The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
Scope and Content Note:
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The earliest documentation from 1895 to 1909 concerns the organization's history and founding and is located in Series 1: Board of Trustees. Also found in this series are meeting minutes, 1909-1963 and 1968. Interfiled with the board meeting minutes are minutes of the executive committee and other special and ad hoc committees, reports to the board, financial statements and reports, and lists of committee appointments and board membership. This series also contains the scattered correspondence and subject files of various officers. Although not a complete set of officers' files, Presidents' Frederick Allen. Whiting (1931-1936), Lawrence M.C. Smith (1948-1952), Thomas Brown Rudd (1952-1954), Daniel Longwell (1954-1956), James S. Schramm (1956-1958), and Roy R. Neuberger (1958-1961) are represented. Leila Mechlin served on AFA's board as secretary from its founding to 1929, and her files are a particularly rich resource for AFA's activities during its early years. Lawrence M.C. Smith's files documenting his years as board treasurer are also arranged in this series. Additional officers' correspondence is interspersed throughout the Alphabetical Files and other series.
General information about the scope of AFA's programs, affiliations, founding, functions, and proceedings are arranged in Series 2: Administrative Records. The first subseries, Alphabetical Files, houses a wide variety of subject files that contain memoranda, correspondence, printed materials, lists, reports, and other papers. These files document the AFA's general history and founding, organizational affiliations, buildings and moves, grants, federal and state government art programs, auctions and other fund-raising efforts, publicity and public relations, publications, and fiftieth anniversary celebration. The subject headings by which these files are arranged are, for the most part, the ones designated by the AFA. The second subseries, Staff Records, houses the scattered files of AFA's director, assistant director, registrar, and special state representative, Robert Luck.
During its most active period, the AFA sponsored or participated in several special programs and Series 3: Special Programs houses the files that document many of them. The first subseries consists of the files for the Artists in Residence program that was funded by the Ford Foundation. Awarded in 1963, the grant sponsored short-term teaching residencies for artists in museums throughout the United States. The host museums were encouraged to hold exhibitions of the artists' works. This subseries contains both the general files of the program, as well as individual files on the participating artists. During the late 1950s and early 1960s, the AFA and the Ford Foundation also sponsored additional programs for artists, including Grants in Aid, Purchase Awards, and the Retrospective Exhibitions Program. The files documenting these three programs are also arranged in Series 3, under the subseries Ford Foundation Program for Visual Artists. In the late 1950s, the AFA implemented the Museum Donor Program with benefactors and philanthropists Audrey Bruce Currier and Stephen Richard Currier. Through the administration of the AFA, the Curriers donated funds to selected institutions specifically for the purchase of contemporary American art. The Curriers preferred to remain anonymous throughout the program. Files documenting this program include correspondence, applications from the accepted institutions, rejections, a summary report, and clippings about the untimely deaths of Mr. and Mrs. Currier in 1967.
Also found in Series 3 are the files documenting AFAs working relationship with the first state arts council, the New York State Council on the Arts (NYSCA). In 1961, AFA and NYSCA implemented a traveling exhibition program in New York State. Found here are files for possible itineraries, proposals, publicity, loans, budgets, and the actual exhibition files. Additional AFA special programs documented in Series 3 include the Picture of the Month program of the mid-1950s and the Jean Tennyson Foundation Color Slide Lecture Program.
AFA Annual Convention files constitute Series 4. Beginning with the Third Annual Convention in 1912 and continuing through the 1963 Annual Convention, the files contain official proceedings, speeches, programs, clippings, correspondence, and press releases. Files are missing for 1913, 1915, 1918, 1922, 1923, 1925, 1926, 1931, 1936-1949, 1952, 1956, 1958, 1960, and 1962. There are also audio recordings in the form of reel-to-reel tapes for the 1951 Annual Convention.
