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Rockwell Kent papers, circa 1840-1993, bulk 1935-1961

Creator:
Kent, Rockwell, 1882-1971  Search this
Subject:
Wildenstein, Felix  Search this
Phillips, Duncan  Search this
Hays, Lee  Search this
Untermeyer, Louis  Search this
Zigrosser, Carl  Search this
Robeson, Paul  Search this
DuBois, W.E.B. (William Edward Burghardt)  Search this
Roosevelt, Franklin D. (Franklin Delano)  Search this
Ruggles, Carl  Search this
Stefansson, Vilhjalmur  Search this
Nearing, Helen  Search this
Nearing, Scott  Search this
Pach, Walter  Search this
Rasmussen, Knud  Search this
Reeves, Ruth  Search this
Seeger, Pete  Search this
Daniel, Charles  Search this
Cleland, T. M. (Thomas Maitland)  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Chamberlain, J. E.  Search this
Boyesen, Bayard  Search this
Chase, William Merritt  Search this
Freuchen, Peter  Search this
Gellert, Hugo  Search this
Gottlieb, Harry  Search this
Hartley, Marsden  Search this
FitzGerald, James  Search this
Keller, Charles  Search this
Miller, Kenneth Hayes  Search this
Henri, Robert  Search this
Jones, Dan Burne  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
American Artists' Congress  Search this
Artists' Union (New York, N.Y.)  Search this
Artists League of America  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
Macbeth Gallery  Search this
International Workers Order  Search this
Type:
Poems
Sketches
Business records
Photographs
Drawings
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
World War, 1939-1945 -- Civilian relief  Search this
Labor unions  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Record number:
(DSI-AAA_CollID)9557
(DSI-AAA_SIRISBib)211757
AAA_collcode_kentrock
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211757
Online Media:

Delegate

Published by:
MelPat Associates, American, 1965 - 1986  Search this
Created by:
C. Melvin Patrick, American, died 1985  Search this
Subject of:
United Negro College Fund, American, founded 1944  Search this
Billy Dee Williams, American, born 1937  Search this
National Association for Equal Opportunity in Higher Education, American, founded 1969  Search this
National Urban Affairs Council, American, founded 1971  Search this
National Association of Market Developers, American, founded 1953  Search this
Prince Hall Freemasonry, founded 1784  Search this
Opportunities Industrialization Center of America, Inc., American, founded 1964  Search this
Harold Washington, American, 1922 - 1987  Search this
National Newspaper Publishers Association, American, founded 1827  Search this
Top Ladies of Distinction, Inc., American, founded 1964  Search this
National Association for the Advancement of Colored People, American, founded 1909  Search this
Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this
Iota Phi Lambda Sorority, Inc., American, founded 1929  Search this
Chi Eta Phi Sorority, Inc., American, founded 1932  Search this
National Medical Association, American, founded 1895  Search this
National United Church Ushers Association of America, Inc., American, founded 1919  Search this
Morehouse College, American, founded 1867  Search this
Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this
Carats, Inc., American, founded 1959  Search this
National Bar Association, American, founded 1925  Search this
National Urban League, American, founded 1910  Search this
African Methodist Episcopal Church, American, founded 1816  Search this
National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this
Shriners International, American, founded 1870  Search this
Delta Sigma Theta Sorority, American, founded 1913  Search this
Omega Psi Phi Fraternity, Inc., American, founded 1911  Search this
National Pharmaceutical Association, American, founded 1947  Search this
National Sorority of Phi Delta Kappa, Inc., American, founded 1906  Search this
One Hundred Black Men, Inc., American, founded 1963  Search this
Arthur Ashe Jr., American, 1943 - 1993  Search this
Association for the Study of African American Life and History, American, founded 1915  Search this
People United to Save Humanity, American, founded 1971  Search this
369th Veterans Association, American  Search this
Eubie Blake, American, 1887 - 1983  Search this
Dance Theatre of Harlem, American, founded 1969  Search this
National Coalition of 100 Black Women, American, founded 1981  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 10 13/16 × 8 7/16 × 1/2 in. (27.5 × 21.4 × 1.3 cm)
Type:
magazines (periodicals)
Place made:
Harlem, New York City, New York, United States, North and Central America
Place depicted:
Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America
Bahamas, Caribbean, North and Central America
Houston, Harris County, Texas, United States, North and Central America
Atlanta, Fulton County, Georgia, United States, North and Central America
Date:
1983
Topic:
African American  Search this
Advertising  Search this
Associations and institutions  Search this
Business  Search this
Caricature and cartoons  Search this
Communities  Search this
Fraternal organizations  Search this
Fraternities  Search this
Government  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Journalism  Search this
Labor  Search this
Mass media  Search this
Men  Search this
Political organizations  Search this
Politics  Search this
Professional organizations  Search this
Religious groups  Search this
Social life and customs  Search this
Sororities  Search this
Travel  Search this
U.S. History, 1969-2001  Search this
Urban life  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely
Object number:
2012.167.17
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd516419a20-d7d3-4570-a5c9-78bd4c89cfee
EDAN-URL:
edanmdm:nmaahc_2012.167.17
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The Crisis Vol. 8 No. 6

Published by:
National Association for the Advancement of Colored People, American, founded 1909  Search this
Edited by:
W.E.B. Du Bois, American, 1868 - 1963  Search this
Photograph by:
C. M. Battey, American, 1873 - 1927  Search this
Medium:
ink on paper
Dimensions:
9 3/4 x 6 3/4 x 1/8 in. (24.8 x 17.1 x 0.3 cm)
Type:
magazines (periodicals)
Place printed:
New York City, New York, United States, North and Central America
Date:
October 1914
Topic:
African American  Search this
Advertising  Search this
Associations and institutions  Search this
Business  Search this
Caricature and cartoons  Search this
Children  Search this
Civil Rights  Search this
Education  Search this
Literature  Search this
Mass media  Search this
Poetry  Search this
Politics  Search this
Race relations  Search this
Social life and customs  Search this
Social reform  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bobbie Ross in memory of Elizabeth Dillard
Object number:
2012.84.17
Restrictions & Rights:
Public Domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd59a8ee871-9615-412e-9c6f-9d1e1a593091
EDAN-URL:
edanmdm:nmaahc_2012.84.17
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  • View <I>The Crisis Vol. 8 No. 6</I> digital asset number 1

Niveau Gallery records, 1943-1947

Creator:
Niveau Gallery (New York, N.Y.)  Search this
Subject:
Aronson, David  Search this
Type:
Scrapbooks
Record number:
(DSI-AAA_CollID)8095
(DSI-AAA_SIRISBib)210266
AAA_collcode_nivegall
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210266

Niveau Gallery records

Creator:
Niveau Gallery (New York, N.Y.)  Search this
Names:
Aronson, David, 1923-2015  Search this
Extent:
0.2 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1943-1947
Scope and Contents:
Occasional catalogs with prices and clippings on Niveau Gallery exhibitions, and photographs of works by artists handled by the gallery, particularly those of David Aronson, Maurice Utrillo, and French painters of the late 19th and early 20th centuries.
Biographical / Historical:
Commercial art gallery specializing in late 19th and early 20th century French painting. Located at 962 Madison Avenue, New York City.
Provenance:
Donated 1966 by the Niveau Gallery.
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.
Function:
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Scrapbooks
Identifier:
AAA.nivegall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nivegall

