Skip to main content Smithsonian Institution

Search Results

Collections Search Center
108 documents - page 5 of 6

Fred Mitchell papers

Creator:
Mitchell, Fred, 1923-  Search this
Names:
Mississippi Art Colony  Search this
Gonzales, Justo  Search this
Kline, Franz, 1910-1962  Search this
McQuade, James M.  Search this
Ochman, Jim  Search this
Pajerski, Elizabeth  Search this
Reed, Harry Hope  Search this
Rooney, Peter  Search this
Rucker, Patrick  Search this
Stevens, Dick, 1928-  Search this
Sultz, Phil  Search this
Extent:
14.3 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Sketches
Scrapbooks
Watercolors
Drawings
Date:
1938-2007
Summary:
The papers of Fred Mitchell, 1938-2007, measure 14.3 linear feet. Correspondence, writings, 29 diaries, and subject files, document his personal life and career as a painter and educator in New York City. The papers also include biographical materials, artwork, sketchbooks, printed material, and photographs.
Scope and Contents:
The papers of Fred Mitchell, 1938-2007, measure 14.3 liner feet. Correspondence, writings, 29 diaries, and subject files document his personal life and career as a painter and educator in New York City. The papers also include biographical materials, artwork, sketchbooks, printed material, and photographs.

Among the biographical materials are biographical notes, military records, passports, and resumes. Correspondence includes both professional and personal letters. Correspondents include friends, former students, colleagues, and individuals of romantic interest.

Writings by Mitchell include notebooks containing names and addresses, appointments, lists and a variety of notes. Diaries record Mitchell's personal and professional activities, plans, aspirations, and memories; also, many volumes contain loose items such as printed material, drawings, notes and letters. Other authors represented are Harry Hope Reed, Peter Rooney, and Patrick Rucker.

Subject files maintained by Mitchell concern friends, teaching activities, exhibitions; also, interests in art, dance, poetry, and music. Files on the Mitchell family concern four generations and include Elizabeth Pajerski, his artist sister with whom he sometimes exhibited. There are files on Coenties Slip artists and related exhibitions. Other subjects of note are a Franz Kline traveling exhibition curated by Mitchell, and Mississippi Art Colony. Individuals for whom threre are substantial subject files include Justo Gonzales, James M. McQuade, Jim Ochman, Peter Rooney, John W. ("Dicky") Stevens, and Phil Sultz.

Most artwork is by Mitchell and consists mainly of drawings and sketches. Artwork by others includes drawings and watercolors by Peter Rooney, students, and unidentified artists. Mitchell's sketchbooks (16 volumes) contain sketches, drawings, and a few finished watercolors.

Printed material is about or mentions Mitchell. Included are a variety of items such as exhibition catalogs and announcements, brochures, clippings, press releases, and concert programs. Photographs are of Mitchell with family and friends; artwork by Mitchell and other artists; exhibition installations and openings; and places including the Wall-South neighborhood just before the destruction of his studio and travel pictures.
Arrangement:
The collection is arranged in 9 series:

Missing Title

Series 1: Biographical Materials,1942-circa 2005 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1947-2004 (Boxes 1-2; 1.9 linear feet)

Series 3: Writings, circa 1940s-2004 (Boxes 2-3; 1.4 linear feet)

Series 4: Diaries, 1949-2002 (Boxes 4-6; 2.5 linear feet)

Series 5: Subject Files, 1943-2002 (Boxes 6-12; 6 linear feet)

Series 6: Artwork, circa 1940s-2002 (Boxes 12-13; 0.5 linear feet)

Series 7: Sketchbooks, 1955-1993 (Boxes 13, 15; 0.6 linear feet)

Series 8: Printed Material, 1938-2004 (Boxes 13-14; 0.5 linear feet)

Series 9: Photographs, 1940s-2002 (Box 14; 0.5 linear feet)
Biographical / Historical:
Fred Mitchell (1923-2013), a painter and educator who worked in New York City, was among the first artists to open a studio in Coenties Slip on the East River in downtown Manhattan.

A native of Meridian, Mississippi, Madison Fred Mitchell (always called Fred), won a Scholastic Magazine award and his work was shown in its "15th Annual National High School Art Exhibit" held at the museum of the Carnegie Institute in 1942. Mitchell studied at the Carnegie Institute of Technology for a year before entering the U. S. Army. After World War II ended, he resumed his education at Cranbrook Academy of Art (BFA 1946 and MFA 1956). He moved to New York in 1951 and became a member of the "Downtown Group." In 1952 he was among the organizers of Tanager Gallery and in 1954 founded the Coenties Slip School of Art.

Mitchell enjoyed a long career as a highly regarded teacher of drawing, painting, and art history. He taught at Finch College, the Positano Art Workshop in Italy, and Cranbrook Academy in the 1950s. During the 1960s, he was affiliated with Downtown Art Center at Seamens Church Institute in Coenties Slip, New York University, Cornell University, and Ithaca College. In the early 1970s Mitchell taught at Queens College, and from the mid-1980s-early 2000s served on the faculties of Parsons School of Design, Art Students League of New York, and City University of New York's Kingsborough Community College in Brooklyn.

He exhibited widely in group shows and solo exhibitions in the New York area and throughout the United States. Among these venues were: Howard Wise Gallery, Meridian Museum, Munson-Williams-Proctor Art Institute, State University of New York Binghamton, University of Oregon, and Whitney Museum of American Art.

After several years of declining health, Fred Mitchell died in New York City in 2013.
Provenance:
Fred Mitchell donated a small amount of printed material and photographs in 1972. The majority of the papers were donated in 2013 by Fred Pajerski, Fred Mitchell's nephew.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Photographs
Sketches
Scrapbooks
Watercolors
Drawings
Citation:
Fred Mitchell papers, 1938-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mitcfred
See more items in:
Fred Mitchell papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw965fbbabc-bedc-4ab0-8a36-61823a76ddc3
EDAN-URL:
ead_collection:sova-aaa-mitcfred
Online Media:

Oral history interview with Robert Pfannebecker

Interviewee:
Pfannebecker, Robert L.  Search this
Interviewer:
Drutt, Helen Williams  Search this
Names:
Bauer, Fred  Search this
Chihuly, Dale, 1941-  Search this
Higby, Wayne  Search this
Warashina, Patti, 1940-  Search this
Extent:
222 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1991 May 21
Scope and Contents:
An interview of Robert Pfannebecker conducted 1991 May 21, by Helen Drutt English, (formerly Helen Williams Drutt) for the Archives of American Art.
Pfannebecker discusses his background; the development of his interest in crafts and collecting; his associations with students and teachers at the Cranbrook Academy of Art in the 1960s; later acquisitions as a result of his association with Dale Chihuly and his students at the Rhode Island School of Design, Wayne Higby and his students at Alfred University, and Eleanor Moty at the University of Wisconsin-Madison; other artists he has worked with over the years including Patti Warashina, Fred Bauer, Helen Bitar, Warren Seelig, and Gary Knodel; and exhibitions of his collection.
Biographical / Historical:
Robert Pfannebecker (1933- ) is a crafts collector and attorney from Philadelphia, Pa.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 25 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.
Occupation:
Ceramicists  Search this
Topic:
Art -- Collectors and collecting -- Pennsylvania -- Interviews  Search this
Handicraft  Search this
Art -- Collectors and collecting  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.pfanne91
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c0d8af43-a06b-48cb-af32-23eece23aa6a
EDAN-URL:
ead_collection:sova-aaa-pfanne91
Online Media:

Oral history interview with Gary L. Noffke

Interviewee:
Noffke, Gary  Search this
Interviewer:
Douglas, Mary F., 1956-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art  Search this
Eastern Illinois University -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Ring Show  Search this
Southern Illinois University (System) -- Students  Search this
Stetson University -- Faculty  Search this
University of Iowa -- Students  Search this
Brown, William J. (William Joseph), 1923-1992  Search this
Coulter, Lane, 1944-  Search this
DeRuiter, Garret  Search this
Dreisbach, Fritz  Search this
Ebendorf, Robert, 1938-  Search this
Erbe, Gary T., 1944-  Search this
Fike, Phillip G., 1927-1997  Search this
Gingras, Toms  Search this
Hu, Mary Lee, 1943-  Search this
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Loloma, Charles, 1921-  Search this
Merrit, Barry  Search this
Messersmith, Fred  Search this
Nettles, Dickie  Search this
Norell, Lydia  Search this
Pujol, Elliot  Search this
Streetman, Evon  Search this
Wilde, Sue  Search this
Zelmanoff, Marci  Search this
Extent:
106 Pages (Transcript)
4 Items (Sound recording: 4 sound files (4 hr., 49 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 December 4-5
Scope and Contents:
An interview of Gary L. Noffke conducted 2010 December 4 and 5, by Mary Douglas, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Noffke's home, in Farmington, Georgia.
Noffke speaks of growing up in Sullivan, Illinois; disliking school; the absence of formal art education before college and doing art on his own; his grandfather's farm; attending Eastern Illinois University to study painting, receiving a BS and MS in education with a major in art; what classes he took and his professors; his opinion about art programs in universities; the influence of the Vietnam draft; attending the University of Iowa and his introduction to metals; transferring to Southern Illinois University and his peers; learning techniques with metals; early metal work; working at Stetson University in Deland, Florida; working with colleagues and students and its influence on work; experimenting with different techniques; transition from graduate school to professional life; developing different methods for metal work, and motivations; how the notion of form and function has changed in design, especially regarding metal work and artists; the dynamics of working with students throughout the years; discusses in detail individual works and his approaches and anecdotes; his attraction to rings, simple hardware, and traditional, ancient forms; other teaching jobs before landing at the University of Georgia; building his house and studio; working in the Italy program at Cortona; his experiences at Cranbrook, Michigan and Summervale, Colorado; current and past exhibitions including the National Ring Shows; entering competitions; how the hand-made motif is important in his work; the connotation of labels of craft artist; his casual approach to the art market and formalities in the art world. Noffke also recalls Garret DeRuiter, Brent Kington, Elliot Pujol, May Lee Hu, Marci Zelmanoff, Dickie Nettles, Robert Ebendorf, Gary Erbe, Phil Fike, Bill Brown, Evon Streetman, Lane Coulter, Sue Wilde, Lydia Norell, Fred Messersmith, Tom Gingras, Charles Loloma, Fritz Dreisbach, Barry Merrit, and others.
Biographical / Historical:
Gary L. Noffke (1943- ) is a goldsmith in Farmington, Georgia. Mary Douglas (1956- ) is a curator and artist in Statesville, North Carolina.
General:
Originally recorded on 4 SD memory cards. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 49 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:
Metal-work  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.noffke10
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c8fe3d12-fd8c-46ac-9759-5c035e421350
EDAN-URL:
ead_collection:sova-aaa-noffke10
Online Media:

