Kilbourne, Elaine Margretta, 1923-2014 Search this
Type:
Archival materials
Date:
1966-1967
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at ACMarchives@si.edu
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Elaine M. Kilboroune Scrapbooks, Anacostia Community Museum Archives, Smithsonian Institution, gift of Guy A.Toscano.
Interview of Sue Fuller, conducted on April 24, 1975, April 30, 1975, and May 8, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution, at the home of Sue Fuller, in Southampton, New York.
Fuller speaks of her family and childhood in Pittsburgh, including art teachers and friends; her childhood painting lessons; her education in prep school, at Carnegie Tech, and at Columbia Teachers' College; her travels to Europe and Japan; her use of plastics; her work as a teacher, commercial artist, and assistant in Bill Hayter's studio; the influence of John Dewey's philosophy on her teaching style; training with Ernest Thurn, Hans Hofmann, Josef Albers; learning printmaking and calligraphy; the Society of American Etchers; the influence of science and mathematics on her work; and her thoughts on contemporary computer art. Fuller also recalls Bertha Schaefer, Victor D'Amico, Madeleine Lejwa, John Taylor Arms, Abraham Rattner, Louis Schanker, Roberto Matta, and others.
Biographical / Historical:
Sue Fuller (1914-2006) was a sculptor and printmaker from Southampton, New York.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Photographs documenting people and culture in Korea, Japan, Manchuria, China, the Philippines, and Singapore. They include images of people, buildings, trades and commerce, markets, village and city scenes, laundering, child care, food and food preparation, churches and shrines, schools, dances, transportation, and fishing.
The photographs and postcards were made and collected by Edmund de S. Brunner and Mary B. Brunner during the Asian leg of their around-the-world trip, 1927-1928.
Biographical/Historical note:
Edmund de Schweinitz Brunner (1889-1973) earned his BA, PhD, and BD (Bachelor of Divinity) from Moravian College and Seminary in Pennsylvania. He worked as a pastor before becoming the Moravian Church representative on the Rural Church Commission of the Federal Council of Churches as well as the Director of Rural Investigations of the Institute for Social and Religious Research. A scholar of the church in rural communities, Brunner wrote books and articles and lectured in rural sociology at Columbia University Teachers College, Western Connecticut State College (1957-1967), and in Australia and New Zealand.
Photo Lot 89-16, Edmund de Schweinitz Brunner photograph and postcard collection relating to Korea and East Asia, National Anthropological Archives, Smithsonian Institution
The papers of Arthur Wesley Dow measure 1.3 linear feet and date from 1826-1978, with the bulk of the material dating from 1879-1922. The collection documents aspects of the life and work of the landscape painter, printmaker, photographer and educator. Papers include correspondence, diaries, writings, lecture notes, clippings, catalogs, ephemera, artwork, and photographs.
Scope and Content Note:
The papers of Arthur Wesley Dow measure 1.3 linear feet and date from 1826 to 1978, with the bulk of the materials dating from 1879 to 1922. Correspondence consists of two folders, which contain a few letters from Dow to his family during his stints painting in Brittany and to and from Columbia University's Teachers College, as well as letters from his wife (then fiancée) Minnie Pearson Dow to her mother and friend while she, too, was studying painting abroad. There is also a folder of typescript and handwritten notes on Dow's correspondence, the majority of which is not in this collection, attributed to his biographer, Arthur Warren Johnson. Diaries include travel diaries kept by Dow and his brother Dana F. Dow during their "trip around the world" in 1903-1904. Publications, clippings, exhibition catalogs, announcements for Dow's Ipswich Summer School of Art and a new edition of his book Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers are found within printed materials. Notes and writings include a substantial number of handwritten manuscripts and typescripts of Dow's lectures on art and art history during his tenure as the Dean of Fine Arts at the Teachers College of Columbia University. There are a few examples of works of art, including prints from the Ipswich Prints series, and a pencil sketch of a colonial home, similar to those that appeared in the serial Antiquarian Papers.