Oral history interview with John Wilson

Interviewee:
Wilson, John, 1922-2015  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Boston University. School of Fine and Applied Arts  Search this
Museum of Fine Arts, Boston. School  Search this
Aronson, David, 1923-2015  Search this
Bengtz, Ture, 1907-1973  Search this
Gaither, Edmund B.  Search this
Hurwitz, Sidney, 1932-  Search this
Kay, Reed  Search this
Kramer, Jack  Search this
Lewis, Elma  Search this
Léger, Fernand, 1881-1955  Search this
Rivera, Diego, 1886-1957  Search this
Siqueiros, David Alfaro  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
497 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1993 March 11-1994 August 16
Scope and Contents:
An interview of John Woodrow Wilson conducted 1993 March-1994 August, by Robert F. Brown, for the Archives of American Art.
Wilson discusses his childhood as a member of a family of middle class blacks from British Guiana (now Guyana); his father's grave disappointments in the face of racial discrimination; his parents' push for their children to succeed; early urge to read and draw; encouragement by School of the Museum of Fine Arts, Boston students who taught at the Roxbury Boys Club; his secondary education; and friends.
He talks about his education at the MFA School, Boston, and comments on such teachers as Ture Bengtz and Karl Zerbe and compares their exacting methods with those of Fernand Leger, his teacher in Paris.
His work of the 1940s prior to going to Paris; the importance of early awards and sales received while still a student at the MFA School; the excitement of sharing a studio with fellow students, Francesco Carbone and Leo Prince; and encouragement to stay in school during WW II with the promise of a European study fellowship after the war.
The great impact of his years in Paris (1948-49); the lack of racial prejudice; the liberating effect of Leger's teaching; his awe of the work of Masaccio and Piero della Francesca during a trip to Italy; and the deep impression made on him by seeing tribal art in the Musee de l'Homme, Paris.
Continued discussion of Leger; his teaching methods; and influences on his work.
His first teaching position at the MFA School; his involvement in civil rights in Boston; his gregariousness and the use of his studio as a meeting place for artists and political activists; his involvement with socialism in Boston and New York; and working in a socialist children's camp. He remembers meeting Paul Robeson, Charles White, Elizabeth Catlett, and Bob Blackburn, who was then setting up his printmaking atelier in New York; marriage to a fellow socialist (June 1950); move to Mexico on a fellowship to study with Jose Orozco on the advice of Leger, only to find that Orozco had died; terrors of travel as an interracial couple through the U.S.; and different racial attitudes in Mexico and the U.S.
Living in Mexico (1950-56) and anecdotes of David Alfaro Siqueiros and Diego Rivera; his wife's meeting with Frieda Kahlo and seeing her collection of folk art; their free and cosmopolitan, if impoverished, life in Mexico; his work in a printmaking atelier and on the production of frescoes, and a lengthy aside about his brilliant brother, Freddie, who because he was black was not allowed to pursue his first love, geology, for many years.
Continued discussion of his experiences in Mexico; the dreary year (1957) he spent doing commercial art for a meatpackers' union in Chicago, a city he disliked; his move to New York in 1958, taking on commercial work to support his family, and teaching anatomy at the Pratt Institute.
Teaching art at a junior high school in the Bronx, and his gaining respect of students through special projects; teaching drawing at Boston University (1965-86), his approach to teaching including his demanding standards, the seriousness of the students, his opposing rigid attendance and grading rules, and colleagues, such as David Aronson who had created the School, Reed Kay, Jack Kramer, Sidney Hurwitz, and the University president, John Silber.
Working with the black arts entrepreneur, Elma Lewis, in setting up a visual arts program for the Boston black community (late 1960s-1970s), including the selection of a curator, Edmund Barry Gaither, a young art historian, who eventually established a museum of African-American art; his participation in various black art exhibitions, despite his belief that art should be seen regardless of the ethnic origins of artists; his move toward sculpture, beginning in the early 1960s, as a medium most expressive of black persons, culminating in the 1980s in a series of colossal heads and a statue of Martin Luther King, Jr. for the U.S. Capitol (1985-86); and why he makes art and will so long as he is able.
Biographical / Historical:
John Wilson (1922- ) is an African American painter, sculptor, illustrator, printmaker, and educator from Boston, Massachusetts. Full name John Woodrow Wilson.
General:
Originally recorded on 11 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 16 hr., 2 min.
Uneven transcription reflects Wilson's unusual speech pattern.
Provenance:
This interview is 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 administrators. Funding for the transcription and microfilming of the interview provided by the Newland Foundation.
Occupation:
Painters -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Printmakers -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Topic:
African American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wilson93
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wilson93

Rockwell Kent papers

Creator:
Kent, Rockwell, 1882-1971  Search this
Names:
American Artists' Congress  Search this
Artists League of America  Search this
Artists' Union (New York, N.Y.)  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
International Workers Order  Search this
Macbeth Gallery  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
Boyesen, Bayard  Search this
Chamberlain, J. E.  Search this
Chase, William Merritt, 1846-1916  Search this
Cleland, T. M. (Thomas Maitland), 1880-1964  Search this
Daniel, Charles, 1878-1971  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Fitzgerald, James, 1899-1971  Search this
Freuchen, Peter, 1886-1957  Search this
Gellert, Hugo, 1892-1985  Search this
Gottlieb, Harry, 1895-  Search this
Hartley, Marsden, 1877-1943  Search this
Hays, Lee, 1914-1981  Search this
Henri, Robert, 1865-1929  Search this
Jones, Dan Burne  Search this
Keller, Charles, 1914-2006  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Nearing, Helen  Search this
Nearing, Scott, 1883-1983  Search this
Pach, Walter, 1883-1958  Search this
Phillips, Duncan, 1886-1966  Search this
Rasmussen, Knud, 1879-1933  Search this
Reeves, Ruth, 1892-1966  Search this
Robeson, Paul, 1898-1976  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Ruggles, Carl, 1876-1971  Search this
Seeger, Pete, 1919-2014  Search this
Stefansson, Vilhjalmur, 1879-1962  Search this
Untermeyer, Louis, 1885-1977  Search this
Wildenstein, Felix, 1883-1952  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
88 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Sketches
Business records
Photographs
Drawings
Date:
circa 1840-1993
bulk 1935-1961
Summary:
The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

1882 -- born, Tarrytown, New York

1887 -- death of Rockwell Kent, Sr.

1894-1896 -- attended Cheshire Academy

1895 -- toured Europe with Aunt Jo

1896 -- attended Horace Mann School, New York City

1900-1902 -- studied architecture at Columbia University

1900-1902 -- attended William Merritt Chase's summer school, Shinnecock Hills, Long Island

1903 -- studied with William Merritt Chase, New York City

1904 -- first sale of a painting

1904 -- met Rufus Weeks and attended first Socialist meeting

1905 -- lived and worked with Abbott H. Thayer, Dublin, New Hampshire

1905 -- first painting trip to Monhegan Island, Maine

1907 -- first one-man show, Claussen Galleries, New York City

1908 -- marriage to Kathleen Whiting

1908 -- studied with Robert Henri

1908 -- joined Socialist Party

1909 -- birth of Rockwell, III

1910 -- ran Monhegan Summer School of Art

1910 -- first trip to Newfoundland

1910 -- helped to organize first Independent Exhibition

1911 -- birth of Kathleen

1912 -- moved to Winona, Minnesota

1913 -- birth of Clara

1914 -- settled in Newfoundland

1915 -- deported from Newfoundland

1915 -- birth of Barbara

1917 -- served as full-time organizer and administrator of Independent Exhibition

1918-1919 -- in Alaska with son Rocky

1919 -- purchased Egypt Farm, Arlington, Vermont

1919 -- incorporated self

1920 -- publication of Wilderness

1920 -- birth of Gordon

1922 -- traveled to Tierra del Fuego

1924 -- publication of Voyaging

1925 -- trip to France

1925 -- divorced from Kathleen

1926 -- marriage to Frances Lee

1926 -- traveled to Ireland

1927 -- purchased Asgaard Farm, AuSable, New York

1927 -- editor of Creative Art

1927 -- helped organize National Gallery of Contemporary Art, Washington, D.C.