Oral history interview with Harvey K. Littleton

Interviewee:
Littleton, Harvey K.  Search this
Interviewer:
Byrd, Joan Falconer  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Ann Arbor Potters Guild  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
Corning Glass Works  Search this
Cranbrook Academy of Art -- Students  Search this
Haystack Mountain School of Crafts  Search this
Midwest Designer-Craftsmen  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Handicrafts  Search this
Pilchuck School  Search this
Renwick Gallery  Search this
University of Michigan -- Students  Search this
Braden, Norah, 1901-  Search this
Brown, William J. (William Joseph), 1923-1992  Search this
Dreisbach, Fritz  Search this
Eames, Charles  Search this
Eisch, Erwin, 1927-  Search this
Fredericks, Marshall M., 1908-1998  Search this
Hamada, Shōji, 1894-1978  Search this
Marioni, Dante, 1964-  Search this
Milles, Carl, 1875-1955  Search this
Turner, Robert Chapman, 1913-2005  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 15
Scope and Contents:
An interview of Harvey K. Littleton conducted 2001 March 15, by Joan Falconer Byrd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Littleton's home, Spruce Pine, N.C.
Littleton speaks of his family background including the work of his father [Jesse Talbot Littleton] at Corning Glassworks, and his early experiences with glass at Corning. He discusses his studies at the University of Michigan in physics and his switch to sculpture; his studies at Cranbrook Academy, in 1941, and his teachers Marshall Fredericks and Carl Milles; his studies on industrial design; becoming a potter; and working at Corning Glassworks, in the summers, inspecting hand-blown coffee pots and top-of-the-stove ware. He discusses his service in the 849th Signal Intelligence Unit in North Africa and Italy during WWII; studying with Norah Braden, at the Brighton School of Art, in England; the importance of, "A Potter's Book," by Bernard Leach; teaching pottery at night, in Ann Arbor, Michigan; the beginnings of the Ann Arbor Potters Guild; making his own potters' wheels; serving on the board of Penland School of Crafts; the development of "American" art and the impact of the GI Bill on the creation and expansion of art departments; the "master-slave apprentice system"; "the genius of Shoji Hamada"; the properties of porcelain; artist communities at Penland and Cranbrook; the influence of Bill Brown, director of the Penland School of Crafts; art education and the impact of the MFA; Black Mountain College, Pilchuck Glass School, and Haystack Mountain School of Crafts; problems with the European educational system; the importance of Erwin Eisch's work on his development; his relationship with galleries and museums, particularly the Museum of Modern Art, the Renwick Gallery of the Smithsonian American Art Museum, and American Craft Museum; and consignment laws. He also comments on the founding of the Midwest Designer Craftsmen; his involvement with the American Crafts Council (ACC) and the distinction between "the indigenous craftsman" and the "artist-craftsman"; American Crafts Council fairs; his printmaking; his techniques of sandblasting; teaching vitreography; and his plans for opening a print gallery. He recalls Charles Eames, Peter Voulkos, Shoji Hamada, Robert Turner, Dante Marioni, Fritz Dreisbach, and others.
Biographical / Historical:
Harvey K. Littleton (1922- ) is a glass artist, potter, sculptor, and printmaker from Wisconsin and Spruce Pine, N.C. Joan Falconer Byrd (1939-) ia a professor in the art department of Western Carolina University, Cullowhee, N.C.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 10 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:
Glass artists -- North Carolina -- Interviews  Search this
Potters -- Interviews  Search this
Printmakers -- North Carolina -- Interviews  Search this
Prints -- Technique  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.little01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw961daf4d2-b6dd-486c-8664-b04a9b099d65
EDAN-URL:
ead_collection:sova-aaa-little01
Online Media:

Oral history interview with Gerhardt Knodel

Interviewee:
Knodel, Gerhardt  Search this
Interviewer:
Adamson, Glenn  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art -- Faculty  Search this
Los Angeles City College -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of California, Los Angeles -- Students  Search this
Abakanowicz, Magdalena  Search this
Al-Hilali, Neda, 1938-  Search this
Albers, Anni  Search this
Andreson, Laura  Search this
Christo, 1935-  Search this
Hicks, Sheila, 1934-  Search this
Kester, Bernard  Search this
Larsen, Jack Lenor  Search this
Leland, Mary Jane  Search this
Smith, Kiki, 1954-  Search this
Tawney, Lenore  Search this
Zeisler, Claire, 1903-1991  Search this
Extent:
7 Items (Sound recording: 7 sound files (5 hr., 23 min.), digital, wav)
77 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
California -- Los Angeles -- Description and Travel
Michigan -- Description and Travel
Date:
2004 August 3
Scope and Contents:
An interview of Gerhardt Knodel conducted 2004 August 3, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Bloomfield Hills, Michigan.
Knodel speaks of his German heritage; his parents each immigrating to Los Angeles; growing up in Los Angeles and being part of the German community; his father building houses; the influence of his childhood environment on his artwork; taking art classes in school; participating in theater and set design; studying art at Los Angeles City College; collecting textiles; transferring to UCLA; teaching high school art; the influence of Abstract Expressionism on his early work; quitting teaching and studying fiber arts at University of California, Long Beach; traveling to numerous countries, and their influence on his artwork; researching and lecturing on fabric as environment; how the fiber art movement has evolved and changed; early exhibitions and the need for more venues; the fiber art community in the 1960s and 70s; the importance of University art programs; moving to Michigan and teaching at Cranbrook; the importance of scale and context in his work; making large scale pieces to fit within an architectural space; working on commission for public projects; working with the community in Pontiac, Michigan on a commissioned piece; the influence of the history of textiles; being director of the Cranbrook Academy of Art; putting figures on to textiles; the decline of the fiber art movement; and the benefits of schools such as Cranbrook. Knodel also recalls Bernard Kester, Mary Jane Leland, Laura Andreson, Anni Albers, Sheila Hicks, Neda Al-Hilali, Lenore Tawney, Claire Zeisler, Magdalena Abakanowicz, Jack Lenor Larsen, Christo, Kiki Smith, and others.
Biographical / Historical:
Gerhardt Knodel (1940-) is a fiber artist from Bloomfield Hills, Michigan. Glenn Adamson is a curator and, art historian from Wisconsin.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 5 hr., 23 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.
Occupation:
Fiber artists -- California  Search this
Topic:
Abstract expressionism  Search this
Decorative arts  Search this
Textile crafts  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.knodel04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw999d0091b-59dd-4fd8-88ba-b3b708f0d003
EDAN-URL:
ead_collection:sova-aaa-knodel04
Online Media:

L. Brent Kington papers

Creator:
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Names:
American Craft Council  Search this
Artist-Blacksmith's Association of North America  Search this
Cranbrook Academy of Art -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Society of North American Goldsmiths  Search this
Southern Illinois University at Carbondale -- Faculty  Search this
Yellin, Samuel, 1885-1940  Search this
Interviewer:
Hsu, Ilin  Search this
Extent:
9 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Interviews
Sketches
Sound recordings
Date:
1944-2012
Summary:
The papers of influential blacksmith, sculptor, metalsmith and educator, L. Brent Kington, measure 9 linear feet and date from 1944 to 2012. The collection provides a valuable overview of Kington's career through correspondence relating primarily to exhibitions, subject files, drawings, photographs of Kington and his artwork, printed matter and audiovisual material. An additional 5.2 linear feet of papers was accessioned from 2007 to 2012 and remains unprocessed.
Scope and Content Note:
The papers of influential blacksmith, sculptor, metalsmith, and educator, L. Brent Kington, measure 9 linear feet and date from 1944 to 2012. The collection provides a valuable overview of Kington's career through correspondence, subject files, drawings, photographs of Kington and his artwork, printed matter and audiovisual material.

Correspondence in Series 1 relates primarily to exhibitions in the United States at institutions such as the the American Craft Museum, the Evansville Museum of Arts and Science, and the National Ornamental Metal Museum, in which Kington's work was represented.

Kington's education at Cranbrook Academy of Art, his career at Southern Illinois University, his involvement with various professional organizations, his appearances at conferences and workshops, and his relationships with individual galleries, are more fully represented in Series 2: Subject Files.

The collection also includes printed matter, including exhibition announcements and catalogs for group and solo exhibitions in which Kington's work was featured, and publications containing articles about Kington.

Photographs in the collection include images of Kington's artwork and also picture Kington at various stages throughout his career. Audiovisual material includes an oral history interview with Kington from 2001, and two video recordings of a blacksmith workshop and a program entitled Brent Kington: Image of an Artist.

An additional 5.2 linear feet of papers was accessioned from 2007 to 2012 and remains unprocessed.
Arrangement:
The collection is arranged into six series. Original arrangement has generally been maintained throughout the collection, with some merging of chronological correspondence in Series 1 to facilitate access.

Missing Title

Series 1: Correspondence, 1955-2004, undated (box 1; 0.8 linear ft.)

Series 2: Subject Files, 1956-2005, undated (box 1-3; 1.6 linear ft.)

Series 3: Printed Material, 1952-2003, undated (box 3-4, OV 5; 0.9 linear ft.)

Series 4: Photographs, circa 1944-2001 (box 4; 0.4 linear ft.)

Series 5: Audiovisual Material, 1982, 2001, undated (box 4; 4 items)

Series 6: Unprocessed Addition to the L. Brent Kington Papers, 1956-2012 (boxes 6-12, OV 13; 5.2 linear ft.)
Biographical Note:
L. Brent Kington was born in Topeka, Kansas, in 1934. He received a BFA from the University of Kansas, Lawrence, in 1957 and an MFA from Cranbrook Academy of Art in 1961. Kington began his career primarily as a silversmith working with small-scale objects such as jewelry, silverware, and toys, and then became interested in using forged iron to create sculpture. He sought the help and instruction of the few blacksmiths he could find working in a "traditional" style and began working with large-scale sculptures forged in iron and steel, weathervanes, and other kinetic sculpture. Kington's subsequent research, such as his exploration of forge welding techniques of iron and his experimentation with laminated, non-ferrous alloys, constituted an important contribution to the resurgence of traditional blacksmithing and was highly influential in the fields of blacksmithing and metalsmithing in general.

Kington served as Director of the School of Art and Design at Southern Illinois University in Carbondale from 1981 to 1994. He was a lecturer at SIU from 1961 to 1962, assistant professor from 1962 to 1967, associate professor from 1967 to 1972, professor from 1972 to 1996, and is currently professor emeritus. A committed educator and an avid spokesman for the arts, he has been honored many times as a guest lecturer, visiting artist, exhibit juror, workshop demonstrator, and panelist in the United States and abroad. In 1987 he spent a summer in Cortona, Italy as guest professor in the University of Georgia Studies Abroad Program.

Since 1962, Kington's sculpture and metalwork has been shown in more than 350 group and solo exhibitions in museums and galleries throughout the United States, Europe, Asia, Africa, Canada, Mexico, and South America. Over the years Kington has served in various professional organizations. He has been a Trustee of the American Craft Council, Director of the Artist-Blacksmith Association of North America (ABANA), and President of the Society of North American Goldsmiths (SNAG). In 1978 he was elected to the American Craft Council's Academy of Fellows and has been the recipient of two Artist Fellowship grants from the National Endowment for the Arts.