This collection is particularly rich in vintage prints of Dow portraits as well as family and group photographs, although it does not include any of the artist's landscape cyanotypes. Among the nineteen vintage prints are several platinum prints including a portrait by the renowned Pictorialist photographer Gertrude Käsebier and an atmospheric image of Dow taken at the Grand Canyon by Mrs. Fannie Coburn, the mother of another well-known Pictorialist photographer, Alvin Langdon Coburn. There are also three portraits by Herbert Hess and a photogravure of Dow by Kenneth Alexander that was used in the publication announcement for the second edition of Composition. Group photographs include an albumen print of fellow artist Henry R. Kenyon with Dow in his Ipswich studio, with classmates at the Académie Julian in Paris, and with his own students during a crafts class at his Ipswich Summer Art School. There are also several modern copy prints of vintage photographs from other collections as well as photographs of artworks by Dow and his contemporaries.
Arrangement:
The collection is arranged into 6 series:
Series 1: Correspondence, circa 1885-1934 (Box 1; 3 folders)
Series 2: Diaries, 1861-1904 (Box 1; 6 folders)
Series 3: Notes and Writings, circa 1904-1977 (Box 1; 0.4 linear feet)
Series 4: Printed Materials, circa 1826-1978 (Boxes 1-2; 5 folders)
Series 5: Photographs, circa 1880-1977 (Boxes 1-2; 0.6 linear feet)
Series 6: Artwork, circa 1879-1906 (Box 1; 3 folders)
Biographical Note:
Arthur Wesley Dow, landscape painter, printmaker, photographer, and influential art educator, was born in Ipswich, Massachusetts on April 6, 1857, the eldest son of Mary Patch and David Dow. As a young man, he showed interest in the colonial history of Ipswich and together with Reverend Augustine Caldwell, he produced the serial Antiquarian Papers from 1875 to 1880, which featured Dow's drawings of local colonial architecture. It was Caldwell who advised him to pursue formal art instruction and in 1880 Dow began studying in the Boston studio of James M. Stone.
Like many aspiring American artists of his generation, Dow traveled to Paris for further art instruction. Between 1884 and 1889, the artist alternated between spending time in Paris, where he had enrolled in the Académie Julian, and in Brittany where he painted landscapes en plein air. During this period he produced landscape paintings that were accepted into the Paris Salon and exhibited to moderate success back in the United States.
Shortly after his return to Ipswich, Dow took a studio in Boston, where he hoped to attract students and began an extremely fertile and successful period as an art educator. He began studying Japanese art, particularly the compositional elements employed in Japanese prints, which he synthesized with Western art techniques and utilized in teaching composition and design. In addition to seeing students in his Boston studio, he began the Ipswich Summer School of Art, which continued into 1907. Pratt Institute hired Dow as an art instructor in 1895 and he remained there until 1904, when he was appointed the Director of Fine Arts of the Columbia University Teacher's College, a position he retained until his death in 1922. Between 1897 and 1903, he also taught at the Art Students League.
In 1899 his seminal book, Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, was published. Composition illustrated Dow's teaching method, which focused on the compositional elements of line, notan (a Japanese word for the balance of light and dark in a composition) and color. The book underwent several printings and art schools across the United States adopted the Dow method. Max Weber, Georgia O'Keeffe and the photographer Alvin Langdon Coburn were among the artists who personally benefited from Dow's instruction. Through his teaching, publications, and public speeches, Arthur Wesley Dow played an important role in shaping modern American art.
Related Material:
Also found at the Archives of American Art are the William H. Elsner papers relating to Arthur Wesley Dow, which include color photographs of Dow's works of art and correspondence regarding Dow between Frederick Moffatt and Rudolph Schaeffer.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1027, 1033-1034, and 1079) including biographical material, correspondence, manuscripts, printed material, and one diary. Reel 1271 contains group photographs taken at the Académie Julian, Paris, as well as unidentified group photographs, some of the photographs and are available at the Ipswich Historical Society. All other loaned materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Material on reels 1027 and 1033-1034 were lent for microfilming by the Ipswich Historical Society, 1975. The diary on reel 1079 was lent by the Society for Preservation of New England Antiquities, 1976. Dow's grand-niece, Mrs. George N. Wright, donated material in 1976, and lent the photographs for microfilming in 1977. Additional material was received from Frederick Moffatt in 1989, who had obtained them in preparation for his book Arthur Dow (1977).
