A history of hand-made lace dealing with the origin of lace, the growth of the great lace centres, the mode of manufacture, the methods of distinguishing and the care of various kinds of lace by Mrs. F. Nevill Jackson ; with supplementary information by Ernesto Jesurum
An interview of Dore Ashton conducted 2010 November 21 and 2011 March 9, by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Ashton's home, in New York, New York.
Ashton talks about growing up politically active; protesting the internment of the Japanese Americans during WWII; attending The New School and then Harvard University; briefly working as a gallery receptionist; writing her first reviews for Art Digest; Howard Devree hiring her as a writer for The New York Times; travels and living in Europe; writing feature pieces about individual artists for The New York Times; writing for Cahiers d'art; her relationships Franz Kline, Willem de Kooning, Mark Rothko, Philip Guston, Robert Motherwell, Billy Kluver, Robert Rauschenberg, Octavio Paz, and others; marriage to Adja Yunkers; teaching at Cooper Union; interest in Latin American Art; flirting; being a "dedicated reader of Nietzsche"; visits to the Cedar Tavern; being a peacenik; and other topics. She recalls Jeanne Reynal, Mario Pedrosa, Alger Hiss, Peter Selz, Peter Orlovsky, David Smith, and others.
Biographical / Historical:
Dore Ashton (1928-2017) was an art historian in New York, New York. George W. Sampson (1951-) is an arts administrator in Charlottesville, Virginia.
General:
Originally recorded on 2 memory cards. Duration is 2 hr., 57 min.
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.
Topic:
Art historians -- New York (State) -- New York -- Interviews Search this
Japanese Americans -- Evacuation and relocation, 1942-1945 Search this
World War, 1939-1945 -- Evacuation of civilians Search this
Authors -- New York (State) -- New York -- Interviews Search this
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.
Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.
The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Materials, 1962-1978
Series 2: Correspondence, 1945-2010, undated
Series 3: Writings, 1952-1976, undated
Series 4: Research files, 1849, 1950-1984, 2009, undated
Series 5: Printed Materials, 1931-1981, undated
Series 6: Artwork, 1949, 1952, 1983, undated
Series 7: Photographs of Artwork, circa 1950-2010
Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-) is an art critic, author, and educator living in New York City. She wrote, contributed , and edited more than 30 books. Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.
Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003).
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.
Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Dore Ashton 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.
0.8 Linear feet ((microfilmed on 2 partial reels))
12 Items (Addition)
Type:
Collection descriptions
Archival materials
Date:
1937-1996
Scope and Contents:
Correspondence, letter essays, writings, project files, printed material, works of art, and photographs primarily regarding Dowden's positions as head of the Design Department at Cooper Union Art School (CUAS) for 32 years and Director of the Yale summer art school in Norfolk, Connecticut. Also included are papers of Anne Ophelia Todd Dowden.
REELS 4884-4885: Biographical material consists of memorial tributes and obituaries, 1982. Correspondence, 1952-1980, is with friends and colleagues, primarily concerning the Cooper Union Art School and it's publications and projects, calligraphy, and the Yale-Norfolk art school, 1952-1982. Among the correspondents are Rudolf Arnheim, painter Byron Thomas, and Floyd Starr of the Starr Commonwealth for Boys, where Dowden had gone as a boy. Letters, written in essay form, 1955-1978, by Dowden regard Anne Ophelia's botanical drawing publications, his health concerns, travel plans, and general thoughts. Writings, ca. 1960, concern Dowden's philosophy of art in relation to CUAS.
Also included are files regarding CUAS publications, Green Camp, Dowden's participation as an art juror, the Yale summer art school, and Byron Thomas's death and memorial service, 1978. Printed material, 1940-1976, includes exhibition announcements and catalogs, CUAS publications, newspaper and magazine clippings, and reproductions of Dowden's art work. Original art work by Raymond and Ophelia include ink drawings and pencil sketches. Photographs are of family and friends, works of art and exhibition installations, and friends while Dowden was a resident fellow at the Tiffany Foundation in 1929 and 1932.
Unmicrofilmed addition: Biographical material, writings, an outline of a book on design, exhibition announcements, printed material, and photographs.