Series 5: Exhibition Files forms the bulk of the collection at circa 62 linear feet and is arranged into twenty subseries. The first subseries, Exhibitions, General, houses primarily the records of the Board of Trustees Exhibition Committee and documents the AFA's earliest involvement with traveling exhibitions. These files contain reports, budgets, correspondence, memoranda, scattered exhibition catalogs, and photographs. They are primarily the files of the chair of the Exhibition Committee and include the files of Juliana R. Force, Eloise Spaeth, and Mrs. John Pope. Also found in this series is a subseries of Mrs. John Pope's records documenting circulating exhibitions from 1934 to 1955, arranged by state.
The remaining nineteen subseries of the Exhibition Files reflect either specific exhibition programs, many of which have unique numbers assigned by AFA to individual exhibitions, or other exhibition-related files, such rejected, canceled, and suggested exhibitions and miscellaneous installation photographs. The Annual Exhibitions files constitute the largest of the subseries and are numbered according to the system assigned by AFA, following a typical chronological order. Although the documentation for each exhibition varies widely by both type and amount, most of the files contain contracts and legal agreements, correspondence, memoranda, itinerary information, condition reports, publicity materials, catalogs, announcements, price lists, and other such information arranged into one or more files. The files were labeled "documentation files," "dispersal files," "report form files," "loan agreement files," and "publicity files" according to the filing system devised by AFA. Many of the files also house a significant amount of correspondence with museum officials, lenders, and artists.
Additional subseries document AFA's exhibition venues and partnerships with the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, the New York State Council on the [UNK] Life magazine, and Addison Gallery. A complete list of all of the subseries, including specific exhibition programs, follows in the Series Outline.
The final three series of the collection are small: Printed Material, Miscellaneous Files, and Oversized Material. The printed material was donated much later to the Archives and dates from 1990 to 1993. Found here are scattered press releases, annual reports, and an exhibition program. Miscellaneous Files contain scattered records, 1926-1962, of the Architectural League of New York relating to national award programs. It is not clear why this small group of Architectural League records was found mixed with the AFA records but perhaps the collaboration between the two organizations on several special projects provides an explanation. Also found in Miscellaneous Files is a group of black and white lantern slides from a lecture series, "New Horizons in America." Oversized Material includes a portfolio, a work of art, and posters.
See Appendix for a list of artists exhibiting with the American Federation of Arts
Arrangement:
The collection is arranged into eight primary series based primarily on administrative units or program areas. Several of the series are further subdivided into subseries. While processing, it became clear that the two filing systems were redundant and overlapped in both subject area and type of material. Most of these files were subsequently merged into the now broader Alphabetical Files or into separate series. Oversized material may be found at the end of the collection arranged in a separate series.
In most cases, files related to one another by subseries or subject areas (in the case of the Alphabetical Files) or by individual name (in the case of officers and staff files) are arranged in chronological order. The entire subseries of Alphabetical Files in Series 2 is arranged by subject heading, as assigned by the AFA, or individual name. The Alphabetical Files originally formed two broad filing systems as established by the AFA: one for general correspondence arranged by subject; and one for director's and other staff correspondence, also arranged by subject.
Series 1: Board of Trustees, circa 1895-1968 (Boxes 1-3)
Series 2: Administrative Records, 1910-1966 (Boxes 4-8)
Series 3: Special Programs, 1950-1967 (Boxes 9-13)
Series 4: Annual Conventions, 1912-1963 (Boxes 14-16)
Series 5: Exhibition Files, 1934-1969 (Boxes 17-78)
Series 6: Printed Material, 1990-1993 (Box 78)
Series 7: Miscellaneous Files, 1926-1962, undated (Box 79)
Series 8: Oversized Materials, 1890, undated (Boxes 80-85)
Historical Note:
Founded in 1909 by Elihu Root, the American Federation of Arts (AFA) exists today as a national nonprofit museum service organization striving to unite American art institutions, collectors, artists, and museums. Elihu Root, then secretary of state in the administration of Theodore Roosevelt, spoke of his idea at the first meeting of the AFA held in New York at the National Academy of Arts. He envisioned an organization that would promote American art most often seen only by the elite in the major cities of the East and upper Midwest by sending "exhibitions of original works of art on tour through the hinterlands across the United States."
