linear feet and date from 1911 to 1998 with the bulk of the material dating from 1930 to 1994. The papers are comprised of biographical material, correspondence, writings and notes, teaching and project files, professional files, research files, exhibition and subject files, printed material, and photographs.
Scope and Contents:
The papers of curator, gallery director, educator, and Latin American art historian Stanton L. Catlin (1915-1997) measure 56.4 linear feet and date from 1911 to 1998 with the bulk of the material dating from 1930 to 1994. The papers are comprised of biographical material, correspondence, writings and notes, teaching and project files, professional files, research files, exhibition and subject files, printed material, and photographs.
Biographical material includes six address books, two annotated calendars, four day books, curriculum vitae, interview transcripts, records of Catlin's personal book collection, and his work as a student. Correspondence is with Catlin's family and prominent artists and colleagues, such as Dawn Ades, Dore Ashton, Alfredo Boulton, Robert Motherwell, Alejandro Obregon, César Paternosto, Octavio Paz, Waldo Rasmussen, David and Nelson Rockefeller, Susana Torruella Leval, Judith Sandoval, Santiago Sebastian, and Amancio Williams. Correspondence with Columbia Records concerns Catlin's Grammy Award for best album.
There are writings and notes by Catlin and others on Latin American art, and three journals kept by Catlin during his time in the Czech Republic and Minnesota.
Teaching files document some of Catlin's work as an art history professor at Hunter College, Syracuse University, and the University of Chile. The project files document his work as a consultant or contributor on various projects abd the professional files include records of Catlin's positions as art gallery curator and director, professional memberships, conference participation, and other professional activities. Research and subject files consist of annotated material related to Latin American art, European art, and various artforms and artists.
Exhibition files are found for Art of Latin America Since Independence (1966) and other exhibitions of Latin American art. Printed materials include books with an inscription, clippings, exhibition announcements and catalogs, magazines, and publications. There are photographs of Catlin, family and friends, colleagues, and artwork.
Arrangement:
The collection is arranged as 10 series.
Missing Title
Series 1: Biographical material , 1933-1989 (1 linear foot; Box 1)
Series 2: Correspondence, 1914-1994 (4.5 linear feet; Box 2-6)
Series 3: Writings and Notes, 1930-1993 (4.5 linear feet; Box 6-10, OV 57)
Series 4: Teaching Files, 1941-1991 (1.5 linear feet; Box 10-12)
Series 5: Project Files, 1940-1993 (3.5 linear feet; Box 12-16)
Series 6: Professional Files, 1939-1994 (13.1 linear feet; Box 16-28, OV 58, 60)
Series 7: Research and Subject Files, 1938-1998 (8.0 linear feet; Box 28-36)
Series 8: Exhibition Files, 1941-1993 (15.6 linear feet; Box 37-51, OV 58-60)
Series 9: Printed Material, 1944-1993 (4.2 linear feet; Box 52-56)
Series 10: Photographs, 1911-1991 (0.5 linear feet; Box 56)
Biographical / Historical:
Stanton L. Catlin (1915-1997) was a curator, gallery director, educator, art historian, and expert on Latin American Art.
Catlin studied art history at Oberlin College and graduated in 1937. After graduation, he studied painting and art history at the Academy of Arts in Prague, Czech Republic for two years. Catlin received a Fogg Museum Fellowship in Modern Art at Harvard University to survey collections of art in Europe. However, the project was canceled because of World War II.
During the war, Catlin served as a Cultural Relations Representative for the Coordinator of Inter-American Affairs where he assisted with exhibition arrangements throughout Latin America. In 1942, he also began teaching the history of art in the United States at the University of Chile. After the war, Catlin served in the Field Operations Division of the United Nations Relief and Rehabilitation Administration, working in the Displaced Persons Operation from 1945-1946.
From 1947 to 1950, Catlin served as the executive director of the American Institute of Graphic Arts. He received his graduate degree in art history from New York University in 1952, and shortly thereafter became editor and curator of American art at the Minneapolis Institute of Arts. From 1958 to 1967, Catlin was the assistant director of the Yale University Art Gallery. While there, he curated the landmark exhibition Art of Latin America Since Independence in 1966, the first exhibition to include only Latin American art and the accompanying catalog remains a standard reference source. That same year, Catlin won a Grammy Award for best album notes for an essay on Mexican mural painting.
In 1967, Catlin left Yale to take a position as director of the Art Gallery at the Center for Inter-American Relations before joining the faculty of Syracuse University in 1971 and becoming director of the university's Art Gallery. He remained at Syracuse for the rest of his career.
Catlin was a consultant on the major retrospective exhibition of the work of Diego Rivera at the Detroit Institute of Arts in 1986. He also worked on a project to document Mexican murals in the United States.
Catlin died in Fayetteville, New York in 1997.
Related Materials:
Also found at the Archives of American Art is an oral history interview conducted by Francis V. O'Connor with Stanton L. Catlin from July 1 to September 14, 1989.