1929 -- sailed to Greenland on Direction

1930 -- publication of N by E

1932-1933 -- returned to Greenland

1934-1935 -- final trip to Greenland

1935 -- publication of Salamina

1936 -- trip to Puerto Rico

1937 -- trip to Brazil

1937-1938 -- Post Office Department mural commission and controversy over Eskimo-language message interpreted as encouraging Puerto Rican independence

1939 -- divorced from Frances

1939 -- General Electric Co. mural commission for New York World's Fair

1940 -- publication of This Is My Own

1940 -- marriage to Shirley Johnstone (Sally)

1942 -- solo exhibition, Know and Defend America, at Wildenstein Galleries, New York City

1946 -- elected to Executive Committee of American Labor Party

1948 -- congressional candidate, American Labor Party

1948 -- transferred ownership of dairy to remaining employees after boycott resulting from support of Wallace for president

1949 -- attended World Congress for Peace, Paris

1950-1958 -- denied U.S. passport; lawsuit, appeals, and Supreme Court decision reinstating right to travel

1953 -- testified before House Un-American Activities Committee

1955 -- publication of It's Me, O Lord

1958 -- one-man show at Hermitage Museum, Leningrad

1959 -- publication of Of Men and Mountains

1960 -- gift of Kent Collection to Friendship House, Moscow

1960 -- exhibition at Pushkin Museum, Moscow

1963 -- publication of Greenland Journal

1966 -- elected to Academy of Arts of the USSR

1967 -- awarded Lenin Peace Prize, Moscow

1969 -- oral history interview, Archives of American Art

1969 -- home at Asgaard destroyed by fire; papers survived with some water and smoke damage

1969 -- first installment of Rockwell Kent Papers donated to Archives of American Art

1971 -- died, Plattsburgh, New York

1971 -- gift of additional Rockwell Kent Papers to Archives of American Art

1979 -- gift of textile samples to the Archives of American Art

1996 -- gift of additional Rockwell Kent Papers to Archives of American Art

2000 -- death of Sally [Shirley Johnstone] Kent Gorton

2000 -- previously sealed correspondence of wives Frances and Sally (Series 1) opened to researchers

2001 -- gift of additional Rockwell Kent papers to the Archives of American Art from the Estate of Sally Kent [Shirley Johnstone] Gorton
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Rights:
The Rockwell Kent papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- New York (State)  Search this
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
World War, 1939-1945 -- Civilian relief  Search this
Labor unions  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kentrock
See more items in:
Rockwell Kent papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kentrock
Online Media:

Charles Sheldon Papers

Vendor:
Kuenzig Books  Search this
Creator:
Sheldon, Charles Gates, 1899-1960  Search this
Breck Company.  Search this
Extent:
3.5 Cubic feet (3 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Pastels (visual works)
Drawings
Business records
Advertisements
Photographs,
Appointment books
Newsletters
Yearbooks
Magazines (periodicals)
Theater programs
Date:
1902-1959
Scope and Contents:
The collection documents the work of Charles G. Sheldon, the illustrator who created beautiful images of women for the "Breck Girls" advertising campaign from 1936-1957. Includes photographs of sitters, Breck advertising materials, Breck Company internal publications and newsletters, magazines with cover illustrations by Sheldon, a high school yearbook, internal papers from the Breck Company relating to the Breck Girls campaign, theater programs for which Sheldon designed the covers, prints of the advertisements, and an original pastel drawing by Sheldon.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Portrait artist, best known for his illustrations of women in the "Breck Girls" advertising campaign. He also created cover illustrations for magazines such as Radio Digest and Photoplay.
Provenance:
Purchased by the Archives Center in 2017 from Kuenzig Books of Topsfield, Mass. Mr. Kuenzig recently purchased the collection from a Massachusetts dealer who had purchased it directly from the Sheldon family around 1997.
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:
Commercial art  Search this
Beauty culture  Search this
Feminine beauty (Aesthetics)  Search this
advertising  Search this
Genre/Form:
Pastels (visual works)
Drawings
Business records -- 20th century
Advertisements -- 20th century
Photographs, -- Black-and-white photoprints -- 1930-1960
Appointment books -- 1930-1940
Newsletters -- 20th century
Yearbooks -- 20th century
Magazines (periodicals) -- 20th century
Theater programs -- 20th century
Citation:
Charles Sheldon Papers, 1902-1959, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1423
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1423

Clark Maddock Collection

Topic:
Mr. Goodwrench
Advertiser:
General Motors Corporation  Search this
Creator:
Maddock, Clark, 1912-1988  Search this
Donor:
Frederick, Jeffry A.  Search this
Extent:
1.5 Cubic feet
Type:
Collection descriptions
Archival materials
Letters
Sketchbooks
Photographs
Watercolor drawings
Storyboards
Clippings
Awards
Fliers (printed matter)
Design drawings
Date:
1931 - 1994
Scope and Contents:
The collection documents the life and career of Clark Maddock, from his early years as a bandleader, through his work in the advertising industry and subsequent retirement. There are clippings and a few photographs relating to his musical career, but most of the collection relates to his work in the advertising industry for several ad agencies, and includes original artwork for print advertisements (especially GM's "Mr. Goodwrench" campaign) letters, flyers, a sketchbook, drawings, storyboards, photographs, and awards.
Arrangement:
1 series.
Biographical / Historical:
Maddock was an artist who worked for several decades in the advertising industry. He graduated from the Chicago Academy of Fine Arts, worked on campaigns for GM, Dow, Goodrich, Sohio, and other, while employed by several ad agencies. After retirement he lived in Hawaii where he edited a local newspaper and devoted more time to his watercolors, which were exhibited in local galleries.
Provenance:
Donated to the Archives Center in 2015 by Maddock's grandson, Jeffry Frederick.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
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.
Occupation:
Band directors  Search this
Commercial artists  Search this
Topic:
advertising  Search this
Commercial art  Search this
Genre/Form:
Letters
Sketchbooks
Photographs -- 20th century
Watercolor drawings
Storyboards
Clippings
Awards
Fliers (printed matter)
Design drawings -- 20th century
Citation:
Clark Maddock Collection, 1931-1994, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1346
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1346

Lucian Bernhard Advertising Art Collection

Creator:
Hollander, Bernard  Search this
Bernhard, Lucian  Search this
Extent:
0.6 Cubic feet (1 box, 3 rolled items)
Type:
Collection descriptions
Archival materials
Posters
Design drawings
Advertisements
Articles
Date:
1920s-2000
Summary:
This collection documents Bernhard's career as an REM advertisement artist in the 1920s as well as his pursuit of canvas painting following his retirement. It contains REM advertisements and materials from posthumous exhibitions of Bernhard's paintings, as well as writings from Bernhard himself and researchers.
Scope and Contents:
The collection consists of archival materials relating to the graphic artist and designer Lucian Bernhard, including a water color design drawing, five subway car cards advertising the cough syrup Rem, five advertising proofs for Rem, a 1956 magazine called PRODUCTIONWISE with an article about Bernhard, a folio of color reproductions advertising the sale of Bernhard's artworks, an exhibit announcement, two oversize posters, and miscellaneous printed material.
Arrangement:
Collection is arranged into four series.