The American Academy in Rome, Corcoran Gallery of Art, Art Institute of Chicago, and Metropolitan Museum of Art were influential organizing member institutions. Individual members included such notables as William Merritt Chase, Charles L. Freer, Daniel C. French, Charles L. Hutchinson, Henry Cabot Lodge, J.P. Morgan, and Henry Walters. The founding of the AFA provided the American art world with a forum for communication and participation among artists, cultural institutions, patrons of the arts, and the public.
To accomplish its mission, the AFA established volunteer committees for membership, exhibitions, and publications. During its first year, the AFA began publishing Art and Progress (later changed to Magazine of Art) and the American Art Annual (now the American Art Directory). In 1909, the AFA also organized its first traveling exhibition, Paintings by Prominent American Artists, which was shown at museums in Fort Worth, New Orleans, Minneapolis, and New Ulm, Minnesota.
By the end of the first year, the headquarters of the organization moved to Washington, D.C., to facilitate lobbying the federal government for favorable art legislation. In 1913, the AFA lobbied successfully for the removal of the tariff on foreign art entering the United States. In 1916, the Federation met with the Interstate Commerce Commission to protest prohibitively high interstate taxes on traveling art exhibitions.
Throughout the next fifteen years, the AFA continued to grow in membership and influence. By 1919, membership included 438 institutions and 2,900 individuals. The AFA's annual conventions were held in major national art centers and were attended by members, chapter delegates, and the public. At the conventions, scholars, patrons, and curators lectured on and discussed subjects of national interest, thereby fostering an exchange of ideas. The AFA also sponsored periodic regional conferences to promote institutional cooperation and to discuss mutual problems and needs. To facilitate exhibition venues west of the Mississippi River, in 1921 the AFA opened regional offices at the University of Nebraska and at Stanford University. The AFA produced and circulated slide programs and lecture series to museums and educational institutions that fostered art education. By 1929, the Federation had developed forty-six slide-lecture programs that covered American mural painting, European and American contemporary art, and textiles.
During the 1930s, the Federation expanded its services by providing schools with teaching guides, student workbooks, slides, and films about art. In 1935, the AFA began publishing Who's Who in American Art, later publishing The Official Directory of Illustrators and Advertising Artists and Films on Art reference guides. To reach an even larger audience, the AFA began collaborating with the Metropolitan Museum of Art in New York to organize national circulating exhibitions to "bring the museum to the people."
One of AFA's priorities was to make American art more visible abroad. The Federation focused on encouraging the representation of American artists in foreign exhibitions, and in 1924 it lobbied successfully for additional American participation in the Venice Biennale. The AFA's focus on exhibiting American art abroad continued to expand, particularly following World War II. In 1950, recognizing that the AFA could assist in promoting American culture, the State Department awarded the AFA a grant for a German "re-orientation program" consisting of educational exhibitions shown in German museums. Additional government funding further enabled the AFA to organize American participation in exhibitions in India, Japan, Paris, Switzerland, and Rotterdam between 1950 and 1970. Later, the AFA collaborated with the United States Information Agency (USIA) to create the Overseas Museum Donor Program which permitted donations of American art to foreign institutions on a restriction-free, tax-deductible basis. During the 1950s, the AFA was a very active member of the Committee on Government and Art, a national committee with members from across the art and museum world concerned with government sponsorship of and legislation affecting art sales, commissions, and trade.
In 1952, the headquarters of the AFA returned to New York, sparking a period of innovation and expanded of programs. Throughout the 1950s, the AFA distributed films about art and co-sponsored the Films on Art Festival in Woodstock, New York. The AFA also introduced its Picture of the Month Program in 1954, renting original works of art to small American art and educational institutions. In 1956, the AFA organized the Art Collectors Club of America to provide fellowship for art collectors through meetings and activities. The club disbanded in the 1970s.