Kington continues to work from his home and studio in Makando, Illinois.
Related Material:
The Archives also has a transcribed interview of L. Brent Kington, conducted May 3-4, 2001 by Mary Douglas for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. The interview was conducted in Kington's home and studio in Makando, Illinois.
Provenance:
The collection was donated to the Archives of American Art in installments by L. Brent Kington from 2001 to 2012. Materials donated from 2007 to 2012 remain unprocessed.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Blacksmithing  Search this
Blacksmiths -- Illinois  Search this
Sculptors -- Illinois  Search this
Metal-work  Search this
Genre/Form:
Video recordings
Interviews
Sketches
Sound recordings
Citation:
L. Brent Kington papers, 1944-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kinglbre
See more items in:
L. Brent Kington papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cf13988f-4d5d-4cba-b783-bb9bd885abf8
EDAN-URL:
ead_collection:sova-aaa-kinglbre
Online Media:

Bloomfield Hills, Michigan, Cranbrook Academy of Art

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 105, Folder 3
Type:
Archival materials
Date:
1949
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93757a8b8-5d9c-4804-b18a-e0787f12fe19
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11750
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Bloomfield Hills, Michigan, Cranbrook Academy of Art digital asset number 1

William J. and Jane Brown papers

Creator:
Brown, William J. (William Joseph), 1923-1992  Search this
Brown, Jane Brennan, 1931-  Search this
Names:
Haystack Mountain School of Crafts  Search this
Penland School of Crafts  Search this
Bailey, Dan  Search this
Berensohn, Paulus  Search this
Brennan, Harold James, 1903-1989  Search this
Ebendorf, Robert, 1938-  Search this
Ehle, John, 1925-  Search this
Hallman, Ted, 1933-  Search this
Lipofsky, Marvin, 1938-2016  Search this
Morgan, Lucy, 1889-1981  Search this
Perisho, Flossie  Search this
Takaezu, Toshiko  Search this
Extent:
7.9 Linear feet
0.32 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sketches
Sound recordings
Video recordings
Date:
circa 1940-2014
Summary:
The papers of William J. and Jane Brown date from circa 1940-2014 and measure 7.9 linear feet and 0.32 gigabytes. The collection is comprised of biographical material, correspondence, interviews, writings and notes, printed material and documentaries, photographs and moving images, and administrative records from the Penland School of Crafts where William served as director from 1962 to 1983.
Scope and Contents:
The papers of William J. and Jane Brown date from circa 1940-2014 and measure 7.9 linear feet. The collection is comprised of biographical material, correspondence, interviews, writings and notes, printed material and documentaries, photographs and moving images, and administrative records from the Penland School of Crafts where William served as director from 1962 to 1983.

Biographical materials consists of awards, business cards, annotated calendars, consignment forms, material from Haystack Mountain School of Crafts, resumes, sketches, and student documents. Correspondence is with artists, former students, instructors, local residents, Paulus Berensohn, Robert Ebendorf, Theodore Hallman, Lucy Morgan, Toshiko Takaezu, and others.

Sound and video recordings are of interviews with Bill and Jane Brown, Lucy Morgan, and "Flossie" Perisho regarding personal and Penland history. One transcript of Marvin Lipofsky's conversation with Bill is also included. Bill's writings are on industrial design, directing Penland, and mankind. Two notebooks contain daily logs, sketches, and other notes. Notes by Bill and Jane are on inventions, John Ehle, metal history, poems, and other topics. Other writings are about Bill and a manuscript on craftsman education by Harold J. Brennan.

Penland's administrative records contain files documenting the board of trustees, residents program, a special 2-week session, artwork, Bill Brown's Glass Studio dedication ceremony schedule, a certificate of incorporation, financial material, grant proposals, and maps. Also found are records of Penland's 50th birthday celebration, including a video recording of "A Quest" by Dan Bailey.

Books, booklets, four documentary video recordings, exhibition catalogs and announcements, flyers, pamphlets, periodicals, postcards, posters, and stickers and patches designed by Bill are in printed materials. Photographs and slides are of Bill and Jane; family and friends; works of art; and of Penland's grounds, students, and faculty along with photographs and video recordings documenting Penland's history.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Materials, 1948-2011 (0.6 linear feet; Boxes 1, 9)

Series 2: Correspondence, 1949-2014 (1.8 linear feet; Boxes 1-3, 9)

Series 3: Interviews, 1968-1991 (0.4 linear feet; Box 3)

Series 4: Writings and Notes, circa 1950-2005 (0.2 linear feet; Box 3)

Series 5: Penland School of Crafts Administrative Records, 1954-1995 (1.1 linear feet; Boxes 3-4, 9)

Series 6: Printed Materials and Documentaries, 1942-2005 (1.8 linear feet, 0.32 GB; Boxes 4-6, 9; ER01)

Series 7: Photographic Materials and Moving Images, circa 1940-2011 (2.0 linear feet; Boxes 6-10, RD 11)
Biographical / Historical:
William "Bill" J. Brown (1923-1992) was a designer and educator who was married to Jane Brown (1932- ), an arts administrator. They lived in Bakersville, North Carolina.

Bill Brown was born in Flint, Michigan in 1923. He studied at the Cranbrook Academy of Art receiving a bachelor of fine art in 1949, a master of fine art in 1950, and was chosen to work at Corning Glass Works for a summer. After his studies, he taught at the Haystack Mountain School of Crafts and at the University of Delaware. In 1962 Lucy Morgan, who founded the Penland School of Crafts in 1929 in North Carolina, retired and offered the position of director to Bill. At the time, the school focused on traditional mountain crafts. As director, Bill changed the emphasis of the school to the advancement of professional craftsmen and the expansion of media to include iron and glass. He began a resident artist program that allowed artists to develop their skills at a low cost. Together, Bill and Jane created a supportive community of craftsmen that attracted renowned artists to teach and work at Penland. Bill resigned as director in 1983 but remained a respected member of the arts community. He earned several awards including the North Carolina Award in the Fine Arts in 1991.

Jane Brown graduated from the University of Delaware with a bachelor of arts in education and a master's degree in special education. Jane studied the Alexander Technique, a technique that can be used to improve the performance of dancers and musicians.

Bill Brown died in 1992. After his death, Jane participated in the dedication of the Bill Brown Glass Studio at Penland during a Glass Arts Society conference in 1995. She continues to live in Bakersville, North Carolina.
Related Materials:
Also found at the Archives of American Art is an oral history interview with William J. Brown and his wife Jane Brown conducted on January 19, 1991 and March 2, 1991 by Jane Kessler.
Provenance:
The portions of the William J. and Jane Brown papers that were lent for microfilming in 1991 by Jane Brown were subsequently donated by Jane Brown 1995 and 2015 along with additional papers.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Occupation:
Arts administrators -- North Carolina  Search this
Educators -- North Carolina  Search this
Glass artists -- North Carolina  Search this
Genre/Form:
Interviews
Sketches
Sound recordings
Video recordings
Citation:
William J. and Jane Brown papers, circa 1940-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.browwill
See more items in:
William J. and Jane Brown papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9907be991-414d-4c5f-b92d-b8729175c574
EDAN-URL:
ead_collection:sova-aaa-browwill

Biographical Summaries

Collection Creator:
Bishop, Isabel, 1902-1988  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
circa 1957, 1975
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Isabel Bishop papers, 1914-1983. Archives of American Art, Smithsonian Institution.
See more items in:
Isabel Bishop papers
Isabel Bishop papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9227776c9-6df8-48a9-ac78-f4cee2dd2be3
EDAN-URL:
ead_component:sova-aaa-bishisab-ref15
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Biographical Summaries digital asset number 1

Notebook, Art History Survey, Cranbrook Academy of Art Summer 1948

Collection Creator:
Hallam, Beverly, 1923-2013  Search this
Container:
Box 8, Folder 3
Type:
Archival materials
Date:
1948
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Hallam Papers, 1899-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Beverly Hallam papers
Beverly Hallam papers / Series 4: Writings / 4.3: Beverly Hallam Student Work
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94ca86b8b-aade-4da2-a1df-047f414e10b1
EDAN-URL:
ead_component:sova-aaa-hallbeve-ref165

Florence Knoll Bassett papers

Creator:
Knoll, Florence, 1917-2019  Search this
Names:
Cranbrook Academy of Art  Search this
Cranbrook Kingswood School (Bloomfield Hills, Mich.)  Search this
Hans G. Knoll Furniture Company  Search this
Knoll Associates, inc.  Search this
Knoll International, inc.  Search this
Cheek, Leslie, 1908-  Search this
Eames, Charles  Search this
Gandhi, Indira, 1917-1984  Search this
Graham, Katharine, 1917-  Search this
Helm, John  Search this
Johnson, Philip, 1906-2005  Search this
Knoll, Walter C.  Search this
Miller, R. Craig  Search this
Milles, Carl, 1875-1955  Search this
Raseman, Rachel de Wolfe  Search this
Reagan, Nancy, 1923-  Search this
Saarinen, Eero, 1910-1961  Search this
Saarinen, Eliel, 1873-1950  Search this
Slavin, Maeve  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Drawings
Photographs
Sketchbooks
Date:
1932-2000
Summary:
The papers of architect and designer Florence Knoll Bassett, measure approximately 2 linear feet dating from 1932 to 2000. Through correspondence, sketches, drawings, designs, subject files, photographs, and printed material, the collection selectively documents Knoll Bassett's education, her work with Knoll Associates from the 1940s until her resignation in 1965, and projects undertaken since her retirement. It is an important source of information on the development of interior architecture and design from the 1940s to the 1970s.
Scope and Content Note:
The papers of architect, and interior designer and planner Florence Knoll Bassett, measure approximately 2 linear feet dating from 1932 to 2000. The collection selectively documents Knoll Bassett's education and her career at Knoll Associates, Inc. from the 1940s until her resignation in 1965, in addition to personal design projects and other activities after leaving the company. It is an important source of information on the development of interior architecture and design from the 1940s to the 1970s, chronicling the Knoll mission to synthesize space, furniture, and design by creating interiors based on practical use, comfort, and aesthetics.

The collection documents the growth of Knoll's international reputation for its modern furnishings and interiors and the impact of a business philosophy that encompassed design excellence, technological innovation, and mass production. The material includes a chronology of Knoll Bassett's career; a portfolio of sketches, drawings and designs; photographs of Knoll Bassett and others; subject files containing sketches and photographic material; letters from friends, colleagues, clients and others; awards received by Knoll Bassett throughout her career; and printed material.

Much of the material is annotated with historical and biographical notes written by Knoll Bassett which provide invaluable contextual information for the materials found therein. The notes are dated 1999 in the Container Listing, under the assumption that they were written by Florence Knoll Bassett as she was arranging her archival papers.
Arrangement:
Before donating her papers to the Archives of American Art, Knoll Bassett organized the material in portfolios and color-coded files and designed four containers for them. Because the method of arrangement in itself provides insight into Knoll Bassett's style and creativity the collection has been minimally processed with the addition of acid-free materials for preservation reasons and the transcription of labels which may, over time, become detached. The original order of the collection has been retained throughout.

The collection was organized into what Bassett termed "storage units," the first container being divided into three units and the collection as a whole being divided into six units. Knoll Bassett supplied a detailed inventory of the contents of each container and the subjects represented in each porfolio or folder. Subject headings from this inventory have been used in the Series Description/Container Listing. Knoll Bassett also supplied a vita summarizing her career and copies of this, and her original container inventory are enclosed with the collection and can be consulted at AAA's research center in Washington D.C.