Series 1: Exhibitions, 1999-2000

Series 2: Publications, 1956 November

Series 3: Miscellaneous, 1920-2000

Series 4: REM Cough Syrup Advertising, 1920-2000
Biographical / Historical:
Lucian Bernhard (1883-1972) was a German-American graphic artist, interior designer, industrial designer, and professor. His work in advertising art, especially his designs for Rem Cough Syrup, was highly influential and he designed several popular type fonts. Born in Germany, he moved to New York City in the early 1920s and worked prolifically in both German and American advertising. His artistic style is defined by straightforwardness, color, and simplicity. Bernhard is known as the creator of the Sachplakat poster style, which features a bold lettering style paired with a simple central image and unique, non-primary colors. This style is designed to attract the viewer's eye amidst a barrage of advertising posters. Following his career as a commercial artist, he turned to canvas painting and created works until his death in 1972.

Sources

"Lucian Bernhard." ADC • Global Awards & Club. (http://adcglobal.org/hall-of-fame/lucian-bernhard/) Last accessed on July 05, 2016.

"Plakatstil." (http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/Lecture06/Plakastil.html Last accessed on July 5, 2016
Provenance:
Collection donated by Bernard Hollander.
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:
Patent medicines  Search this
Commercial art -- 1940-1990  Search this
Graphic design  Search this
Design, Industrial  Search this
advertising  Search this
Genre/Form:
Posters
Design drawings
Advertisements
Articles
Citation:
Lucian Bernhard Advertising Art Collection, 1920s-2000, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1161
See more items in:
Lucian Bernhard Advertising Art Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1161
Online Media:

Clotilde Arias Papers

Topic:
Star-spangled banner (Song)
Donor:
Arias, Roger  Search this
Creator:
United States. Dept. of State  Search this
Arias, Clotilde, 1901-1959  Search this
Thompson, J. Walter (advertising agency).  Search this
Extent:
3 Cubic feet (8 boxes)
Type:
Collection descriptions
Archival materials
Immigration records
Music
Contracts
Correspondence
Compact discs
Scrapbooks
Sheet music
Parts (musical)
Songbooks
Photographs
Commercial art
Date:
1919-1957
2009
Summary:
This collection documents the life and career of Peruvian musician, composer, and translator Clotilde Arias. Her work includes a Department of State-commissioned translation of "The Star-Spangled Banner" titled "El Pendón Estrellado", advertising jingles, original compositions, and translations of music originally written in English. She also was heavily involved in numerous Pan-American organizations including La Unión de Mujeres Americanas/United American Women.This collection contains correspondence, music manuscripts, photographs,newspaper clippings and printed materials, and four compact discs.
Scope and Contents:
The collection documents the life and career of Clotilde Arias, who was chosen by the U.S. State Department to write a Spanish translation to "The Star Spangled Banner," during the years of the Good Neighbor Policy. In addition to materials related to her translation of the National Anthem, entitled "El Pendón Estrellado," the collection includes music manuscripts, lyrics, composition notebooks, parts for instruments, and correspondence with the State Department. This collection also contains papers related to Arias's work in advertising, her work as a translator, and her own business records. Personal papers include correspondence, immigration and naturalization documents, printed material, and photographs as well as items from a scrapbook. Also included are compact discs containing images from items in the collection.
Arrangement:
This collection is composed of six series.

Series 1: Personal Papers, 1923-1956

Series 2. Music Materials, 1921-1953

Series 3. "El Pendón Estrellado"/"The Star Spangled Banner," 1919-1954, 2009

Series 4. "Himno de las Américas"/"Hymn of the Americas," 1939-1945

Series 5. Miscellaneous Printed Materials, 1942-1956

Series 6. Photographs and Scrapbook, 1939-1957
Biographical / Historical:
Clotilde Arias was a Peruvian-born musician, composer, and translator who lived in New York City following her migration from Iquitos, Peru, to the United States in the 1920s. Her full name was Maria Clotilde Arias and she briefly took her husband Jose Anduaga's last name during their marriage from 1929 to 1942 but was known most often as Clotilde Arias. With Jose Anduaga, Arias had one son, Roger Arias. While she is known for her Department of State-commissioned translation of "The Star-Spangled Banner" titled "El Pendón Estrellado," Arias worked diligently as a translator and musician in a variety of contexts as well as working with a variety of organizations that promoted Pan-Americanism. Prior to her life in the United States, Arias worked for the Iquitos newspaper El Oriente writing satirical pieces related to local issues. Arias died in 1959 in New York City.
Provenance:
Donated to the Archives Center, National Museum of American History, by Clotilde Arias's son, Roger Arias in 2010.
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.
Occupation:
Composers  Search this
Topic:
Translations  Search this
Translators  Search this
Good neighbor policy  Search this
National songs  Search this
advertising  Search this
Women musicians -- 1930-1950  Search this
Women musicians  Search this
Advertising agencies  Search this
Women in the advertising industry  Search this
Women -- Peru  Search this
Women composers  Search this
Music by women composers  Search this
Women composers -- United States  Search this
Pan-Americanism  Search this
Commercial art  Search this
Jingles (Advertising songs)  Search this
Jingles (Advertising songs) -- Writing and publishing  Search this
Minorities in advertising  Search this
Music in advertising  Search this
Women translators  Search this
Naturalization records  Search this
Genre/Form:
Immigration records
Music -- Manuscripts
Contracts
Correspondence -- 20th century
Compact discs
Scrapbooks -- 20th century
Sheet music -- 1920-1960
Parts (musical)
Songbooks
Photographs -- 20th century
Commercial art
Citation:
Clotilde Arias Papers, 1919-1957, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1164
See more items in:
Clotilde Arias Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1164
Online Media:

Landy R. Hales Papers

Creator:
Hales, Landy R., 1889-1972  Search this
Extent:
5.5 Cubic feet (15 boxes)
Type:
Collection descriptions
Archival materials
Photograph albums
Design drawings
Sketches
Scrapbooks
Photographs
Clippings
Date:
1908 - 1969
Summary:
Papers document Landy R. Hales (1889-1972), an inventor and commercial artist who designed window and interior store displays, posters, children's games, and puzzles primarily from 1920s to 1930s in New York City and Baltimore. Of significance is Hales's work for Macy's Department Store. The papers consist of correspondence, patents, business records for several of Hales's companies, photographs, drawings/sketches, prototypes, and newspaper and magazine clippings.
Scope and Contents:
The papers document Hales's career as an inventor and commercial artist as well as his work in games, puzzles, educational tools, and posters. The collection includes sketches and design drawings, photographs, publicity materials, clippings and articles, and game prototypes.

Series 1, Brilliant Sign Company, 1908-1909, consists of stock shares, transferred by Hales to others in the amount of twenty dollars for the Brilliant Sign Company of Baltimore City, Maryland.

Series 2, Landy R. Hales, Inc., 1927-1929, 1944, consists of of invoices, orders, and check stubs from R.H. Macy and Company and Gimbel Brothers, Inc. for work by Landy R. Hales, Inc. for window displays. The orders detail what will be constructed and decorated. The R.H. Macy materials also contain a 1927 souvenir from Macy's Wonderland Christmas. Included in this series is a 1944 United States Treasury Department War Finance Program citation to Landy R. Hales.