Restrictions:
The bulk of the collection has been digitized and is available online via the Archives of American Art's website. Use of material not digitized 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.
The papers of sculptor, writer, and teacher Chenoweth Hall measure 5.9 linear feet and date from circa 1870s-2001, with the bulk of the records dating between 1938-1999. The papers document Hall's career through personal and professional files, correspondence, writing files, printed materials, photographs, and some artwork.
Scope and Contents:
The papers of sculptor, writer, and teacher Chenoweth Hall measure 5.9 linear feet and date from circa 1870s-2001, with the bulk of the records dating between 1938-1999. The papers document Hall's career through personal and professional files, correspondence, writing files, printed materials, photographs, and some artwork.
Personal and professional files contain biographical materials such as resumes, biographical summaries, and family histories; gallery, exhibition, and financial files; papers related to talks given by Hall; education and employment records; an inventory of sculptures; and one VHS recording.
Correspondence is between Hall and Miriam Colwell and their families, as well as with publishers, literary agents, and fans regarding Hall's writings. Also found is correspondence with artists, galleries, and museums.
Hall's writing files form the bulk of the collection and include drafts, handwritten and typed, of her stories, novellas, novels, and plays; notebooks, notes and other writings; and a handwritten copy of Colwell's book, Young (1955). Printed materials include clippings, exhibition material, and other printed ephemera. Photographs depict Hall's sculptures, one exhibition at the University of Maine, and Hall's family and friends. Hall's artwork found in the collection includes illustrated folders, sketchbooks, and loose sketches.
Arrangement:
The collection is arranged as 6 series.
Series 1: Personal and Professional Files, 1905-1989 (Boxes 1, 7; 0.5 linear feet)
Series 2: Correspondence, circa 1938-circa 1981 (Boxes 1-2; 0.7 linear feet)
Series 3: Writing Files, circa 1938-1970 (Boxes 2-5; 3.2 linear feet)
Series 4: Printed Material, 1940-1999 (Boxes 5, 7; 10 folders)
Series 5: Photographs, circa 1870s-1990s (Boxes 5-6, 8; 0.7 linear feet)
Series 6: Artwork, 1937-1990 (Boxes 6-7; 8 folders)
Biographical / Historical:
Chenoweth Hall (1908-1999) was a sculptor, writer, musician, and teacher from Prospect Harbor, Maine. Born in Indiana, Hall attended college at the University of Wisconsin where she was initially enrolled as an architecture student, but ultimately changed majors to study music. Hall moved to New York, took classes at Columbia University Teachers College, and became a licensed teacher in New York. There, her primary employment was account executive at an advertising agency, a position she subsequently credited with improving her writing.
After moving to Maine in the late-1930s, Hall became a free-lance fiction writer working on short stories, novellas, and novels, and met Miriam Colwell, a writer who became her lifelong partner.
Hall's stories were published in newspapers and magazines, and her novel, Crow on the Spruce, was published by Houghton Mifflin in 1946. In 1968, Hall wrote the text for photographer Bernice Abbott's Portrait of Maine.
Hall began exhibiting her sculpture in the 1950s, with one-man shows at Cape Split Gallery, Maine Art Gallery, University of Maine, Joan Whitney Payson Gallery, and the Philips Gallery. She also exhibited in group shows at the Boston Museum of Fine Arts, Portland Museum of Art, Shore Gallery, and Hobe Sound Gallery. Hall was commissioned by the Pierre Monteux Foundation to install a sculpture at the Monteux School in Maine. Her work is also found in the collection at the University of Maine, Orono, and in the homes of private collectors.
Provenance:
The collection was donated in 2001 by Miriam Colwell.
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.
Researchers interested in accessing audiovisual recordings 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.
Chenoweth Hall papers, circa 1870s-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