The collection is arranged as seven series. These series represent the categories into which Knoll Bassett organized the material, with the exception that Letters and Awards are presented as two series in the finding aid. Most of the items in Series 1 to 4 are presented as portfolios in spiral-bound notebooks and the remainder of the collection is organized in folders.

Missing Title

Series 1: Biographical Material, 1932-1999 (Box 1; 1 portfolio)

Series 2: Selected Publications, 1946-1990, 1999 (Box 1; 1 portfolio)

Series 3: Drawings, Sketches, and Designs, 1932-1984, 1999 (Boxes 1-2; 2 portfolios)

Series 4: Photographs and Printed Material, 1956-1997, 1999 (Box 2; 1 portfolio)

Series 5: Subject Files, circa 1930s-1999 (Box 3; 1.0 linear ft.)

Series 6: Letters, circa 1930s-2000 (Box 4; 7 folders)

Series 7: Awards, 1954-1999 (Box 4; 6 folders)
Biographical Note:
Florence Knoll Bassett (1917-2019) was born Florence Schust and was affectionately known as Shu by her colleagues and friends. She was orphaned at age 12 and then cared for by Emile Tessin, a friend of the family whom her mother had appointed as Florence's legal guardian in the event of her death. When arrangements were being made for Florence to attend boarding school she was given the opportunity to make the selection. Kingswood School in Bloomfield Hills, Michigan, held a strong aesthetic appeal for her and she "made an immediate decision that it was the right place for me," beginning her architectural studies under the school's art director, Rachel de Wolfe Raseman.

At Kingswood Knoll Bassett met the Saarinen family, studying under Eliel Saarinen and developing her interest in texture and color through her friendship with Loja Saarinen who supervised the school's weaving studio. Following Florence's graduation from Kingswood in 1934, Eliel Saarinen encouraged her to spend some time at Cranbrook Academy of Art before attending an accredited architecture school. She spent the next two years at Cranbrook working closely with advanced students and artists such as the Saarinens and Carl Milles, and gaining experience in all aspects of design.

Knoll Bassett then studied for two years at the Architectural Association in London, spending summers with the Saarinens in Europe. She completed her formal training at the Illinois Institute of Technology where she studied under Mies van der Rohe, whom she credits with having "a profound effect on my design approach and the clarification of design."

After graduation Knoll Bassett worked for architecture firms in Boston and New York where she met Hans Knoll who was then in the process of establishing a furniture business. In 1943 she began working for him in her spare time as an interior space planner and designer. In 1946 the two were married and formed Knoll Associates, Inc.

As director of the Knoll Planning Unit, Knoll Bassett established herself as one of the most important and influential interior planners and designers of the second half of the twentieth century. Believing that intelligent design "strikes at the root of living requirements and changing habits," she established the practice of working closely with the corporate sector to determine the needs of the people who would actually use the spaces that her company designed. Her connections with leading contemporary architects and designers, and the company's commitment to crediting designers by name and paying them royalties, laid the foundations for the strong working relationships upon which the commercial success of Knoll Associates was built. Drawing on a pool of top architects and designers, many of whom were personal friends, Knoll Bassett directed the company's Bauhaus approach, incorporating design excellence, technological innovation, and mass production in a seamless package of "total design."

While Knoll Bassett oversaw the creative process of the Planning Unit's operations in its entirety, she was also directly responsible for many of the individual elements used in the Unit's projects. During the war years, she worked with her designers to overcome the scarcity of materials, establishing Knoll Textiles in response to the dearth of available fabrics and textile colors, and developing the company's hallmark style of spare clean lines and vibrant colors in a functional, comfortable, and aesthetically appealing space. Finding that much of the "fill-in" furniture, primarily cabinetry, that she envisaged in many of her plans was not available, Knoll Bassett designed the pieces herself. She used the Knoll showrooms as "experimental laboratories" to convince clients to use modern ideas and materials, showcasing and putting into production the classic designs of people such as Eero Saarinen, Mies van der Rohe, Jens Risom, Harry Bertoia, Isamu Noguchi, and Marcel Breuer.

After the war Knoll Associates expanded to Europe through a series of government contracts which resulted ultimately in the formation of Knoll International. When Hans Knoll died suddenly in an automobile accident in 1955 Florence became president of the company. She married Harry Hood Bassett in 1958 and began to divide her time between New York and Florida. In 1959 she sold her interest in Knoll Associates to Art Metal and retired as President of the company the following year, while continuing to work as a consultant and serving as Design Director. In 1961 she became the first woman to be awarded the Gold Medal for Industrial Design by the American Institute of Architects, one of many awards received over the course of her career. In 1965 she resigned from Knoll Associates entirely after completing the interior design for the CBS headquarters in New York.

Following her retirement Knoll Bassett devoted more time to private commissions and other interests such as her campaign against billboards in Miami in the mid 1980s. She spent summers in Vermont and winters in Florida with her husband, until his death in 1991. In July 2001, Metropolis magazine published a rare interview with Knoll Bassett in which she reflects upon the life she so skillfully documented in the extraordinary gift of her archival papers to the Archives of American Art.
Provenance:
The collection was donated to the Archives of American Art by Florence Knoll Bassett in 2000.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Architects -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Furniture designers -- New York (State) -- New York  Search this
Topic:
Interior decoration firms  Search this
Interior decoration  Search this
Industrial design  Search this
Women artists  Search this
Women architects  Search this
Women designers  Search this
Genre/Form:
Sketches
Drawings
Photographs
Sketchbooks
Citation:
Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.knolflor
See more items in:
Florence Knoll Bassett papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92a5be5e6-2fa4-4ce3-ae1d-b36626e44ddc
EDAN-URL:
ead_collection:sova-aaa-knolflor
Online Media:

Letters (1970s)

Collection Creator:
Knoll, Florence, 1917-2019  Search this
Container:
Box 4, Folder 5
Type:
Archival materials
Date:
1972-1978
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Florence Knoll Bassett papers
Florence Knoll Bassett papers / Series 6: Letters
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f0ccbe0e-4814-4914-aa36-cce5ee5a3031
EDAN-URL:
ead_component:sova-aaa-knolflor-ref60
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Letters (1970s) digital asset number 1

Student Rosters

Collection Creator:
Kimball, Margueritte Eleanor, 1906-1995  Search this
Container:
Oversize 4, Folder 1
Type:
Archival materials
Date:
1950-1967
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Margueritte Kimball papers relating to the Cranbrook Academy of Art, 1929-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Margueritte Kimball papers relating to the Cranbrook Academy of Art
Margueritte Kimball papers relating to the Cranbrook Academy of Art / Series 1: Organization Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98fefaf83-4330-453a-b1cb-47a27b8b6947
EDAN-URL:
ead_component:sova-aaa-kimbmarg-ref27

Organization Files

Collection Creator:
Kimball, Margueritte Eleanor, 1906-1995  Search this
Extent:
0.4 Linear feet (Box 1, OVs 4-5)
Type:
Archival materials
Date:
1943-1996
Scope and Contents:
Organization files contain correspondence, records of Cranbrook history including a letter from Henry Scripps Booth discussing Eliel Saarinen's association with the school, faculty and staff position charts, snapshots of people and events at the school, student rosters, Kingswood School Cranbrook yearbooks, and a sound recording of an interview with Kimball conducted by Ragnhild Reingardt.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Margueritte Kimball papers relating to the Cranbrook Academy of Art, 1929-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kimbmarg, Series 1
See more items in:
Margueritte Kimball papers relating to the Cranbrook Academy of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d2cc22b3-f91c-4199-b5a6-800dd7792184
EDAN-URL:
ead_component:sova-aaa-kimbmarg-ref5

Adela Akers papers

Creator:
Akers, Adela, 1933-  Search this
Names:
Tyler School of Art  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Date:
1960-2009
Summary:
The papers of fiber artist and educator Adela Akers measure 2.6 linear feet and date from 1960 to 2009. Her career as an artist and her tenure at the Tyler School of Art, Temple University, are documented through scattered biographical material; correspondence; subject files on galleries, projects, weaving technique, research, workshops, and fiber arts organizations; writings; exhibition announcements, clippings, and other printed material; photographs; and artwork, including one sketchbook.
Scope and Content Note:
The papers of fiber artist and educator Adela Akers measure 2.6 linear feet and date from 1960 to 2009. Her career as an artist and her tenure at the Tyler School of Art, Temple University, are documented through scattered biographical material; correspondence; subject files on galleries, projects, weaving technique, research, workshops, and fiber arts organizations; writings; exhibition announcements, clippings, and other printed material; photographs; and artwork, including one sketchbook.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1970s, 1991-1998 (Box 1; 3 folders)

Series 2: Correspondence, 1985-1987 (Box 1; 3 folders)

Series 3: Subject Files, 1960-2007 (Box 1; 0.6 linear feet)

Series 4: Writings, 1973-1995 (Box 1; 3 folders)

Series 5: Printed Material, 1962-2009 (Box 1-2, 6; 6 folders)

Series 6: Photographic Materials, 1960-2008 (Box 2-3; 0.4 linear feet)

Series 7: Artwork, circa 1960s-1980s (Box 3-6, OV 7; 1.1 linear feet)
Biographical Note:
Adela Akers (1933- ) is a fiber artist and educator living and working in Guerneville, California.

Akers was born in Santiago de Compostela, Spain, and was raised in Havana, Cuba. She came to the United States as a student in 1957 and studied at the School of the Art Institute of Chicago and Cranbrook Academy of Art. In 1965 she served as a weaving advisor in Peru for the Alliance for Progress and was an artist in residence at Penland School of Crafts from 1968-1970. From 1972 to 1995 Akers was a professor and chair of fiber arts at the Tyler School of Art at Temple University in Philadelphia. Her weavings consist of zigzags, checkerboard patterns, and simple geometric shapes.
Related Material:
Also found at the Archives of American Art is an oral history interview with Adela Akers, 2008 Mar. 4-6, conducted by Mija Riedel.
Provenance:
The collection was donated in 2009 and 2011 by Adela Akers.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Weavers -- California  Search this
Fiber artists -- California  Search this
Educators -- California  Search this
Topic:
Women artists  Search this
Women textile artists  Search this
Women educators  Search this
Decorative arts  Search this
Genre/Form:
Photographs
Sketchbooks
Citation:
Adela Akers papers, 1960-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.akeradel
See more items in:
Adela Akers papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93e2a7969-cf77-42a0-952d-c13bc1382285
EDAN-URL:
ead_collection:sova-aaa-akeradel

General Correspondence

Collection Creator:
Kuhn, Walt, 1877-1949  Search this
Extent:
4 Linear feet (Box 5-9, 32, 56, OV 40)
Type:
Archival materials
Date:
1890-1966
Scope and Contents note:
Correspondence in this series is primarily between Walt Kuhn and his professional and personal contacts and spans his entire career. Correspondents include family members, fellow artists, students, dealers, museum and gallery staff, collectors, friends, fans, critics and colleagues. Copies of outgoing correspondence are often present and are interfiled chronologically. Also included is scattered correspondence of Vera and Brenda Kuhn, and correspondence written after Kuhn died that documents his family's efforts to exhibit, sell, and donate his work.