Series 3, Hales Layer Poster Corporation, 1922-1969 (bulk 1920s), consists of materials documenting Hales poster company. Hales's formed Hales Layer Poster Corporation in New York State on July 16, 1925 to manufacture, purchase, sell and deal in layer posters and equipment for constructing layer posters in packaged or other forms. The corporation's other directors were Alfred J. Silberstein and Alvin A. Silberman, both of New York. Hales developed a new method of making a poster by placing cut-out pieces of materials such as composition board or wood on a background, then building layers to form three dimensions in the finished product. The first store to use Hales layer posters was Saks Fifth Avenue in New York City. The posters were never sold and were only used in advertising and window displays.

The materials consist of stock shares and values, a certificate of incorporation, branded letterhead, correspondence, an order book (blank forms), a point-of-purchase ad featuring Little Red Riding Hood, a patent for a display device, layer poster instructions, examples of posters, sample card stock, and instructions for the ABCD Ease Game. The display device patent (US 1,563,485) was issued to Hales on December 1, 1925. The invention relates to display devices for commercial advertising arrangements constructed out of layers of veneer or cardboard for reproducing and illustrating articles for sale, magazines, posters or art works. The principal object was to provide a display picture having depth. The correspondence, 1922-1937, 1969 and undated, contains letters with individuals companies, hotels, and department stores primarily in New York City such as B.F. Keith's New York Hippodrome, Saks & Company, Hotel Nassau, Keystone Manufacturing Company, and Rialto Theatre. Much of the correspondence relates to services provided by Hales Layer Poster Corporation. Hales's correspondence with Morris Gest, a theatrical producer who introduced La Chauve-Souris, a touring revue during the early 1900s, to the United States. There is also a letter typewritten by Hales in 1969 to Pablo Picasso about copying Picasso prints using the Hales layer poster method.

The instructions for "how to make" a Hales layer poster are well documented, detailing the step-by-step process and including the use of Hales Studio colors for painting. Specific instructions for the "Tom, Tom Piper's Son" with color guide are found here. A full, unused layer poster kit is in box 14. Additionally, Hales created the ABCD Ease Game, a board game played with dice with the objective to reach "ease." The way to reach "Ease" is through truth, courage, justice, thrift, study, work, loyalty, and honesty. Instructions and prototypes of the gameboard are represented.

Series 4, Hales Manikins, Inc., 1938-1948 and undated, consists of correspondence, a voting trust agreement, board of directors meeting minutes, stock shares, a floor plan for the company, blueprints for rubber figures, and a patent for a manikin and method of making the same (US 2,129,421). Hales Maninikin incorporated in 1941 in Baltimore, Maryland to manufacture, distribute, sell and otherwise deal in manikins and other display advertising figures. The board of directors meeting minutes contain articles of incorporation, by-laws, and minutes.

Series 5, Hales Pictures, Inc., 1937-1938, 1967 and undated, consists of an agreement with Walt Disney Enterprises, sketches by Kay Kamen, Ltd., a press release about Hales Picture Puzzles, and prototypes of Hales Puzzle Pictures. Of note is a copy of the February 1938 Rockefeller Center Magazine. The magazine contains articles about science, technology, publishing, the arts, events at Radio City Music Hall (Disney-related) and television. It offers good documentation of office business machines.

The first series of puzzles Hales introduced in 1937 were four subjects from Walt Disney's characters: Mickey Mouse, Minnie Mouse, Pluto, and Donald Duck. The object of the puzzle was to put all of the pieces together in their proper place--some of the puzzle pieces were raised to different levels. After the puzzle was completed, it could be glued to a backboard. There are prototypes for the Mickey Mouse, Minnie Mouse and Donald Duck puzzles. Only the Mickey and Minnie puzzles contain puzzle pieces. The Donald Duck puzzle consists of the box only.

In August 1937, Hales Pictures Inc., entered into a one year agreement with Walt Disney Enterprises that granted Hales the right to reproduce Disney characters for his puzzles and poster pictures. Hales paid Disney the sum of five-hundred dollars as an advance on future royalties. Disney also provided to Hales typical representations of the Disney characters. There are a series of Kay Kamen Ltd., Disney character drawings for Pluto, Donald Duck, Minnie Mouse, and Mickey Mouse. These drawings were provided to Hales by Kamen. The Minnie and Mickey Mouse drawings have been heavily annotated and mocked up by Hales for the purposes of creating his signature Hales Puzzle Pictures. Kamen (d. 1949) began his professional career as a retail hat merchant and later entered advertising. In 1932, Kamen contacted Disney, soon signed a contract, and was named the company's sole licensing representative. Through merchandising, Kamen made Disney's mouse star popular.

Series 6, Hales Sign Company, 1909 and undated, consists of examples of promotional and branded pieces for Hales's sign painting business that was located in Baltimore, Maryland.

Series 7, Drawings/Sketches, 1927-1930 and undated, consists of pencil, ink and paint sketches. The bulk of the sketches are Christmas-related, such as the poster study for the Macy's Christmas Wonderland, 1927 and the toy department displays for a bridge, drawbridge, house and tower. Other sketches include Noah's Ark, a matador, the "The Wise Woman of Gotham," Carlin's Amusement Park of Baltimore, Maryland, and resort scenes (tennis, golf and sailing).

Series 8, Photographs, 1925-1935, consists primarily of black-and-white prints documenting Hales's work in his studio and for clients such as Macy's. Some of the photographs were taken by Worsinger Window Service, Hughes Company of Baltimore, Le Don Studio of White Plains, New York; Apeda Studio, Inc. of New York City; Schultze Studio of Brooklyn, New York, and H.C. Campbell Company of Oakland, California.

Series 9, Greeting Cards, undated, consists of examples of greeting cards and postcards, primarily for Christmas, Easter, and Valentines Day, assembled by Hales.

Series 10, Clippings, 1922-1935, consists of loose photocopies and original news and magazine clippings in a bound volume. The clippings primarily relate to Hales's work in New York City, but there are clippings about The Corner Shop at Macy's, and there are copies of illustrations assembled by Hales, specifically the "Best Fifty Small Folio Currier and Ives Prints. " The majority of these he clipped from the New York Sun. Also included are clippings about La Chauve-Souris the touring revue during the early 1900s.
Arrangement:
The collection is arranged into ten series.

Series 1, Brillant Sign Company, 1908-1909

Series 2, Landy R. Hales, Inc., 1927-1929, 1944

Series 3, Hales Layer Poster Corporation, 1922-1969 (bulk 1920s)

Series 4, Hales Manikins, Inc., 1938-1948 and undated

Series 5, Hales Pictures, Inc., 1937-1938, 1967 and undated

Series 6, Hales Sign Company, 1909 and undated

Series 7, Drawings/Sketches, 1927-1930 and undated

Series 8, Photographs, 1925-1935

Series 9, Greeting Cards, undated

Series 10, Clippings, 1922-1935
Biographical / Historical:
Landy R. Hales was born on September 17, 1889 in Baltimore, Maryland to Landy J. Hales and Fanny Linthicum Hales. Hales grew up in Anne Arundel, Maryland and had one brother, Wesley Hales. Hales began his career with no formal art training and apprenticed as a sign painter in Baltimore, Maryland. In 1908, Hales formed the Brilliant Sign Company in Baltimore to design displays for area businesses. In 1913, Hales married Lenore McCully. They had two children, Elizabeth McCully Hales (b. 1915) and Landy Romain Hales (b. 1921).