Biographical / Historical:
Painters; New York, N.Y. Raymond Dowden taught design at Cooper Union Art School, New York, N.Y., and is known also for his calligraphy work. His wife, Anne Ophelia Todd Dowden, was a botanical artist. Anne Ophelia Todd Dowden died in 2007.
Provenance:
Donated 1978-1982 by Raymond Baxter Dowden and Anne Ophelia Dowden; and in 1990 and 2004 by Anne Dowden.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art teachers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
The papers of architect and painter Anthony Candido measure 13.99 linear feet and date from 1950-2015. Included are biographical material; correspondence with artists; teaching files from Cooper Union, School of Architecture; annotated sketchbooks and drawings; exhibition files; photographs of architecture, and paintings of Candido's wife, choreographer Nancy Meehan.
Scope and Contents:
The papers of architect and painter Anthony Candido measure 13.99 linear feet and date from 1950-2015. Included are biographical material; correspondence with artists; teaching files from Cooper Union, School of Architecture; annotated sketchbooks and drawings; exhibition files; photographs of architecture, and paintings of Candido's wife, choreographer Nancy Meehan.
This collection documents Candido's career as an educator, artist and architect through biographical material, including Candido's CV, artist bio, and a transcript from a Cooper Union faculty interview; professional and personal correspondence with friends, educators, and artists including letters from Lillian Kiesler, Christopher Wilmarth, and Sol LeWitt; journals documenting Candido's artistic process and personal life; writings including lectures, notes, poems, drafts, and a play script; exhibition files that document Candido's work shown at various museums and galleries; project files from Roosevelt field, the 1969 World Exposition, and Toronto City Square; class lists; notes; lectures; course descriptions; clippings; exhibition catalogs, posters, and announcements; Nancy Meehan Dance Company flyers, posters, and pamphlets; annotated sketchbooks; travel sketchbooks; loose sketches; drawings; paintings on paper; and photographs of Candido and Nancy Meehan, his artwork, and his studio.
Arrangement:
The collection is arranged as 10 series.
Series 1: Biographical Material, 1992, 2002 (0.1 linear feet, Box 1)
Series 2: Correspondence, 1957-2013 (0.4 linear feet, Box 1)
Series 3: Diaries and Journals, 1963-2014 (0.7 linear feet, Box 1-2)
Series 4: Writings, circa 1956-1997 (0.5 linear feet, Box 2, OV 24)
Series 5: Exhibition Files, 1945-2010 (0.6 linear feet, Box 2-3)
Series 6: Project Files, 1954-2015 (0.1 linear feet, Box 3)
Series 7: Teaching Files, 1959-1966 (0.1 linear feet, Box 3)
Series 8: Printed Material, 1956-2015 (0.5 linear feet, Box 3, 11, OV 25)
Series 9: Artwork, 1950-2013 (10.49 linear feet, Box 3-18, OV 26)
Series 10: Photographic Material, 1955-2007 (0.5 linear feet, Box 10)
Biographical / Historical:
Anthony Candido (1924-) is an architect, painter and educator in New York, New York.
Candido attended the Illinois Institute of Technology where he studied architecture and planning and began teaching at Cooper Union in 1959. There he introduced the Block Project to his Architectonics class, which was derived from his still life paintings of his painter's table. Candido's artwork was often shown at and The Arthur A. Houghton Jr. Gallery of The Cooper Union. His monograph, "Tony Candido: Night Drawings 1956" was published by The Cooper Union School of Architecture in 1993.
Candido's broad range of experience in painting and architecture can be seen throughout his career. From 1954-1957 Candido worked for I.M. Pei as a designer where he designed a glass umbrella for Roosevelt Field and the first published design for the GSA Buildings. In 1969 he traveled to Japan for Davis & Brody to supervise the design and construction of the U.S. Pavilion, at EXPO '70. Candido's works have been included in numerous exhibitions around the world including the Canadian Center for Architecture, Montreal, Galerie de L'Ecole des Beaux-Arts de Lorient, France, and the International Design Forum, Asahikawa, Japan. Candido has also exhibited works at various New York galleries, including the Painting Center, Betty Parsons Gallery, St. Mark's Church on the Bowery, and the Area Gallery. Projects of note included The Existence Paintings, The Seated Man, The Standing Man, and The Heads (large and small). He has also been an artist in residence with the Nancy Meehan Dance Company since 1970.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Anthony Candido conducted by Paul Cummings, October 7, 1970.