The University of Texas at Austin holds a significant collection of Stanton Loomis Catlin's papers, some of which are duplicates of the papers held by the Archives of American Art.
Provenance:
The collection was donated from 1992 to 1995 to by Stanton L. Catlin.
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.
Subseries consists of correspondence between Cornell and friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired or with whom he was especially preoccupied, "helpers," and charitable institutions. Included are letters (in some instances, with photographs or poems enclosed), postcards, and greeting cards, as well as some art work, three-dimensional objects, and artifacts. Also included are some notes and printed material, such as newspaper and magazine clippings, pamphlets, brochures, publications, and publicity material, pertaining to individuals, institutions, and/or topics in which Cornell had a particular interest.
Correspondence documents some of Cornell's activities involved in creating his art work, such as his practice of using multiple copies of a single image in many of his works (as in a letter from John Allen referring to Cornell's order for multiple prints of a Loie Fuller image); his early attempts to advertise his art work (as in letters from the Blaker Advertising Agency, Columbia Records, Inc., and N. W. Ayer and Son); and his later, oftentimes hesitant, transactions with galleries and dealers, including Irving Blum, Charles Egan, Richard Feigen, Julien Levy, Robert Schoelkopf, and Eleanor Ward ( See also Series 1). Correspondence relates to the sale of his art work to galleries and individual collectors, and the exhibition of his art work in museums, including the Cleveland Museum of Art, Guggenheim Museum ( See Diane Waldman and Tom Messer), Pasadena Art Museum, and Whitney Museum ( See also John Baur).
The positive reception of Cornell's art work is documented in many letters from admirers (including poet, Paul Carroll, who wrote two poems about Cornell's art work, the Fourth Grade Class at Murray Avenue School, actress, Eva Marie Saint, and author, Glenway Wescott, among others). The critical reception of Cornell's art work is documented in the many letters from people who have written or express interest in writing an article about Cornell (including Howard Griffin from Art News, David Bourdon from Life magazine, and Brian O'Doherty, author of American Masters: The Voice and the Myth, among others).
Correspondence also concerns some of Cornell's major "explorations," including ones on the singers, Maria Malibran and Giuditta Pasta (as in letters from the English scholar, Richard Coe), and the ballerina, Fanny Cerrito (as in letters from Lillian Moore). Correspondence relates to his other research and collecting activities and includes numerous letters responding to his requests for information and/or material from institutions, such as the Harvard College Library, dealers, such as C. and I. K. Fletcher, and individuals, such as Marian Hannah Winter.
Correspondence documents Cornell's preoccupations with certain dancers (such as Allegra Kent, Tanaquil LeClerq, and Tamara Toumanova), actresses (such as Lois Smith), artists (Lee Bontecou), and other young women; his relationships with other artists, both young and established, including Piero Dorazio, Ray Johnson, Hubert Kappel, Roberto Matta Echauren, Dorothea Tanning, and Pavel Tchelitchew, among others; and his friendships and shared interests with individuals, such as Wayne Andrews, Charles Henri Ford, Parker Tyler, Donald Windham, and Marian Hannah Winter (their letters often entailing an exchange of ideas on topics such as literature, music, dance, art, and the pleasures of collecting). Correspondence also documents his generosity (in terms of gift giving) toward his friends (and their children) and individuals whom he admired (as in letters and notes of thanks for gifts of art work from Valerie Adams, George Bennette, Lee Bontecou, Susan Sontag, Jessica Tandy, and Tamara Toumanova, among others); and his generosity toward institutions providing public services to the less fortunate (as in letters acknowledging and expressing gratitude for donations from the New York Institute for the Education of the Blind and the Bedside Network, among others).
General correspondence is arranged in files according to correspondent and then alphabetically according the surname of the individual or the name of the institution. Items are arranged in rough chronological order within each file. When only a few items (typically less than three) are associated with a correspondent, these are arranged into general alphabetical files. Unidentified and miscellaneous items are arranged into files at the end of the subseries.
Collection Restrictions:
Use of the original papers requires an appointment.
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:
Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
Clinton-Baddeley, V. C. (Victor Clinton), 1900-1970 Search this
Extent:
6 Sound discs (vinyl) (Three copies of two-volume set. Includes liner notes.)
Container:
Box 1, Item 1
Type:
Archival materials
Audio
Sound discs (vinyl)
Date:
1956
Scope and Contents:
LLRE recordings released on Alpha Records, custom pressed by Columbia Records Inc.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
London Library of Recorded English records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Clinton-Baddeley, V. C. (Victor Clinton), 1900-1970 Search this
Extent:
6 Sound discs (vinyl) (Three copies of two-volume set. Includes liner notes.)
Container:
Box 1, Item 2
Type:
Archival materials
Audio
Sound discs (vinyl)
Date:
1956
Scope and Contents:
LLRE recordings released on Alpha Records, custom pressed by Columbia Records Inc.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
London Library of Recorded English records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection 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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