The content of the correspondence ranges from personal and candid to purely transactional. Artists, collectors, dealers, and critics involved in the creation of significant works of art and collections in the early 20th century are represented. An alphabetical index of selected correspondents in this series is provided in the appendix. Another resource for accessing correspondence are the card files in Series 4.8: Notes and Writings, where correspondence with various contacts was indexed by the Kuhns and filed alphabetically by name.

In 1938, Walt and Vera Kuhn wrote and self-published the pamphlet, "The Story of the Armory Show" and sent it gratis to hundreds of interested parties. Among the correspondence from that year are many heartfelt reponses from fellow artists and other witnesses to the 1913 event, including Charles Sheeler, William Glackens, Stuart Davis, André Derain, Henri Roché, Walter Pach, and J.H. du Bois to name just a few.

Kuhn regularly instructed students through the mail with lengthy letters about painting techniques and methods. San Francisco painter Otis Oldfield is represented by over 100 lengthy letters in this subseries. Kuhn's letters to Oldfield, returned at Kuhn's request in 1945 for a publication project that was never realized, are interfiled. Other correspondence students include Patsy Santo, Frank di Gioia, Watson Bidwell, John Bernhardt, John Laurent, Goldie Paley, and Eric Lundgren. See the appendix for dates.

Types of material include letters (sometimes illustrated), postcards, invitations, announcements, and Christmas cards, which are sometimes made of original artwork. Enclosures are often found, such as photographs, clippings, tracings of art work, writings, receipts, passes and membership cards. Some letters indicate enclosures that were previously separated and can be found in other series.

Significant writings enclosed with correspondence include an early vaudeville script written by Kuhn and his friend, Archibald Macnab (1923); drafts of articles about Kuhn by the poet Genevieve Taggard (1931), critic Alan Burroughs (1930), and patron Eloise Spaeth (1950); and an unpublished history of the 1913 Armory Show by Paul Bird (1938). Photographs and photographic postcards are also found throughout the series. Included are photo postcards from Spain and France (1925), and from Arizona and California (1928); and photographs related to Kuhn's work for the Union Pacific Railroad Company (1936, 1938).

Additional correspondence can be found throughout the collection. See individual series descriptions for details.

See Appendix for a list of selected correspondents in Series 4.3.
Appendix: Selected Correspondents in Series 4.3:
The following is a selective list of correspondents represented in Series 4.3: General Correspondence, with cross-references to correspondence in 4.4: Selected Gallery and Exhibition Files and 4.5: Provenance Files. It is not comprehensive. An effort has been made to index regionally and nationally known artists, Kuhn's patrons and students, models, art historians, writers, museum and gallery staff, dealers, and persons known to be well-represented in other collections at the Archives of American Art. Cross-references to existing letters in other parts of the Kuhn papers and Armory Show records are included selectively. Correspondents who have not been indexed include family members, neighbors, business contacts from his theater and vaudeville work of the early 1920s, and from his railroad car design work from 1936 to 1948.

Abeel, Neilson (American-Scandinavian Foundation): 1930 (3 letters)

Abercrombie and Fitch: 1948-1949 (4 letters)

Adair, William Gleason: 1945

Adams, Philip R. (Columbus Gallery of Fine Arts): 1938-1946, 1948-1951 (51 letters; See also Selected Gallery and Exhibition Files)

Adams, Ruth Hutchins: 1943-1944 (6 letters)

Albany Institute of History and Art (see MacFarlane)

Aldis, Graham: 1928

American Print Makers (see also Goldsmith, B.K.): 1928 (2 letters)

American Federation of the Arts: 1950 (see also N. Anderson, Messer, Pope, Prior, E. Spaeth)

Ames, Mary (Mrs. John W.; see Goodyear, Mary)

Ames, Winslow (Lyman Allyn Museum): 1934 (3 letters)

Anderson, Nesta (Mrs. A. Scott; American Federation of Arts): 1951-1952 (3 letters)

Anderson, Sherwood: 1928, undated (2 letters)

Angle, Catherine (Mrs. Everett E.; Nebraska Art Association): 1946

Anisfeld, Mara: 1932

Arden Gallery (see Meigs and Smoluchowska)

Arensberg, Walter C.: 1938 (see also Selected Gallery and Exhibition Files)

Armory Show 50th Anniversary Exhibition (Winslow Carlton): 1963 (see also Henry Street Settlement)

Arnold, Grace (Mrs. Harry Bartley): 1941, 1945 (3 letters; see also Selected Gallery and Exhibition Files)

Art Students League of New York: 1927

Arts Club of Chicago: 1927, 1934, 1956 (6 letters; see also Selected Gallery and Exhibition Files)

Asherman, David: 1936, undated (2 letters including Christmas card with original, signed print)

Austin, Darrel (see also Perls): 1940, 1941 (4 letters)

Bahr, A.W. (Billy): 1923, 1938, 1945, 1947-1949 (7 letters)

Balkan, Edward Duff: 1932

Ballin, Hugo: 1937 (2 letters)

Bangsbergh, Raymond: 1939

Barber, George R.: 1933

Barr, Alfred H. Jr. (Museum of Modern Art): 1929, 1934, 1945 (5 letters)

Barrie, Erwin S. (Grand Central Art Galleries): 1927, 1951 (5 letters; see also Selected Gallery and Exhibition Files)

Barrington, Lewis: 1932

Barry, Bobby (see Provenance Files, "Portrait of Bobby Barry")

Bartlett, Frederic Clay, Jr.: 1939-1940, 1942-1943, 1945, 1947 (7 letters; see also Selected Gallery and Exhibition Files)

Bartley, Louise: 1931

Baur, John I.H. (Brooklyn Museum): 1946 (see also Selected Gallery and Exhibition Files)

Beals, Ralph A. (New York Public Library): 1949

Bear, Donald (Santa Barbara Museum of Art): 1936-1938, 1945, 1948, 1949 (6 items including Christmas cards with original prints; see also Selected Gallery and Exhibition Files)

Beerbohm, Marvin (Detroit School of Art): 1938

Bell, Janet M. (John and Mable Ringling Museum of Art): 1952 (4 letters)

Belmont, Eleanor R.: 1935 Benjamin, Ruth: 1940

Bernays, Edward L. (see also Doris E. Fleischman): 1928, 1935-1937 (4 letters)

Bernhardt, John: 1948-1950 (4 letters; see also Selected Gallery and Exhibition Files, 1947)

Beuf, Carlo: 1928

Bidwell, Watson (Denver Art Museum): 1936-1940, 1945, 1947, undated (23 letters)

Biesel, C.: 1931-1933, 1935 (5 items including Christmas cards with original prints)

Biesel, Frances (Renaissance Society, University of Chicago; see Selected Gallery and Exhibition Files)

Bird, Isabel (Mrs. Paul): 1940, 1942, 1944 (4 letters)

Bird, Paul: 1938, 1941, 1944, 1945, 1948, 1949 (5 letters)

Bissell, Julia A. (Mrs. Alfred E.; Wilmington Society of the Fine Arts): 1946

Bjorkman, Edwin: 1931, 1934, 1941 (3 letters; see also Selected Gallery and Exhibition Files)

Blackie, John Haldam (Vanguard Press): 1928

Bluemner, Oscar: 1932 (see also Selected Gallery and Exhibition Files, 1930, 1936)

Bliss, Betty: 1931, 1933, 1935 (3 items including Christmas card with original print)

Bloch, E. Maurice: 1949 (3 letters)

Block, Maurice (Huntington Library): 1938

Blount, Rose M. (Denver Art Museum): 1934, 1936, 1938-1939, 1941, 1943, 1949 (8 letters)

Boas, George: 1928

Boissevain, Engen (see Selected Gallery and Exhibition Files)

Bolander, Karl (Columbus Gallery of Fine Arts): 1928

Botkin, Henry: 1937

Bouché, Louis: 1949

Bowman, Eleanor: 1931 (Christmas card with print)

Boyce, Ruth: 1930

Boyer, C. Philip (Mellon Galleries): 1933

Bransom, Paul: 1938, 1949 (2 letters)

Bridaham, Lester B. (Strathmont Museum): 1958

Briggs, Berta N.: 1938

Britt, George ( -- New York World-Telegram -- ): 1938

Brodsky, Harold: 1931-1933, 1935-1939, 1943, undated (16 letters; see also Selected Gallery and Exhibition Files)

Brooklyn Museum: 1930, 1957 (4 letters; see also Baur)

Brown, Adele Smith (Mrs. Philip Stoddard Brown; see Smith, Adele; see also Selected Gallery and Exhibition Files)

Brown, Henry Collins (Museum of the City of New York): 1942

Brown, Margaret E. (Grace Horne Galleries): 1943-1944 (5 letters)

Brown, Rollo Walter: 1928

Bruton, Helen: 1930

Bufano, Remo: 1928

Burroughs, Alan: 1928, 1929, 1930, 1937, 1938, 1941 (13 letters)

Burroughs, Clyde (Detroit Institute of Arts): 1928, 1930, 1938, 1943-1944 (11 letters; see also Selected Gallery and Exhibition Files)

Butler, Roland (Ringling Brothers): 1944

Call, Mary Bradish and Leigh: 1930, 1932, 1935, 1936 (original Christmas cards)

Campbell, Heyworth: 1926

Candler, Duncan: 1927, 1928, 1941 (4 letters)

Canfield, Cass (Harper and Brothers): 1937, 1947-1948 (5 letters)

Cantor, Eddie: 1923

Carlton, Mrs. A.E.: 1952

Carnegie Institute: 1947, 1948 (2 receipts; see also Kepper, O'Connor, Saint-Gaudens; see also Selected Gallery and Exhibition Files)

Carr, Helen Renne (Mrs. Raymond J. Carr): 1946, 1949 (3 letters)

Carroll, John: 1938, 1939, 1941 (3 items, including Christmas card with print)

Carroll, Patricia (Mrs. Anton van Dereck): 1930

Cashin, Bonnie (typed copy): 1947 (see also Selected Gallery and Exhibition Files)

Catlin, Mimi (Museum of Modern Art): 1948

Chapin, Louise V.: 1943-1944 (12 letters)

Chillman, James (Museum of Fine Arts of Houston): 1928

Clapp, Frederick Mortimer (The Frick Collection): 1938

Clark, Virginia and Marshall: 1932-1935 (4 Christmas cards with original prints)

Clark, Virginia Keep: 1928, 1934 (2 letters)

Clark, Walter L. (Grand Central Galleries): 1930

Clear, Charles Val (Akron Art Institute): 1946

Coates, Dorothy: 1925, 1948 (2 letters)

Coffin, Robert M. (Art Academy of Cincinnati): 1950-1951 (4 letters; see also Selected Gallery and Exhibition Files)

Cook, Helen Fetter: 1931, 1932, 1936, 1938, 1941-1943 (8 items including Christmas cards)

Cooper, Gary and Rocky (Mrs. Gary): 1936-1937 (2 letters)

Connelly, Marc: 1940

Cosgrave, John O'Hara: 1928, 1938 (2 letters)

Crocker, Anna B. (Portland Art Association): 1928

Crowninshield, Frank (Vogue, Art News): 1928, 1932, 1935-1936, 1940-1943, 1946 (13 letters; see also Graham)

Cuneo, Mrs. Rinaldo: 1938, 1940 (3 letters)