Provenance:
Donated by Anthony Candido in 2019. A portion of the sketches and sketchbooks included with the donation were loaned for microfilming in 1970-1971.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact References Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that he or she may own.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions, one digitized, on art and artists; and printed materials.
Scope and Content Note:
The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; and printed materials.
Correspondence is personal and professional and consists of mostly incoming letters to Cajori from artists, friends, family, art historians, and academic institutions. There are a few letters from Charles Cajori, including draft of his letters. Among the correspondents are Pat Adams, Leland Bell, Bernard Chaet, Cooper Union, Cleve Gray, Louis Finkelstein, Philip Pearlstein, Sidney Simon, Norman Turner, and the University of California at Berkeley. Of interest, are letters from the founders of the Tanager Gallery, such as Lois Dodd, Angelo Ippolito, and William King. Correspondence also documents Cajori's dealings with galleries and museums as well as his involvement in arts organizations; included are letters from American University, Watkins Gallery; Bertha Schaffer Gallery; Colorado Springs Fine Arts Center; Gallery Association of New York; Museum of Modern Art; Roko Gallery; Stable Gallery; and the Whitney Museum of American Art.
Writings and notes are and about Charles Cajori. Cajori's writings include drafts on painting and drawing that Cajori prepared for classroom lectures and panel discussions; essays on Paul Cézanne and Chaim Soutine; and his account of the founding of the Tanager Gallery. Cajori's writings also include a biographical account and an artist's statement. There are writings by Louis Finkelstein, Andrew Forge, and Mercedes Matter about Cajori's work. Included are several guest registers for Cajori's exhibitions at the David Findlay Gallery, Lohin Geduld Gallery, and the New York Studio School.
Interviews, talks, and panel discussions include a transcript of an interview with Charles Cajori, audiotaped and videotaped interviews with Charles Cajori, and panel discussions with Cajori and others. Panel discussions with Cajori and others cover such topics as the New York school artists and Chaim Soutine. Many of recordings focus on Cajori's association with the Tanager Gallery, the art scene in New York during the 1950s, and his reflections on art. Also included are miscellaneous videotaped recordings. One panel discussion is digitized.
Printed material contains exhibition catalogs, checklists, announcements, invitations, press releases, clippings, reviews, brochures, and miscellaneous printed material. A file of printed materials on the Tanager Gallery includes exhibition catalogs and clippings.
Arrangement:
The collection is arranged as 4 series:
Series 1: Correspondence, 1942-2011 (Boxes 1-2; 1.1 linear feet)
Series 2: Writings and Notes, 1949-2010 (Box 2; 0.3 linear feet)
Series 3: Interviews, Talks, and Panel Discussions, 1983-2010 (Boxes 2-3; 1.2 linear feet, ER01; 0.070 GB)
Series 4: Printed Material, circa 1950s-2010 (Boxes 3-4; 1.4 linear feet)
Biographical Note:
Painter and teacher Charles Cajori (b. 1921-) has worked in New York City and Connecticut.
Born in Palo Alto, California in 1921, Charles Cajori studied painting at Colorado College and the Cleveland Art School. Cajori served in the United States Air Force during World War II. Upon his return, he attended Columbia University and then spent two years at the Skowhegan School of Painting and Sculpture, where he became acquainted with Franz Kline, Willem de Kooning, and other Abstract Expressionist artists.
Charles Cajori was one of the founding members of the Tanager Gallery, an early artists' cooperative gallery, originally located at 90 East Tenth Street in New York, which provided a venue for contemporary artists to exhibit their work. In 1956, Charles Cajori had his first solo exhibition at the Tanager Gallery and since then, has been continuously showing his work in numerous solo and group exhibitions in the United States and abroad including American University, Bertha Schaeffer Gallery, David Findlay Jr. Gallery, El Museo de Bellas Artes de Caracas, Ingber Gallery, Lohin Geduld Gallery, Mattatuck Museum, New Arts Gallery, Paesaggio Gallery, Sala di Esposizione della Biblioteca Americana, Stable Gallery, and the Whitney Museum of American Art. Charles Cajori's work is represented in a number of public and private collections including the Ciba-Geigy Corporation, the Metropolitan Museum of Art, the National Academy of Design, Walker Art Center, and the Weatherspoon Museum.