During World War I, Hales designed posters for the Liberty Bond Program, created by then Secretary of the Treasury William Gibbs McAdoo (1863-1941). This poster campaign was intended to popularize the bonds, and Hales created posters using his "layer technique," which was a method of making a poster by placing cut-out pieces of materials such as composition board or wood on a background, then building layers to form three dimensions in the finished product. In the early 1920s, Hales moved to New York City to advance his career and expand his opportunities. In New York, Hales specialized in display devices, commercial art, and advertising. An artist-inventor, Hales patented two ideas, a display device (US Patent 1,563,485) and a manikin (US Patent 2,129,421). He founded Landy R. Hales, Inc. (1925), Hales Layer Poster Corporation (1925), Hales Manikins, Inc. (1941), and Hales Pictures, Inc. 1937. In 1937, Hales Pictures Inc., entered into a one-year agreement with Walt Disney Enterprises that granted Hales the right to reproduce Disney characters for his puzzles and poster pictures. During the same year, Hales leased office space at Rockefeller Center.

Hales worked for Morris Gest, a theatrical producer, creating advertising for the Russian show Le Chauve Sourvis which featured the Parade of the Wooden Soldiers. Hales also manufactured and installed mechanical displays in Macy's Christmas windows at 34th Street and worked as an independent contractor for other department stores such as Gimbel Brothers and Saks & Company as well as the Hotel Nassau, Keystone Manufacturing Company, Rialto Theater, Keith's New York Hippodrome, and the Music Box Theatre.

Hales left New York City in 1945 and returned to Maryland, where he did commercial work for Carlin's Amusement Park in Baltimore and created layer posters for himself and family members. Hales died in 1972 at the age of 84.
Related Materials:
Materials at the Archives Center

Warshaw Collection of Business Americana, Parades:stereographs, circa 1880-1908 (AC0060)

Messmore and Damon Company Records, 1930s-1990s (AC0846)

Hudson Fulton Celebration Parade Photograph Album, 1909 (AC1149)

William L. Bird "Holidays on Display" Collection (AC1288)
Provenance:
The collection was donated by Katharine Landa McNulty Hogben, Frances Helen McNulty Beverage, Margaret Ann McNulty Klipp, Lenore Hales McNulty Frey, and Elizabeth Stuart McNulty on November 27, 2005.
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:
Games  Search this
Display of merchandise  Search this
Toys -- 20th century  Search this
Store decoration  Search this
Parades  Search this
Parade floats  Search this
Show windows  Search this
Packaging  Search this
Parade float designers  Search this
Genre/Form:
Photograph albums
Design drawings
Sketches
Scrapbooks
Photographs -- 20th century
Clippings
Citation:
Landy R. Hales Papers, 1908-1969, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0906
See more items in:
Landy R. Hales Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0906
Online Media:

Louis Szalay Advertising Art Collection

Creator:
Szalay, Louis, 1911- (art director)  Search this
Names:
Blue Bonnet  Search this
Colgate  Search this
Palmolive  Search this
RCA  Search this
Ted Bates & Co.  Search this
Viceroy  Search this
Extent:
2 Cubic feet (3 boxes)
Type:
Collection descriptions
Archival materials
Comprehensives
Layouts, page
Date:
1963-1968.
Scope and Contents:
Original artwork produced under Mr. Szalay's supervision as Art Department Manager at Ted Bates & Co., 1965-1967.

Series 1 consists of 36 comprehensives or "ad comps", circa 1965. Original artwork and mechanicals created for the Blue Bonnet margarine account make up the largest part of the collection, which also includes original artwork and mechanicals for Black & White scotch, Schmidt's beer, Palmolive soap, Viceroy cigarettes, Colgate toothpaste, and Colgate Kitchen's prepared foods, a new brand exploratory.

Series 2 includes 32 art director's rough layouts or "roughs" for clients including Breeze cigarettes (a Brown & Williamson new brand exploratory with menthol and clove flavorings), Blue Bonnet margarine, and RCA televisions, all circa 1966-67.
Arrangement:
Divided into 2 series.

Series 1: Advertising Comprehensives, circa 1965

Series 2; Art Directors' Rough Layouts, 1966-1967
Biographical / Historical:
Trained as an artist, Mr. Szalay began his career in 1931 as an assistant art director at J. Walter Thompson, a Philadelphia-based advertising agency. In 1958 he moved to Ted Bates and Company on Fifth Avenue, New York, where he worked as Studio Manager (or Bull Pen Manager). In the early 1960s he was promoted to Manager of the Art Department, where he was responsible for the Art Directors, the Art Department staff and the Studio. At that time the Bull Pen consisted of about 25 illustrators, letterers, and mechanical men who pieced together the work of the illustrators and letterers. Painted in tempera or water color, with handlettered copy, the resulting comprehensives are nearly as fine in their execution as the final printed ads, and were used to pitch the account to the client. Those ultimately used can be identified by the comment, criticism, and authorization notations in the margins. By 1967, management at Ted Bates & Co. had determined that the ad comps system was too costly, and switched to the use of art director's roughs -- rough conceptual sketches executed in magic marker. At the same time, the account management system was restructured, with creatives and artists assigned to individual accounts instead of receiving their assignments through the Art Department Manager. Mr. Szalay retired from Ted Bates & Co. in 1968.
Provenance:
Collection donated by Louis Szalay, June 1991.
Restrictions:
Unrestricted research use on site by appointment.
Rights:
Copyright and trademark restrictions.
Topic:
advertising  Search this
Art directors  Search this
Commercial art  Search this
Genre/Form:
Comprehensives
Layouts, page
Citation:
Louis Szalay Advertising Art Collection, 1965-1968, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0412
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0412

J. Walter Wilkinson Papers

Creator:
Wilkinson, Walter Gandy, 1917-  Search this
Interviewer:
Bird, William L.  Search this
Author:
Wilkinson, J. Walter (commercial artist)  Search this
Extent:
1 Cubic foot (2 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Audiocassettes
Sketches
Date:
ca. 1932-1935, 1940-1964, 1985-1987.
Scope and Contents:
Originals and copy photographs of advertisements and other commercial art work, original sketches, materials documenting a mechanical drafting instrument patented by the WIlkinson and his son, Walter G. Wilkinson, and a scrapbook of clippings, photographs, awards, and other materials documenting the Wilkinsons' careers. Also included are audiocassettes containing interviews of Wilkinson, conducted by National Museum of American History curator, Larry Bird.
Biographical / Historical:
J. Walter Wilkinson (1892- ) is an award winning commercial artist, perhaps best known for a series of six war bond posters he and his son Walter G. Wilkinson (1917-1971) created for the United States Treasury Department. J. Walter Wilkinson was born on Maryland's eastern shore, received formal academic training in art, and worked on newspapers and at an advertising agency before becoming a free lance artist. In addition to his war posters and other government commissions, he created a number of outdoor and magazine advertisements and many magazine covers. Major products for which Wilkinson did advertising art work included Ivory soap, Pabst beer, and Ballantine ale.
Provenance:
Collection donated by J. Walter Wilkinson, 1984, September 13.
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.
Occupation:
Commercial artists  Search this
Topic:
War posters  Search this
advertising  Search this
Soap  Search this
Genre/Form:
Photographs -- 20th century
Scrapbooks
Audiocassettes
Sketches
Citation:
J. Walter Wilkinson Papers, ca. 1932-1937, 1940-1964, 1985-1987, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0116
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0116