Cushing, Lily Emmet (Clark Boyd): 1931, 1942, 1945-1948, 1955 (7 letters)

Cutler, Ann (Hotel Marguery): 1931

Cutler, Carl Gordon: 1939

Cutler, Merritt: 1927, 1928, 1942-1945, 1948, 1963 (10 letters)

Daniel, Harry M.: 1952-1953 (2 letters; see also Selected Gallery and Exhibition Files, 1946)

Davidson, Alfred: 1945

Davies Orchards (David Davies): 1928, 1929 (3 letters)

Davis, Stuart: 1938 (2 letters)

De Bois, J.H. (Kunsthandel en Antiquariaat, Haarlem): 1938, 1939 (3 letters)

Dennis, Jan: undated

Derain, André: 1938

Diamond, Harry: 1948

Di Gioia, Frank: 1931, 1933-1948, 1950, 1953, undated (50 items, including original printed Christmas cards)

Dirks, Rudolph: 1925

Dorgan, T.A.: 1927

Dorl, Theodore: 1929, 1931, 1932, 1937, 1938 (9 letters)

Downs, Mr. and Mrs. Edgar: 1931-1937 (7 Christmas cards with photographs)

Downtown Gallery (see Halpert and Goldsmith)

Duckworth, J. Herbert: 1933, 1934 (6 letters)

Dudensing Galleries Inc. (Richard Dudensing): 1930, 1931, 1932 (4 letters)

East West Gallery: 1929

Eggers, George William (Worcester Art Museum, Royal Academy of Art, Stockholm): 1927, 1929 (4 letters)

Elfers, Herbert (Durand-Ruel, Inc.): 1945, 1947, 1948 (3 letters; see also Selected Gallery and Exhibition Files)

Ellis, Freemont (autograph print, with card from Sally Lewis): [1923]

Ellsworth, Mary Louise: undated

Emery, Irene: 1958 (2 letters)

Ester, Ruth (model): 1944-1945 (6 letters)

Etchison, Bruce (Washington County Museum of Fine Arts): 1951-1953 (22 letters)

Evans, Anne (Denver Art Museum): 1933

Evers, Fred: 1939

Ferrand, Charles: 1919, 1934, 1937, 1940 (3 letters)

Findlay, W.C. Jr. (Findlay Galleries): 1939 (2 letters)

Fischkin, Rose Mary: 1928

Fitzgerald, George F. (model): 1927, 1933 (2 letters; 1 signed "Man From Eden")

Fleischman, Doris E.: 1938

Fliesler, Joseph R.: 1935, 1938, 1949 (3 letters)

Forbes, Edward (Fogg Art Museum): 1928

Force, Juliana (Whitney Museum of American Art): 1929, 1932-1937, 1939-1941, 1943 (21 letters; see also Selected Gallery and Exhibition Files)

Fortune -- (magazine; Deborah Calkins): 1956

Fox, William Henry: 1923, 1937 (2 letters)

Francis, Emily O. (Contemporary Arts): 1935

Francis, Henry Sayles (Cleveland Museum of Art): 1932

Fraenkel, John: 1934, 1936, 1938, 1939, 1953 (8 letters)

Frankel, Robert ( -- The Art News -- ): 1939

Frankenstein, Alfred V. ( -- San Francisco Chronicle -- ): 1940 (2 letters)

Frankfurter, Alfred M.: 1938, 1945, 1947, 1948, 1950 (10 letters)

Fraser, Joseph T. (Pennsylvania Academy of the Fine Arts): 1947, 1951 (3 letters; see also Selected Gallery and Exhibition Files)

Free, Karl R.: 1935

Freeman, Anna (Whitney Museum of American Art): 1938 (2 letters)

Frey, Erwin F.: 1943, 1945, 1947 (4 letters)

Frueh, Alfred: 1925, 1953 (2 letters)

Freund, Frank E.W.: 1932, 1934-1935, 1938 (7 letters)

Friede, Donald S. (Boni and Liveright Publishers): 1927

Frink, Angelika W.: 1941 (see also Selected Gallery and Exhibition Files)

Gallagher, Edward J.: 1952

Gallatin, Albert E.: 1927, 1928 (3 letters)

Gardner, Paul (William Rockhill Nelson Gallery of Art): 1936, 1938-1945, 1947-1950 (26 items including Christmas card with original print; see also Selected Gallery and Exhibition Files)

Gardner, Mrs. William (see Owen)

Garrett, Garet: 1928

Garrett, Alice (Mrs. John Work): 1938, 1939 (5 items, including Christmas card with original photograph)

Gates, Margaret (Studio House, Philips Memorial Gallery): 1935

Genauer, Emily (New York World Telegram): 1947

Gest, J.H. (Cincinnati Museum Association): 1928 (3 letters)

Gise, Margaret (Marie Harriman Gallery): 1938 (see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")

Glackens, William and Edith: 1938

Glackens, Edith: 1938, 1941, 1943, 1949, 1950 (7 items, including outgoing letters of condolence when William Glackens died, and response from Edith with account of his last day)

Godwin, Black-More (Toledo Museum of Art): 1932 (2 letters)

Goldsmith, B.K. (American Print Makers, Downtown Gallery): 1928, 1929, 1930 (3 letters)

Goldsmith, Morton R.: 1936

Goodrich, Lloyd (Whitney Museum of American Art; see Provenance Files, "Man with Ship Model")

Goodyear, A. Conger: 1934, 1938, 1941, 1949 (5 letters; see also Selected Gallery and Exhibition Files, and Provenance Files, "Dryad" and "Man From Eden")

Goodyear, Mary (Mrs. A. Conger, also Mrs. John W. Ames): 1936-1942, 1947, 1949, 1954 (44 letters; see also Selected Gallery and Exhibition Files)

Grace Horne Galleries (see M.E. Brown, Littlefield; see also Selected Gallery and Exhibition Files)

Graham, John D.: 1937

Greason, Donald (Deerfield Academy): 1942 (discussing Harry Whitney)

Grossman, Ted (Edwin Booth): 1938, 1940, 1941, 1945, 1948, 1951, 1952 (13 letters; see also Selected Gallery and Exhibition Files)

Grumman, Paul H. (Joslyn Memorial Art Museum): 1943

Hagen, Oskar: 1938, 1939 (2 letters)

Hagerman, Percy (Colorado Springs Fine Arts Center): 1949

Hale, Dorothea: 1928

Hale, Robert B. (Metropolitan Museum of Art): 1950-1951 (2 letters)

Halpert, Edith (Downtown Gallery): 1927, 1928, 1929, 1930 (7 letters; New Year card 1928 printed with collage of Walt Kuhn)

Hall, Porter: 1941, 1942, 1944, 1948 (4 items, including Christmas card)

Hanna, Mark: 1942-1944, 1946-1949 (17 letters)

Hare, Betty (Mrs. Meredith): 1923, 1930-1935, 1939-1941, 1948 (21 letters)

Harper's Bazaar -- (see Kaufman, Snow)

Harriman, Marie: 1946, 1947, 1949, 1958 (4 letters; see also Selected Gallery and Exhibition Files)

Harriman, Mary W.: 1930

Harriman, W. Averell: 1936, 1937, 1939, 1948, 1949 (5 letters)

Harrison, Preston: 1928, 1929, 1930 (to Mrs. Harriman), 1933, 1935 (8 letters)

Harshe, Robert (Art Institute of Chicago): 1928, 1929, 1932 (4 letters)

Hart, George Overbury "Pop": 1926, 1928, 1929, 1932 (6 letters)

Hart, Jean Overbury: 1948 (2 letters)

Hartell, John A. (Cornell University College of Architecture): 1941-1942, 1948 (11 letters)

Hartley, Marsden: 1937 (2 letters)

Hartmann, Sadakichi: 1938, 1939-1943 (8 letters, 1940 letter accompanied by ink drawing)

Harvey, Dorothy Dudley: 1933, 1936 (2 letters)

Hatch, John Davis Jr. (Albany Institute of History and Art): 1938, 1941 (2 letters)

Hatfield, Dalzell (Dalzell Hatfield Galleries): 1940

Haven, Ethel (Museum of Modern Art): 1930 (minutes of board meeting), 1932 (list of names; 2 items; see also Selected Gallery and Exhibition Files)

Hawkins, Frances (Museum of Modern Art): 1943

Hayes, Helen: 1946

Heicher, Joyce: 1941

Heil, Walter (M.H. de Young Memorial Museum): 1943

Hein Antiques: 1931, undated (4 letters)

Henry Street Settlement: 1963

Hess, Thomas: 1953 (Christmas card)

Heun, Arthur: 1930, 1932-1937, undated (9 items, including Christmas cards)

Hitchcock, Thomas Jr.: 1927, 1930, 1934-1937, 1939 (7 items, including Christmas cards)

Hodgson, Daphne: 1931, 1932, 1933, 1936, 1938, 1939 (15 letters)

Hoffman, Irving: 1947

Hood, Gretchen: 1928, 1934 (2 letters)

Hope, Henry R.: 1948, 1951 (3 letters; see also Provenance Files, "Sliced Loaf")

Howard, Cecil: 1931, 1934, 1936, 1938 (5 letters)

Howe, Mrs. Frederic: 1931, 1933 (3 letters)

Howe, Thomas Carr (California Palace of the Legion of Honor): 1947

Huggins, Wilfrid: 1932

Hunter, E.R. (Norton Gallery and School of Art): 1947

Hutchins, Ruth (see Adams)

Hutton, Ruth: 1931

Ingersoll, R. Sturgis: 1942, 1944, 1951 (4 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Young Girl")

Javis, Sidney (Museum of Modern Art): 1939 (2 letters)

Jeffreys, Lee: 1931

Jewell, Edward Alden: 1938

Jewett, Eleanor ( -- Chicago Tribune -- ): 1928

Johnson, G.M. (to Vera): 1909 (2 letters)

Johnston, William: 1927

Jonson, Raymond: 1938

Joslyn Memorial Art Museum (see Grumman, Kingman; see also Selected Gallery and Exhibition Files)

Kahn, Otto: 1927, 1928 (2 letters)

Kaltenbach, G.E. (Art Institute of Chicago): 1931

Kanzler, Josephine (Mrs. Ernest): 1945, 1947 (3 items including Christmas card)

Kaufman, Beatrice ( -- Harper's Bazaar -- ): 1935 (2 letters)

Kaufman, George: 1940

Keezer, Dexter M. (Reed College): 1936, 1937, 1941, 1945 (6 letters)

Kelekian, Dikran: 1922-1924, 1933, 1937, undated (9 letters; see also Selected Gallery and Exhibition Files)

Keller, Henry: 1936, 1937, 1938 (3 letters)

Kennedy, Jacqueline: 1961

Kenefick, Theodore G.: 1956

Kennerley, Mitchell (Anderson Galleries, Inc.): 1938, 1941 (4 letters)

Keppel, Frederick P. (Carnegie Corporation): 1938 (2 letters)

Kerr, George F. (Society of Illustrators): 1930 (2 letters)

Kimball, Fiske (The Pennsylvania Museum): 1928, 1939 (2 letters)

Kingman, Eugene (Joslyn Memorial Art Museum): 1951 (4 letters)