In conjunction with his activities as an artist, Charles Cajori has taught painting and drawing at major academic institutions and art schools: Colorado Springs Fine Arts Center, Cooper Union, Cornell University, and the University of California at Berkeley. Cajori was a co-founder of the New York Studio School, where he continues to serve on the faculty.
Charles Cajori has received many honors for his work including the 1959 Distinction in the Arts, Yale University; Benjamin Altman, Figure Prize at the National Academy, 1983, 1987; the Childe Hassam Purchase Award by the Institute of Art and Letters Award, 1975-1976, 1980; and the Louis Comfort Tiffany Award, 1979. Also, Cajori was awarded a Fulbright grant to Italy, 1952-1953 and a grant from the National Endowment for the Arts in 1981.
Charles Cajori is married to the painter Barbara Grossman and they live in Watertown, Connecticut.
Provenance:
The collection was donated by Charles Cajori in 2011.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Charles Cajori 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.
Topic:
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Genre/Form:
Photographs
Sound recordings
Interviews
Video recordings
Transcripts
Citation:
Charles Cajori papers, 1942-2011. Archives of American Art, Smithsonian Institution.
Lecture delivered to The Cooper Union for the Advancement of Science and Art; Published by D. Van Nostrand, New York, New York
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Insurance, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Includes letters from: Alice Collins, Betty Connors, Stephanie Coyer, Jennifer Crosson, Peter Crown, George Cubberly, Calvin I. Cuff, Paul Cummings, Alvin Curran and Jed Curtis.
Also includes letters from the following organizations: Cooper Union for the Advancement of Science and Art and The Cunningham Dance Foundation (Jean Rigg).
Collection Restrictions:
Access to the archive requires an advance appointment. Please contact Paik Archive staff by email at PaikArchive@si.edu.
Collection Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collection Citation:
Nam June Paik Archive, Smithsonian American Art Museum; Gift of the Nam June Paik Estate
Sponsor:
This collection was processed with support from the Smithsonian Collection Care and Preservation Fund.
Draper, Daniel, (meteorologist), 1841-1931 Search this
Container:
Box 3, Folder 4
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Draper Family Collection, 1835-1908, Archives Center, National Museum of American History
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Martin Birnbaum 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.
Collection Citation:
Martin Birnbaum papers, 1962-1967, bulk 1920-1967. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Family correspondence includes 5 folders of letters written by Cox to family members, primarily his mother, Louise Cox, from circa 1916-1922 and 5 folders of Louise Cox's letters, primarily to Allyn Cox, from 1916 to the 1940s.
Cox's relationships with his siblings is documented in 6 folders of correspondence with his sister, Caroline Cox Lansing, and 3 folders of correspondence with his brother, Leonard Cox, and Leonard's wife, Sylvia.
There are two letters from Kenyon Cox to his half brother William Cochrane, in addition to a biographical sketch of Kenyon Cox, probably written by William, and a letter to Kenyon Cox from Bertha Beckwith. Ethel Cox's correspondence, 1915-1937, consists primarily of letters to her mother and documents her first trip abroad in 1920. Two additional folders of letters from circa 1915-circa 1940s and one from 1941-1971 include correspondence with others, including Allyn Cox, whom she married in 1927.
Also of note are 3 folders of correspondence and records relating to the disposition of Kenyon Cox's Estate undertaken by Allyn Cox and his siblings in the late 1950s-1960s. The correspondence documents gifts of Kenyon Cox's paintings, drawings, and personal archives to various institutions including Bowdowin College, Columbia University, Cooper Union for the Advancement of Science and Art, the Library of Congress, and the Smithsonian Institution. Additional correspondence related to this disposition, as well as correspondence with members of Cox's extended family, may be found in 2.2: General Correspondence.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Glass plate negatives are housed separately and are closed to researchers,
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Allyn Cox 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.