Walter Tandy Murch papers

Creator:
Murch, Walter  Search this
Names:
Betty Parsons Gallery  Search this
Brooklyn Museum  Search this
Rhode Island School of Design  Search this
Bishop, Isabel, 1902-1988  Search this
Bocour, Leonard, 1910-1993  Search this
Bonnard, Pierre, 1867-1947  Search this
Dubuffet, Jean, 1901-  Search this
Gonzalez, Xavier, 1898-1993  Search this
Kepes, Gyorgy, 1906-2001  Search this
Murch, Katherine  Search this
Murch, Walter Scott  Search this
Scott, Katharine  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Awards
Woodcuts
Resumes
Lecture notes
Drawings
Photographs
Notebooks
Sketches
Notes
Sketchbooks
Date:
1880-1970
Summary:
The papers of New York City still life painter and art instructor Walter Tandy Murch date from 1880-1970 and measure 8.2 linear feet. Found within the papers are biographical materials, four diaries, correspondence with colleagues and family members, personal business records, exhibition files, notes and writings, two sketchbooks and additional art work, printed material, and photographs of Murch, family members, and art work.
Scope and Content Note:
The papers of New York City still life painter and art instructor Walter Tandy Murch date from 1880-1970 and measure 8.2 linear feet. Found within the papers are biographical materials, four diaries, correspondence with colleagues and family members, personal business records, exhibition files, notes and writings, two sketchbooks and additional art work, printed material, and photographs of Murch, family members, and art work.

Biographical material includes registration documents for births, marriages, and naturalization of Murch family members, biographical accounts, resumes, school and award certificates, passports, Selective Service records, and address books.

One diary by Walter Murch and three diaries by Katharine Murch contain sporadic entries briefly describing daily activities.

Correspondence primarily consists of letters exchanged between Murch, art schools and universities, arts organizations, galleries including the Betty Parsons Gallery, miscellaneous companies and publishers that commissioned commercial art work, and students. There are scattered letters from Isabel Bishop, Leonard Bocour, Xavier Gonzales, and Gyorgy Kepes. There is also correspondence with miscellaneous family members and letters to Katharine Scott.

Personal business records include organizational membership records, family legal documents, insurance records, leases, loan and consignment records, contracts and invoices for art work sold by the Betty Parsons Gallery, expense notebooks, and other routine financial documents.

Exhibition files include documentation of miscellaneous exhibitions of Murch's art work and of exhibitions juried and organized by Murch, including the Jean Dubuffet exhibition organized by Murch and retrospectives of Murch's art work at the Rhode island School of Design and at the Brooklyn Museum.

Notes and writings include the funeral register for Murch, miscellaneous address lists, travel notebooks of Murchs' 1934 trip to Mexico, miscellaneous notebooks concerning various art-related topics, classroom lectures and notes, and miscellaneous writings by others.

Art work includes two sketchbooks, drawings and sketches, woodcuts, sketches for "Novel in Woodcut," an oil portrait of a woman, a mock-up for book Notes on the Hound of Heaven, and art work by others including a sketchbook by Murch's son, Walter Scott Murch.

Printed material includes clippings, a copy of a handmade Collegiate School magazine The New Thinker, and exhibition announcements and catalogs. for Murch and others, press releases, prospectuses, reproductions of art work and book jackets designed by Murch, programs, brochures, a book about Pierre Bonnard, and miscellaneous printed material.

Photographs are of Murch, family members, travel, buildings, Murch's studio, Murch with colleagues, And art work by Murch and others. There are also photographs of various resource subjects.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Material, 1924-1968 (Box 1, 10; 24 folders)

Series 2: Diaries, 1941-1965 (Box 1; 3 folders)

Series 3: Correspondence, 1880-1969 (Box 1-3, 10; 1.8 linear feet)

Series 4: Personal Business Records, 1928-1970 (Box 3-5; 2.9 linear feet)

Series 5: Exhibition Files, 1953-1968 (Box 6; 17 folders)

Series 6: Notes and Writings, 1907-1968 (Box 6-7, 10, OV 11; 1.5 linear feet)

Series 7: Art Work, 1891-1967 (Box 7, 10, OV 11; 33 folders)

Series 8: Printed Material, 1926-1968 (Box 7-8, 10, OV 11; 50 folders)

Series 9: Photographs, 1908-1967 (Box 9-10; 41 folders)
Biographical Note:
Walter Tandy Murch (1907-1967) of Toronto, Canada, was a painter and art teacher. His painting were primarily of still life subjects including machine parts, tools, broken dolls, and scientific equipment mingled with fruit, bread and fragments of rock as if seen through frosted glass.

Walter Tandy Murch was born on August 17, 1907, in Toronto, Canada, the son of Clara Louise Tandy and jeweller Walter Murch. Following his studies of architectural drafting and woodworking at the Technical High School in Toronto, he studied at the Ontario College of Art in Toronto with Arthur Lismer from 1924 to 1927. During the following year, Murch studied at the Grand Central School of Art in New York City with Arshile Gorky. From 1927 to 1929, he studied with Von Schlegel and K. H. Miller at the Art Students League. In 1930, Murch married Katharine Louise Scott.

From 1930 to 1933, Murch designed stained glass windows for Montague Castle, Inc., in New York City. Following a lengthy painting trip to Mexico in 1934, Murch returned to New York City and earned a living painting murals, designing department store windows, and creating illustrations for various magazines including Fortune and Scientific American.

Murch had his first solo exhibition at Betty Parsons' Wakefield Gallery in New York in 1941, and for many years Parsons was his principal dealer. Murch became a United States citizen in 1947.

Beginning in the 1950s, Murch taught at Pratt Institute, Columbia University, New York University, and at Boston University, and attended summer sessions at Yaddo and Skowhegan. In 1966, the Rhode Island School of Design organized Murch's first major retrospective.

Murch's work is in the collections of the Barnes Foundation, Brooklyn Museum, Corcoran Gallery of Art, Metropolitan Museum of Art, Pennsylvania Academy of the Fine Arts, Smithsonian American Art Museum, and the Whitney Museum of American Art.

Walter Tandy Murch died on December 11, 1967 in New York City.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels N707, N708, N713, and N68-5) including correspondence, notes, sketchbooks, clippings, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1967-1968, Walter Tandy Murch loaned the Archives of American Art material for microfilming. The artist's widow, Katharine Scott Murch, donated papers 1969.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Walter Tandy Murch papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Diaries
Awards
Woodcuts
Resumes
Lecture notes
Drawings
Photographs
Notebooks
Sketches
Notes
Sketchbooks
Citation:
Walter Tandy Murch papers, 1880-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.murcwalt
See more items in:
Walter Tandy Murch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-murcwalt

MS 1997-17 Buffalo Dream Pony by Gina Gray

Creator:
Gray, Gina, 1954-2014  Search this
Extent:
1 Print (22 x 21 inches)
Culture:
Osage  Search this
Indians of North America -- Great Plains  Search this
Type:
Collection descriptions
Archival materials
Prints
Date:
circa 1995
Scope and Contents:
This collection is comprised of a 22 x 21 inch color print on cloth made by Osage artist Gina Gray, circa 1995.
Biographical / Historical:
Gina Gray is a printmaker and painter whose work has been featured in a one-woman exhibit at the Wheelwright Museum in Santa Fe, New Mexico; in the collection of the Philbrook Museum of Art in Tulsa, Oklahoma; and in the Smithsonian Museum of the American Indian in Washington DC. She graduated from the Institute of American Arts in Santa Fe, New Mexico and attended the California Institute of the Arts, where she studied commercial art. A member of the Osage tribe, Gray currently operates a studio in Pawhuska, Oklahoma.
Local Numbers:
NAA MS 1997-17
Genre/Form:
Prints
Citation:
Manuscript 1997-17, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS1997-17
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms1997-17