Kirsch, Dwight (University of Nebraska Department of Art): 1941, 1943-1944, 1946, 1950, 1953 (9 letters; see also Selected Gallery and Exhibition Files)

Kirstein, Lincoln (Museum of Modern Art): 1932

Kissel, Eleanora: 1928

Kistler, Aline ( -- San Francisco Chronicle -- , -- The San Franciscan -- , M.H. de Young Memorial Museum): 1929, 1930, 1932, 1933 (6 letters)

Klopfer, Donald S. (Random House, Inc.): 1940

Kohl, Dorothy (Philadelphia Art Alliance): 1945 (3 letters)

Komroff, Manuel: 1938

Kravis, Hal: 1936, 1941 (3 letters)

Kunstverein München E.V.: 1930

Kurtzworth, Harry Muir (Los Angeles Art Association, California Academy of the Fine Arts): 1938 (2 letters)

Lahr, Bert: 1948 (see also Provenance Files, "Portrait of Bert Lahr")

Labaudt, Lucien: 1929, 1933, 1936, 1937, 1938 (5 items including Christmas card; see also Selected Gallery and Exhibition Files)

Lamb, James E.: 1928, 1930, 1935, 1937 (4 letters)

Larcada, Dick: 1963

Laurent, John: 1947-1950, undated (12 letters; see also Selected Gallery and Exhibition Files)

Laurent, Mimi (Mrs. Robert): 1952

Laurent, Robert (Indiana University): 1923, 1949, 1953 (8 letters; see also Provenance Files, "Black Butterfly")

Lea, Lida Gorwin; 1935-1938, 1942 (8 letters, including Christmas card with original print; see also Selected Gallery and Exhibition Files)

Lenssen, Heidi: 1938, 1943, 1947, 1949-1951, 1963, 1964 (9 letters)

Levy, Adele Rosenwald (Mrs. David M.): 1948

Lewis, Agnes Knox: 1945

Lewis, Sally: 1923, 1939 (3 letters, includes signed print by Ellis Freemont; see also Selected Gallery and Exhibition Files)

Lie, Jonas: 1930

Lindsay, Howard: 1940

Littlefield, William (Grace Horne's Galleries): 1929

Liveright, Horace (Boni and Liveright Publishers): 1928

Lovins, Henry (Hollywood Art Center School): 1938

Luce, Molly: undated (Christmas card with print)

Lundgren, Eric: 1947-1953 (61 letters)

Lustgarten, Samuel (see Provenance Files, "Morning")

MacFarlane, Janet R. (Albany Institute of History and Art): 1958

Macnab, Archibald Leavenworth: 1923 (includes typescript of play "The Sculpting of Money"), 1927, 1929 (2 letters)

MacRae, Elmer: 1939

Mager, Gus: 1938, 1941-1943, 1946 (9 letters; see also Selected Gallery and Exhibition Files)

Mangravite, Peppino (Cooper Union Art Schools): 1941

Mann, Margo (model): 1950

Marie Harriman Gallery (see Harriman, Sardi, Smoluchowska, or Selected Gallery and Exhibition Files)

Matthews, H. L. ( -- The New York Times -- ): 1928

Matthias, Blanche: 1923, 1927, 1929, 1931-1937, 1940-1941 (19 items, including Christmas cards; see also Selected Gallery and Exhibition Files)

McBride, Henry: 1935

McBride, Mary Margaret (WOR radio): 1940

McCausland, Elizabeth: 1938, 1948 (2 letters; see also Selected Gallery and Exhibition Files)

McCormick, Chauncey (Art Institute of Chicago): 1938

McCurdy, Edward: 1928

McDaniel, Beatrice (Mrs. Bruce): 1940

McIntyre, Robert: 1931 (2 letters)

McKim, William: 1945

Meigs, Ruth Averell (Arden Gallery): 1929 (2 letters)

Mencken, H.L.: 1945, 1946, 1947 (3 letters; see also Series 4.8: Notes and Writings)

Merrick, James Kirk (Philadelphia Art Alliance): 1945

Messer, Thomas M. (American Federation of Arts): 1952-1954 (5 letters)

Metcalf, Thomas N. (Boston Museum of Modern Art, Inc.): 1938, 1940 (2 letters)

Metropolitan Museum of Art: 1949, 1956 (5 letters; see also Hale, F.H. Taylor, Wehle)

Mellon, Minna (Mrs. Paul): 1946

Millay, Edna St. Vincent (typed copy): 1947 (see also Engen Boissevain in Selected Gallery and Exhibition Files)

Miller, Dorothy C. (Museum of Modern Art): 1943

Miller, Lulu F. (The Hackley Gallery of Fine Arts): 1928

Milliken, William M.: 1936 (2 letters)

Minnigerode, C. Powell (Corcoran Gallery of Art): 1928 (2 letters)

Montclair Art Museum: 1928, 1932 (2 letters)

Montgomery, Gertrude: 1928

More, Hermon (Whitney Museum of American Art): 1933, 1935, 1943, 1948-1950 (8 letters)

Morgan, Agnes: 1938

Morison, David (Hamilton Easter Field Art Foundation): 1930

Morley, Grace: 1936, 1937-1939, 1943 (11 letters; see also Selected Gallery and Exhibition Files)

Morse, John (see Provenance Files, "Man and Sea Beach")

Muguruza Otaño, Pedro: 1928

Museum of Art of Ogonquit: 1953 (see also Strater)

Museum of Modern Art (see Barr, Catlin, Haven, Hawkins, Kirstein, D. Miller, Pelles, A. Porter)

Nadelman, Viola M. (Mrs. Elie): 1947

Nankivell, Frank: 1934-1935 (Christmas cards with signed prints)

National Arts Club: 1932

Newhall, Beaumont (Museum of Modern Art): 1938

Nichols, Hobart (National Academy of Design): 1948

Nichols, J.C. (William Rockhill Nelson Trust): 1948

North, Henry Ringling (Ringling Brothers): 1941 (2 letters)

Norton Gallery and School of Art (see Hunter)

Norton, Ralph H. (Norton Gallery and School of Art): 1948

O'Connor, John Jr. (Carnegie Institute): 1943, 1945-1946, 1948 (8 letters)

Oldfield, Otis: 1928-1946, 1948-1949, 1951-1952, undated (111 letters; 1931, 1941, undated include Chritmas cards with print; see also Selected Gallery and Exhibition Files)

O'Neil, John (University of Oklahoma): 1946

Owen, Ronnie (Mrs. William Gardner): 1941-1942, 1944-1946, 1948-1949 (15 letters)

Owens, Virginia B.( -- Christian Science Monitor -- ): 1943 (2 letters)

Paley, Goldie (Mrs. Samuel): 1941-1942 (2 letters)

Pandolfini, Giuseppi: 1938

Pach, Walter: 1938

Pascin, Jules: 1921

Passedoit, Georgete: 1930, 1931, 1932 (3 letters)

Patterson, Augusta Owen ( -- Town and Country -- ): 1930 (2 letters)

Paxson, Gordon (Syracuse University School of Art; see Selected Gallery and Exhibition Files)

Peat, Wilbur D. (John Herron Art Institute): 1944, 1945 (7 letters)

Pelles, Geraldine (Museum of Modern Art): 1953 (3 letters)

Pelton, Agnes: 1938

Penfield, Louis: 1945, 1947-1949 (5 letters)

Penrose, Julie: 1937, 1948, 1951 (3 letters)

Perkins, Frances: 1949

Perls, Klaus G. (Perls Galleries): 1940

Perrine, Van: 1938

Perry, Mitzi: 1942

Petit, Margaret: 1928, 1931-1933, 1935-1938, undated (13 items including Christmas cards)

Philadelphia Art Alliance (see Kohl, Merrick, Williamson)

Phillips, Duncan: 1927, 1931, 1932, 1939, 1944 (15 letters)

Pinchot, Ruth Pickering: 1932

Poland, Reginald: 1938, 1947-1948 (12 letters)

Pope, Annemarie (American Federation of Arts): 1951 (5 letters)

Porter, Allen (Museum of Modern Art): 1945

Porter, Bruce: 1938

Potter, Fuller: 1933, 1934, 1936, 1944 (6 items including Christmas card)

Pratt, Mrs. Harold Irving; 1934 (2 letters, plus notes from lecture)

Pratt, Julia D.: 1927, 1928 (2 letters)

Pressoir, E.E.: 1928 (Guggenheim application), 1932 (2 letters)

Price, Frederic Newlin (Ferargil Galleries): 1948 (3 letters)

Prior, Harris K. (American Federation of Arts): 1957

Purnell, Lewis M.: 1943

Putnam, Samuel: 1928 (2 letters)

Quinn, John (see also Watson): 1919, 1920, 1921 (5 letters)

Quinton, Cornelia B. Sage (California Legion of Honor): 1928

Randolph, Lee F. (California School of Fine Arts): 1930, 1942 (2 letters)

Raseman, Richard P. (Cranbrook Academy of Art): 1940

Rathbone, Perry T.: 1946

Reber, Gottlieb Friedrich: 1931, 1932, 1933, undated (3 letters)

Redmond, Johnston: 1933

Renne, Otto A.: 1935, 1936, 1938, 1940 (5 letters; see also Carr)

Renwick, Charles S. Jr.: 1945-1946 (2 letters)

Rickey, George: 1937

Ringling Brothers and Barnum and Bailey (see Butler and North)

Rivière, Nina S. (Toledo Museum of Art): 1932

Robinson, Edward G.: 1936 (2 letters)

Roché, H.P.: 1928, 1938, 1939 (7 letters; see also Selected Gallery and Exhibition Files)

Rogers, Christopher H. (regarding Francis Rogers): 1930

Rogers, Jane: 1932

Rogers, Meyric (Art Institute of Chicago): 1948 (see also Selected Gallery and Exhibition Files)

Rogers, Will: [1926]

Roosevelt, Jean S. (Mrs. Philip James): 1928

Rosenberg, Paul (Paul Rosenberg and Co.): 1942, 1946, 1948 (8 letters)

Ross, Leola: 1928, 1931, 1935, 1936, 1937 (5 items including Christmas cards)

Rossiter, Henry P.: 1928

Rothschild, Howard: 1927

Roullier, Alice F. (Arts Club of Chicago): 1925, 1927, 1933, 1941 (8 letters; see also Selected Gallery and Exhibition Files)

Rousseau, Théodore: 1935

Rumsey, Mary H. (Mrs. C.C.): 1930, 1934-1936, 1938, 1940, 1945, 1949, undated (11 items including Christmas card and receipts for paintings sold)

Ryan, Beatrice Judd (Beaux Arts Galerie): 1928, 1929 (4 letters)

Saint-Gaudens, Homer (Carnegie Institute): 1931, 1933, 1940, 1946-1949 (18 letters; see also Selected Gallery and Exhibition Files)

Saklatwalla, Ann: 1944-1945 (2 letters; see also Provenance Files, "Bareback Rider")

Saklatwalla, B.D.: 1928, 1930-1936, 1941 (2 letters, 7 Christmas cards containing prints, 1931 print signed Jean Crotti)

Salinger, Jehanne Bietry: 1928-1930, 1933, 1935, 1946-1948 (includes signed print by Harry Wickey; 17 letters)