Collection Citation:
Allyn Cox papers, 1856-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dorothy Shaver Papers, Archives Center, National Museum of American History
Murphy, John Francis, 1853-1921 -- Catalogues raisonnés Search this
Extent:
16.7 Linear feet ((on 21 microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Place:
Arkville (N.Y.) -- Pictorial works
Date:
1761-1973
Scope and Contents:
Biography and catalogue raisonné of J. Francis Murphy by Emerson Crosby Kelly, M.D., and correspondence relating to Dr. Kelly's interest in Murphy. Personal papers of J. Francis Murphy and Adah Clifford Smith Murphy include diaries and notebooks, correspondence, Smith and Murphy family documents, financial records, printed matter, artifacts, photographs, and works of art.
Research notes, drafts, and manuscript of an unpublished biography, "J. Francis Murphy, N.A., (1853-1921): Tints of a Vanished Past," and illustrated catalogue raisonne of the works of J. Francis Murphy by Emerson Crosby Kelly (1953). Kelly corresponded with friends and relatives of the Murphys, with owners of Murphy paintings, publishers, printers, and possible financial backers for his book. Also documented is Dr. and Mrs. Kelly's involvement in the sale of "Weedwild," the Murphy's Arkville, N.Y. home, to the Pestalozzi Foundation of America.
Diaries of J. Francis Murphy (25 vols.) contain very brief entries that faithfully record weather conditions, garden progress, and other nature notes, with occasional mention of social engagements or service on art juries; entries recorded during trips to Europe mainly list places visited with little elaboration. Notebooks (16 vols.) include painting registers, daily listings of mail sent and received, address books, and jottings relating to Indian relics, his farmland, and paintings sent to dealers. Mrs. Murphy's diaries (46 vols.) also contain very brief entries mentioning friends, social engagements, travels, and an "Account of the pictures I painted and gave away. Portraits of them. + landscapes + old houses." Her notebooks (4 vols.) contain "Notes for a book. J.F.'s".
Correspondence concerns family matters, exhibitions, sales, professional memberships, involvement with the Salmagundi Club and National Academy of Design, and the couple's finances. Whenever separated, the Murphys exchanged lengthy letters with one another; the majority of these are from husband to wife.
Receipts and invoices are mainly for art supplies, framing, and shipping costs; expense records for personal purchases and farm upkeep and improvements; taxes; and legal papers concerning a property boundary dispute and lawsuit against the Murphys.
Photographs are of Mr. and Mrs. Murphy, their families and ancestors, friends, studios, "Weedwild" (country home) and surrounding Arkville, N.Y. area, landscape subjects, works of art by the Murphys, medals and certificates of award. Six tintypes are included. Photographers include: Hollinger, Moffett, Napoleon Sarony, and C. Vandyk. Commercially produced stereographs mainly depict U.S. scenes.
Art works consist of sketchbooks, oil sketches, and works of art on paper by both Murphys, Emil Carlsen, and other artists (ca. 500 items).
Other materials include exhibition catalogs and announcements, clippings, scrapbooks (probably compiled by Mrs. Murphy ca. 1885), medals awarded to J. Francis Murphy, copper plate etched by Adah C. Murphy, and artifacts.
Arrangement:
I. Writings and Research Notes. II. Kelly Correspondence and Miscellaneous Files. III. J. Francis and Adah Clifford Smith Murphy Papers.
Biographical / Historical:
Emerson Crosby Kelly, M.D., art collector, surgeon, and medical bibliographer; d. 1977. J. Francis Murphy, landscape painter and one of the leading tonalists of the American Barbizon school, lived and worked in New York City and Arkville, N.Y. Studied very briefly at the Chicago Academy of Design, 1875. Member of the National Academy of Design and active in the Salmagundi Club. His wife, Adah Clifford Smith Murphy, a painter and illustrator, studied at the Female Art School of the Cooper Union for the Advancement of Science and Art.
Provenance:
The donor, Sydney Kelly, is the widow of Dr. Emerson Crosby Kelly. Dr. Kelly acquired the Murphy papers in 1949 from Hulda Gregerson, Mrs. Murphy's long-time companion, for the purpose of writing a biography and catalogue raisonne of J. Francis Murphy.
Correspondents from 1936 to 1940 include Frank Lloyd Wright and the Chicago Planning Commission. Records from these years also include performance appraisals from the Federal Security Agency's National Youth Administration.