Oral history interview with Calvin Burnett, 1980 June 13-1981 January 6

Interviewee:
Burnett, Calvin W., 1921-2007  Search this
Interviewer:
Brown, Robert F  Search this
Type:
Sound recordings
Interviews
Topic:
African American artists  Search this
African American painters  Search this
Record number:
(DSI-AAA_CollID)11452
(DSI-AAA_SIRISBib)212245
AAA_collcode_burnet80
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212245
Online Media:

Oral history interview with William H. Bailey

Interviewee:
Bailey, William, 1930-2020  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Extent:
11 Items (sound files (7 hr.,19 min.), digital, wav)
110 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2012 October 10-December 5
Scope and Contents:
An interview of William H. Bailey conducted 2012 October 10- December 5, by James McElhinney, for the Archives of American Art at Bailey's studio, in New Haven, Connecticut.
Bailey speaks of growing up during the Great Depression and World War II; studying commercial art at the University of Kansas; deciding to join the Army; being stationed in Japan and fighting in the Korean War; moving to New York City from Kansas City in 1953; the art scene in New York City during the 1950s; struggling to find his own artistic style; completing his BFA and MFA at Yale University under Josef Albers; the differing artistic philosophies and teaching mentalities within Yale's art department; receiving an American Specialist Program Grant from the U.S. State Department to teach and lecture on painting and drawing in Burma, Taiwan, and the Philippines; traveling in Europe; discovering an individual artistic philosophy and routine; his time as a professor at Indiana University; returning to Yale to teach; his Portrait of S; the industrialization of art; finding a gallery in New York to show his work; buying and renovating his home in Italy; the impact of living in Italy on his paintings; being an artist in residence at the American Academy in Rome; being a member of the National Council on the Arts during the 1990s. Bailey also recalls Herbert Fink, Robert Sudlow, Reginald marsh, Bernard Chaet, Conrad Marca-Relli, Sy Sillman, Julian Stanczak, Varujan Boghosian, Rico Lebrun, Richard Serra, Jack Tworkov, Rudy Pozzatti, Jim McGarrell, Eleanor Ward, Leland Bell , Robert and Jane Schoelkopf, André Emmerich, Jeffrey Deitch, Robert Miller, Mario Roncaglia, Sandro Manzo, and Alan Feltus.
Biographical / Historical:
Interviewee William H. Bailey (1930-2020 ) was a figurative painter in New Haven, Connecticut. Interviewer James McElhinney (1952- ) is a painter and educator in New York, New York.
Provenance:
This interview is 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 administrators.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Occupation:
Painters -- Connecticut -- New Haven  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bailey12
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bailey12

Oral history interview with Calvin Burnett

Interviewee:
Burnett, Calvin, 1921-2007  Search this
Interviewer:
Brown, Robert F.  Search this
Extent:
55 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1980 June 13-1981 January 6
Scope and Contents:
An interview of Calvin Burnett conducted 1980 June 13-1981 January 6, by Robert Brown, for the Archives of American Art.
Burnett speaks of his education at the Massachusetts College of Art, Boston; freelancing in commercial art; his career as a Black artist; teaching methods; recent paintings; and his civil rights activities.
Biographical / Historical:
Calvin Burnett (1921-2007) was a graphic artist, illustrator, painter, and designer from Cambridge, Massachusetts. Full name Calvin W. Burnett.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 19 min.
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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Massachusetts -- Cambridge  Search this
Educators -- Massachusetts  Search this
Illustrators -- Massachusetts  Search this
Designers -- Massachusetts -- Cambridge  Search this
Topic:
African American artists  Search this
African American painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.burnet80
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-burnet80

B.R. Kornblatt Gallery records

Creator:
B. R. Kornblatt Gallery  Search this
Names:
Chicago International Art Exposition  Search this
Chin, Mel, 1951-  Search this
Clapsaddle, Jerry, 1941-  Search this
Davis, Gene, 1920-1985  Search this
De Looper, Willem  Search this
Ferguson, John, 1939-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Kahn, Wolf, 1927-  Search this
Kornblatt, Barbara R. (Barbara Rodbell), 1931-  Search this
Landfield, Ronnie, 1947-  Search this
LeWitt, Sol, 1928-2007  Search this
Motherwell, Robert  Search this
Neri, Manuel, 1930-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rosenberg, Karl  Search this
Rothschild, Amalie, 1916-  Search this
Stella, Frank  Search this
Todd, Mike, 1935-  Search this
Van Alstine, John, 1952-  Search this
Extent:
4.1 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Photographs
Date:
1971-1992
Summary:
The records of the B. R. Kornblatt Gallery of Baltimore, Md. and Washington, D.C. measure 4.1 linear feet and date from 1971 to 1992. The collection consists primarily of artists' files along with a few exhibition files and sales records.
Scope and Contents:
The records of the B. R. Kornblatt Gallery of Baltimore, Md. and Washington, D.C. measure 4.1 linear feet and date from 1971 to 1992. The collection consists primarily of artists' files along with a few exhibition files and sales records.

Exhibition files are found for the Chicago International Art Exposition (1983-1988), the International Sculpture '90 (1990) exhibition, and exhibitions of African art. Artists' files contain correspondence, photographs and slides, resumes, and financial and printed material for numerous artists associated with the gallery or of interest to the gallery, including Mel Chin, Jerry Clapsaddle, Gene Davis, John Ferguson, Wolf Kahn, Willem de Looper, Helen Frankenthaler, Ronnie Landfield, Manuel Neri, Sol LeWitt, Robert Motherwell, Robert Rauschenberg, Karl Rosenberg, Amalie Rothschild, Frank Stella, Michael Todd, John Van Alstine, and others. The collection also contains sales records.
Arrangement:
The collection is arranged as 3 series.

Series 1: Exhibition Files, 1981-1990 (0.5 linear feet; Box 1)

Series 2: Artists' Files, 1971-1992 (3.0 linear feet; Box 1-4, OV 5)

Series 3: Sales Records, 1988-1992 (0.5 linear feet; Box 4)
Biographical / Historical:
Barbara R. Kornblatt established the B. R. Kornblatt Gallery in 1975 on 326 North Charles Street in Baltimore, Maryland. The gallery specialized in American painting, sculpture, and works on paper. In 1980, Kornblatt moved the gallery to 406 Seventh Street, N.W. in Washington, D. C. where it became the mainstay of downtown commercial art galleries. In the late 1980s and early 1990s, the gallery began feeling the effects of the economic recession, and then suffered a fire in the building. Kornblatt closed the gallery in 1991.
Provenance:
The B.R. Kornblatt Gallery records were donated by Barbara R. Kornblatt in 1992.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The B.R. Kornblatt Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, Modern -- 20th century  Search this
Art, African -- 20th century -- Exhibitions  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Art galleries, Commercial -- Maryland -- Baltimore
Genre/Form:
Gallery records
Photographs
Citation:
B. R. Kornblatt Gallery records, 1971-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brkornbl
See more items in:
B.R. Kornblatt Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brkornbl

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