Salons of America: 1923, 1924

Salpeter, Harry ( -- Esquire -- ): 1936-1938 (6 letters)

Sanborn, Robert Alden: 1945

Sands, Mary (Museum of Modern Art): 1930

Sanger, Helen: 1948-1950, 1953, 1963 (16 letters)

Sanger, Margaret (American Birth Control League, Inc.): 1928

Santa Barbara Museum of Art (see Bear, Steele, Story; see also Selected Gallery and Exhibition Files)

Santo, Patsy: 1937-1946, 1948-1949, 1953 (103 letters, some illustrated)

Sardi Gina, Anne (Marie Harriman Gallery): 1941-1942, 1947, 1949 (6 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")

Schlesigner, Louis: 1949

Schmit, Waldo (Smithsonian Institution): 1936-1949

Schulte, Antoinette: 1932-1938 (8 items, including Christmas card with original print)

Seiberling, Frank Jr. (Toledo Museum of Art): 1943, 1946 (3 letters)

Seymour Halpern Associates: 1945

Shapiro, Meyer: 1938

Sharkey, Alice M. (Whitney Museum of American Art): 1944

Shaw, Marjorie: 1930 (Christmas card with woodblock print)

Sheeler, Charles: 1938 (See also Series 4.2: Walt Kuhn Letters to Family)

Shostac, Percy (Labor Division, Greater New York Fund): 1941

Shyrock, Burnett H.: 1938 (4 letters)

Siple, Walter H. (Cincinnati Art Museum): 1938, 1942, 1945 (4 letters)

Skeoch, Mary E.: 1934-1936, 1938 (8 letters)

Skira, Alfred: 1932 (5 letters; see also Selected Gallery and Exhibition Files, 1933)

Smith, Adele (Studio House, Philips Memorial Gallery, Museum of Modern Art Gallery of Washington): 1935, 1938, 1939 (5 letters; see also Selected Gallery and Exhibition Files)

Smith, Cecil: 1937-1938 (3 letters)

Smith, Gordon M. (Currier Gallery of Art): 1950

Smoluchowska, Donia (Arden Gallery, Marie Harriman Gallery): 1929, 1932 (3 letters; see also Selected Gallery and Exhibition Files)

Snow, Carmel ( -- Harper's Bazaar -- ): 1935, 1941 (2 letters)

Spaeth, Eloise (Mrs. Otto L.; Dayton Art Institute, American Federation of Arts, The Guild Hall): 1943-1953, 1960, undated (50 letters)

Spaeth, Otto: 1943 (4 letters)

Spier, LaSalle (brother of Vera Kuhn): 1914-1963

Spingarn, Amy (Mrs. Joel Elias): 1938 (2 letters)

Sprague, Marshall (Colorado Springs Fine Arts Center): 1948 (2 letters)

Steele, Mary Oldfield (Santa Barbara Museum of Art): 1953-1954 (4 letters)

Stendahl, E.L. (Stendahl Art Galleries): 1939 (3 letters)

Stetson, Carroll: 1932

Stickney, Dorothy (Mrs. Howard Lindsay): 1941

Stinson, Eugene: 1928

Story, Ala (Santa Barbara Museum of Art): 1954 (2 letters)

Stout, George L.: 1952

Strain, Gertrude: 1935

Stransky, Joseph: 1927

Strater, Henry (Museum of Art of Ogonquit): 1953-1954 (4 letters)

Stroh, Earl W.: 1942 (2 letters)

Studio House (see Gates, Law, Smith)

Swartz, Susan (Art Institute of Zanesville, Ohio): 1943-1944 (7 letters)

Swope, Herbert Bayard: 1949

Sykes, Maltby (Alabama Polytechnic Institute): 1946

Taggard, Genevieve: 1930, 1931, 1933, 1941, undated (13 letters)

Tanner, Ethel: 1930 (Christmas card with woodblock print)

Taylor, Bertrand: 1945

Taylor, Francis Henry (Metropolitan Museum of Art): 1949 (see also Provenance Files, "Blue Clown")

Taylor, Henry White: 1938

Taylor, Olive (Mrs. Bertrand): 1944-1946, 1948-1949, undated (14 letters)

Teague, Virginia (Mrs. R.L.): 1951 (2 letters)

Teigen, Peter (Princeton University School of Architecture): 1928, 1929 (2 letters)

Thayer, Ellen ( -- The Dial -- ): 1927, 1928 (2 letters)

Thompson, Mark B.: 1934, 1935, 1937 (3 letters; see also Selected Gallery and Exhibition Files)

Thorp, George G. (American Federation of Arts): 1947

Toledo Museum of Art (see Godwin, Rivière, Seiberling)

Toler, Sidney: 1941

Todd, Bianca: 1929, 1933, 1934 (3 items including Christmas cards with original prints)

Trovato, Joseph (Munson-Williams-Proctor-Institute): 1946, 1949 (2 letters)

Tucker, Allen: 1938

Turney, Winthrop: 1924

Tyson, Carroll: 1934

Underwood, Gilbert Stanley (architect): 1938, 1948 (5 letters)

Valentiner, Dr. W.R. (Detroit Institute of Arts): 1945

Valez, Dr. Xavier de: 1934

Venendi, Mario: 1949 (3 letters)

Vidar, Frede: 1936

Vreeland, Mr. and Mrs. Francis (Toby and Marion): 1934-1938 (6 letters)

Wadsworth, Alice (Mrs. James W.): 1940, 1941, 1942, 1945 (8 letters)

Waida, Robert: 1928

Waldron, James M. K. (Reading Public Museum and Art Gallery): 1936, 1937, 1961 (3 letters)

Walker, Maynard: 1946, 1948-1949, 1951-1952, 1955, 1961 (10 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Guide" and "Veteran Acrobat")

Ward, William: 1949

Washburn, Gordon B. (Rhode Island School of Design Museum of Art): 1945

Watkins, C. Law (Studio House, Phillips Memorial Gallery): 1933 (2 letters)

Watson, John (for John Quinn): 1914, 1921 (2 letters), 1938

Watson, Nan: 1928, undated

Wear, Verna (Mortimer Brandt Gallery): 1943 (2 letters)

Weber, Max: 1938

Weber, W.: 1928

Wehle, Harry B. (Metropolitan Museum of Art; see Provenance Files, "Girl in Uniform")

Weibel, Adèle (Detroit Institute of Arts): 1938

Weigel, Paul: 1932, 1934, 1935, 1937 (4 letters)

Weinberger, Alfred: 1931

Weir, Ernest and Mary: 1945 (2 letters)

Weng, Siegfried R. (Dayton Art Institute): 1943 (2 letters)

Werner, M.R.: 1928

Weston, Edward: 1928-1930, 1932-1933, 1935, 1937-1938, 1941 (9 letters; see also Selected Gallery and Exhibition Files)

Wetmore, Edith: 1929, 1930, 1931, 1932-1936 (16 items including Christmas cards)

White, Frances M.: 1945

Whiting, F.A. Jr. ( -- Magazine of Art -- ): 1938

Whitney, Harry: 1942 (see also Greason and Selected Gallery and Exhibition Files)

Whitney Studio Galleries (see also Force): 1929

Whitney Museum of American Art (see Force, Free, More, Freeman, Sharkey, Goodrich)

Wilder, Mitchell A. (Colorado Springs): 1946-1953 (75 letters; see also Selected Gallery and Exhibition Files)

Wilenski, R.H.: 1938, 1939, 1945-1946 (8 letters)

Williams, Adele (Women's club of Richmond): 1930

Williamson, Ada (Philadelphia Art Alliance): 1927, 1928, 1945, 1949 (19 letters; see also Selected Gallery and Exhibition Files)

Wilmington Society of the Fine Arts (see Bissell)

Wilson, Henry J.: 1950

Winser, Beatrice: 1935, 1940 (7 letters)

Woelfle, Arthur M.: 1914 (see also Selected Gallery and Exhibition Files)

Woelfle, Georgiana: 1936, 1937, 1963 (3 letters)

Wood, Stanley: 1928

Zayas, Marius de: 1934, 1939, 1947, 1948 (10 letters)

Zügel, Heinrich von: 1904
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt, Subseries 4.3
See more items in:
Walt Kuhn Family papers and Armory Show records
Walt Kuhn Family papers and Armory Show records / Series 4: Walt Kuhn Family Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4aa9368-d825-47f1-9645-57573ff2e833
EDAN-URL:
ead_component:sova-aaa-kuhnwalt-ref352

Biographical Data and Chronologies

Collection Creator:
Pollock, Jackson, 1912-1956  Search this
Krasner, Lee, 1908-1984  Search this
Container:
Box 7, Folder 14
Type:
Archival materials
Date:
1964-1983, undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
See more items in:
Jackson Pollock and Lee Krasner papers
Jackson Pollock and Lee Krasner papers / Series 2: Lee Krasner Papers / 2.1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b0d8ec7-f1fe-4d08-b41c-2ba3d8d636e1
EDAN-URL:
ead_component:sova-aaa-polljack-ref235
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Biographical Data and Chronologies digital asset number 1
  • View Biographical Data and Chronologies digital asset number 2

Articles on Architecture

Collection Creator:
Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this
Container:
Box 4, Folder 16
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
NBC TV scripts or film prepared for television: Authorization to publish, quote or reproduce requires written permission from NBC Studios. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Aline and Eero Saarinen Papers, 1906-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Aline and Eero Saarinen papers
Aline and Eero Saarinen papers / Series 2: Aline Saarinen Professional Papers / 2.1: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw985d8500a-f7b2-49d2-8d75-ed84c6029c6e
EDAN-URL:
ead_component:sova-aaa-saaralin-ref144
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Articles on Architecture digital asset number 1

Textile

Designer:
Mary Walker Phillips, (American, 1923–2007)  Search this
Weaver:
Mary Walker Phillips, (American, 1923–2007)  Search this
Student at:
Cranbrook Academy of Art, Bloomfield Hills, Michigan, USA  Search this
Medium:
Medium: Rovana™ (vinylidene chloride), asbestos Technique: plain weave
Dimensions:
Warp x Weft: 290 x 110.5 cm (9 ft. 6 3/16 in. x 43 1/2 in.)
Type:
woven textiles
Textile
Made in:
Bloomfield Hills, Michigan, USA
Date:
1960–63
Credit Line:
Gift of Mary Walker Phillips
Accession Number:
1971-43-1
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq4eaabfbdb-85e8-43a4-9021-c9f66a11f4dc
EDAN-URL:
edanmdm:chndm_1971-43-1
Online Media:

Artwork

Collection Creator:
Morin, Thomas, 1934-  Search this
Extent:
0.4 Linear feet (Boxes 5-6)
Type:
Archival materials
Date:
1952-1974
Scope and Contents:
Artwork includes Morin's pencil and ink sketches and diagrams for sculptures. Most of the drawings date from his student years at Cranbrook Academy of Art and Massachusetts College of Art, as well as his early career at the Silvermine Guild and Rhode Island School of Design.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Thomas Morin papers, 1952-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.morithom, Series 7
See more items in:
Thomas Morin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995aca675-bbfd-414d-9213-e090e02f3e55
EDAN-URL:
ead_component:sova-aaa-morithom-ref7

Modify Your Search







or


Narrow By