1941 to 1945 correspondents include Marcel Breuer on the purchase of a Fernand Leger painting; Walter Blucher on the Michael Reese Hospital project; Hubert H. Humphrey; Mies van der Rohe; the Federal Works Agency's United States Housing Authority; and the National Housing Agency regarding notification of personnel action.
1946 to 1950 correspondence concerns the Michael Reese Hospital project; Rexford G. Tugwell; the University of Chicago regarding enrolling for a Doctor of Philosophy in Sociology; and activities as a panel speaker for the Citizens' Housing and Planning Council of Detroit.
Correspondents from 1951 to 1955 include Hubert H. Humphrey, Leon Eugene Arnal, Jose Luis Sert, Rafael Pico, Earl H. Reed, Chester Nagel, Edward Everett Horton's (autograph), Christian Herter, Leverett Saltonstall, Nathan M. Pusey (President of Harvard University on Urban Renewal project), Peter Nash, Walter H. Blucher, and Lewis Mumford. The records also contain correspondence with Adlai Stevenson on nominating Ferd Kramer for an award; and letters of congratulations on appointment as the Charles Dyer Norton Professor of Regional Planning and Chairman of the Regional Planning and Landscape Architecture Department of Harvard University.
Correspondents from 1956 to 1960 include William F. Buckley, Jr., on Dr. von Mises', Jose Luis Sert, Lewis Mumford, Edwin S. Burdell, President of The Cooper Union for the Advancement of Science and Art, Lewis Mumford, Jasper D. Ward (Architect of General Electric Company) on the project "Research for Living," Rexford G. Tugwell, Leverett Saltonstall, Hubert H. Humphrey, John F. Kennedy, Paul Douglas on Senator John Sparkman's bill S. 1230, Candido Oliveras (Chairman of the Puerto Rico Planning Board on the Southern Metropolitan Area Project), Fernando Belaunde Terry, and Richard M. Bennett.
1961 to 1965 correspondents include John A. Holabird on an urban design project, Nelson A. Rockefeller, Arthur Schlesinger, Jr., Fernando Belaunde Terry, and Francois C. Vigier.
1966 to 1970 correspondents include Lewis Mumford, Walter F. Bogner, and Abraham A. Ribicoff.
Correspondents from 1966 to 1970 include Everett McKinley Dirksen, Ralph M. Paiewonsky (Governor of the Virgin Islands), Hubert H. Humphrey, Jorge Ricardo Riba (Director of Instituto de Vivienda y Urbanismo in Panama), and Luis A. Ferre (Governor of Puerto Rico).
Correspondents from 1971 to 1975 include Fernando Belaunde Terry, and Frank O. Gehry which includes the publication Children and the City, by Olga Adams.
1976-1980 correspondents include William Saltzman, Newton S. Friedman, Arete Publishing Company, Inc. on manuscripts for an encyclopedia, and The Free Press on biographies for the Macmillan Encyclopedia of Architects.
1981-1985 correspondents include Jeffrey Potter on Jackson Pollock, Kazuhiko Satani of the Satani Gallery in Tokyo, Ati (Beate) Gropius Johansen, Norma Farber, Fernando Belaunde Terry, William W. Nash, Jr., Newton S. Friedman, Leone Blooston, Bruno Zevi, Robert Rosenthal, Chester Nagel, Howard Henry, Harry Seidler, and Ferd Kramer.
1986 correspondence includes sympathy cards to Charlotte Aldes Isaacs.
Collection Restrictions:
This collection is open for research. Use requires an appointment and is restricted to the Washington, D.C. research facility.
Collection Rights:
The papers of Reginald R. Isaacs 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.
Collection Citation:
Reginald R. Isaacs papers, circa 1842-1991, bulk 1928-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The papers of artist Ellen Lanyon measure 62.6 linear feet and date from circa 1880-2014, bulk 1926-2013. Biographical material; correspondence; interviews; writings; journals; project files; teaching files; exhibition files; personal business records; printed and broadcast material; scrapbooks; photographic material; artwork; sketchbooks; as well as sound and video recordings and electronic records, provide a comprehensive view of Lanyon's career and of art circles in Chicago and New York. Correspondence with artists and friends make up a significant portion of the collection. Project and exhibition files reflect her professional and artistic career. Thousands of slides and photographs document her life and artwork over seven decades, and over seventy sketchbooks are filled with student sketches, portraits of friends and family, and preliminary drawings.
Scope and Contents:
The papers of artist Ellen Lanyon measure 62.6 linear feet and date from circa 1880-2014, bulk 1926-2013. Biographical material; correspondence; interviews; writings; journals; project files; teaching files; exhibition files; personal business records; printed and broadcast material; scrapbooks; photographic material; artwork; sketchbooks; as well as sound and video recordings and electronic records, provide a comprehensive view of Lanyon's career and of art circles in Chicago and New York.
Biographical material documents Lanyon's major life events and includes calendars; addresses and contacts; life documents; awards; diplomas and school records; resumes; horoscope readings and natal chart; residence documents; personal memorabilia; family papers and memorabilia; and items relating to Lanyon's memorial.
Correspondence, both personal and professional, consists of letters, postcards, holiday and greeting cards exchanged with family, friends, artists, collectors, publishers, print shops, museums, galleries, and cultural and educational institutions. Notable correspondents include Judy Chicago, Leon Golub, Red Grooms, Richard Hunt, Joyce Kozloff, Lucy Lippard, Gladys Nilsson, Irving Petlin, Edward Plunkett, Dorothea Rockburne, Miriam Schapiro, Buzz Spector, May Stevens, and Michelle Stuart.
Fourteen interviews are with Ellen Lanyon conducted by various interviewers on behalf of a number of organizations and consist of transcripts, sound recordings, and video recordings.
Writings include general writings, lectures, presentations, and thirty-seven notebooks by Lanyon. A few writings by others about Lanyon and several sound recordings of lectures by other artists are also found here.
Twenty-five journals intermittently record Lanyon's reflections on her day-to-day life including her work, obligations, and relationships.
Project files include professional activities and files documenting projects and commissions. Files may contain project proposals, correspondence, printed material, applications, contracts, research notes, invoices, receipts, notebooks, sketches, plans, organizational records, and photographic material. Three multi-year projects are extensively documented, including theMiami Metamorphosis mural, Riverwalk Gateway mural, and Hiawatha Rail Line mural.
Teaching files consist of correspondence, memoranda, course descriptions and proposals, rosters, administrative documents, and printed material from a number of institutions, including Cooper Union, where Lanyon taught from the 1970s to her retirement in 1993.
Exhibition files include files for individual exhibitions, exhibitions by women artists, and chronological files. Files may contain correspondence, inventories, consignment records, layout plans, printed material, and photographic material.
Personal business, inventory, and estate records document the financial and administrative history of Lanyon's career and artworks.
Printed material, broadcast material, and published video recordings document Lanyon's career, art movements in Chicago and New York, and the women's movement in art. Files may contain books, booklets, broadsides, radio and television broadcasts, brochures, exhibition announcements and catalogs, lecture announcements, news and magazine clippings, newspapers and newsletters, periodicals, press releases, programs, video recordings, source material, and posters.
Eight scrapbooks contain predominantly clippings and exhibition material documenting Lanyon's career.
Photographic material consists of thousands of prints, slides, transparencies, and negatives of Lanyon, family, friends, artists, places, and artwork.
A small number of artworks include a self-portrait Lanyon carved in wood, a childhood painting, a photo collage, sketches, and one folder of assignments for an art course. Artworks by others are a hand colored photograph album by Marcia Palazzolo and prints distributed by Landfall Press.
Seventy-one sketchbooks are filled with student sketches, portraits of friends and family, and preliminary drawings done in pencil, watercolor, and colored pencil.
The content of the sound and video recordings, and electronic records in the last series remains unidentified and existing labeling is insufficient for further description.
Arrangement:
The collection is arranged as fifteen series
Series 1: Biographical Material, circa 1880-2014, bulk 1926-2013 (5.3 linear feet; Box 1-6, 62)
Series 2: Correspondence, 1936-2013 (14.3 linear feet; Box 6-20)
Series 3: Interviews, circa 1975-2012 (0.7 linear feet; Box 20-21)
Series 4: Writings, Lectures, and Notebooks, circa 1947-2013 (3.2 linear feet; Box 21-24)
Series 5: Journals, 1967-2013 (1 linear foot; Box 24-25)
Series 6: Project Files, 1952-2014 (5.8 linear feet; Box 25-31, 62, OV 66)
Series 7: Teaching Files, 1953-2010 (0.9 linear feet; Box 31)
Series 8: Exhibition Files, circa 1944-2013 (2.7 linear feet; Box 32-34, 63)
Series 9: Personal Business, Inventory, and Estate Records, circa 1950-2014 (3 linear feet; Box 34-37)
Series 10: Printed and Broadcast Material, and Published Video Recordings, 1937-2013 (13.3 linear feet; Box 37-49, 63, OV 67-77)
Series 11: Scrapbooks, 1946-2013 (0.6 linear feet; Box 49-50)
Series 12: Photographic Material, circa 1920-2013 (7.7 linear feet; Box 50-57, 63)
Series 13: Artwork, circa 1938-1979 (0.2 linear feet; Box 58, 63)
Series 14: Sketchbooks, circa 1940-2010 (3.4 linear feet; Box 58-60, 64, 65)
Series 15: Unidentified Sound and Video Recordings, and Electronic Records, circa 1974-2013 (0.5 linear feet; Box 60-61)
Biographical / Historical:
Ellen Lanyon (1926-2013) was an American painter and printmaker working in Chicago and New York. She was born in Chicago, Illinois to Howard and Ellen (Nellie) Lanyon. Lanyon received her BFA from the School of the Art Institute of Chicago in 1948 and married classmate and artist Roland Ginzel that same year. In 1950, she received her MFA from the University of Iowa. As part of her post graduate work, Lanyon studied at the Courtauld Institute, University of London on a Fulbright Fellowship.
In the late 1940s, Lanyon began exhibiting her work and was featured in several Chicago and Vicinity Annual shows as well as the Momentum exhibitions. Influenced by surrealism, magic realism, and the work of the Chicago Imagists and the Hairy Who, Lanyon's subjects range from portraits of friends and family, to objects from her collection of curios, to flora and fauna. She produced paintings, drawings, print editions, artist's books, and some ceramics. In addition to her own artwork, Lanyon took on numerous commissions including the Riverwalk Gateway murals in Chicago, the Hiawatha Transit murals in Minneapolis, Minnesota, and a variety of illustration work.
Lanyon was active in many professional organizations and women's organizations including the College Art Association (CAA) and the Women's Caucus for Art. She organized panels at CAA, contributed writings and editing to journals, including Heresies, and served on a variety of panels and juries. Lanyon was also on the Board of the Ox-Bow Summer School of Painting, which she attended in her youth. Over the course of her career, she taught at many colleges and universities, including Cooper Union, where she was Associate Professor.
Throughout her career, Lanyon participated in exhibitions around the country, including a retrospective of her work at the National Museum for Women in the Arts in 1999. She was also the recipient of many awards and grants including the Logan Price and a National Endowment for the Arts grant.
Lanyon and Ginzel had two children, Andrew and Lisa Ginzel.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Ellen Lanyon conducted by James Crawford in 1975.
Provenance:
A majority of the collection was donated in 2015 by Andrew Ginszel, Ellen Lanyon's son and executor. Lanyon also donated material in 1990. Portions of the collection were lent for microfilming from 1977-1981 by Lanyon and subsequently donated.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Ellen Lanyon 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.
Topic:
Muralists -- New York (State) -- New York Search this
Cooper Union for the Advancement of Science and Art
Copher, Glover H.
Copley Gallery
Corbel, Margaret
Corbino, Jon and Marcia
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Frank K. M. Rehn Galleries 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.
Collection Citation:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art
The papers of painter Audrey Flack measure 15.8 linear feet and 0.897 GB and date from 1950-2009. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.
Scope and Contents:
The papers of painter Audrey Flack measure 15.8 linear feet and 0.897 GB and date from 1950-2009. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.
Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.
There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.
Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.
Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)
Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)
Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)
Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)
Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)
Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)
Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)
Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)
Biographical / Historical:
Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism.
Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.
Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles.
Audrey Flack lives and works in New York and in East Hampton, New York.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.
Provenance:
The collection was donated by Audrey Flack in April 2009.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Audrey Flack 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.
Topic:
Women sculptors -- New York (State) -- New York Search this
Women painters -- New York (State) -- New York Search this