The Federation's exhibition programs continued to flourish during the 1950s and 1960s. Private and public financial support allowed the AFA to achieve many of its goals. In 1958, the Ford Foundation awarded an important grant to organize a series of traveling one-person shows and a series of monographs devoted to contemporary American artists. Milton Avery, Andrew Dasburg, José DeCreeft, Lee Gatch, Walter Quirt, Abraham Rattner, and others were among the artists who participated. Private foundation support for the AFA's Museum Donor Program provided an annual allowance that was distributed to regional museums for the pourchase of contemporary American art. Cooperative programs and joint venues also became popular during this period. For example, public support from the New York State Council on the Arts allowed the AFA to circulate exhibitions to small New York State communities, and the Virginia Museum of Fine Arts provided the AFA with five exhibitions for national tours.
Throughout its history, the American Federation of Arts has concentrated on its founding principle of broadening the audience for contemporary American art. Through its numerous exhibition and film programs, the AFA has succeeded in "breaking down barriers of distance and language to broaden the knowledge and appreciation of art." Annual exhibitions such as New Talent in the USA and Art Schools USA, organized by the AFA, brought before the public the most contemporary American artists and craftspeople, genres, and artistic forms of experimentation, exposing viewers to new ways of thinking and expression. In 1965, AFA produced The Curriculum in Visual Education, a series of films created to heighten the aesthetic awareness of children.
A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. The AFA was instrumental in assisting museums with circulating important juried exhibitions of contemporary art, such as the Whitney Annual and Corcoran Biennial. The AFA also recognized the importance of the exchange of cultural ideas, and it brought exhibitions of the European masters to the American public as well as exhibitions focusing on foreign contempoorary art, photography, and architecture. Many organizations and museums have followed the AFA's precedent, and traveling national and international venues are now commonplace.
Since 1909, women have served as officers and members of the Board of Trustees. Leila Mechlin was a founding participant and served as secretary from 1909 to 1933. Juliana R. Force and Eloise Spaeth both chaired the Exhibition Committee in the late 1940s. Women and artists of diverse backgrounds and nationalities were widely represented in the AFA's exhibition programs, most notably during the 1960s. In 1960, the AFA organized, with financial support from the Ford Foundation, a major Jacob Lawrence retrospective. Additional culturally diverse exhibitions included Contemporary Jewish Ceremonial Art (1961), The Heart of India (1962), 1,000 Years of American Indian Art (1963), and Ten Negro Artists from the United States (1966).
The AFA also had an impact on patronage in the arts. AFA exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs.
The historical records of the American Federation of Arts offer the researcher a unique opportunity to study the development of American art and artists in the twentieth century as well as providing insight into trends in American culture.
Missing Title
1909 -- Founded in New York City. Began publishing Art and Progress (later retitled Magazine of Art) and the American Art Annual.
1910 -- Moved headquarters to Washington, D.C.
1913 -- Lobbied successfully for the removal of the tariff on art entering the United States.
1915-1916 -- Lobbied successfully against the Cummins Amendment and the Interstate Commerce Commission's prohibitively high interstate tax on traveling art.
1920 -- Organized a lobbying campaign for the development of a national gallery of art at its national convention.
1921 -- Opened two new offices at the University of Nebraska and at Stanford University.
1924 -- Arranged American participation in the Venice Biennale exhibition.
1927 -- Closed office at Stanford University.
1929 -- Organized American participation in exhibitions in France and Germany.
1933 -- Closed office at the University of Nebraska.
1935 -- Began publishing Who's Who in American Art.
1948 -- Published The Official Directory of Illustrators and Advertising Artists.
1949 -- Collaborated with the Metropolitan Museum of Art to circulate exhibitions from its collections.
1950 -- Participated in the U.S. government's German re-orientation program.
1951 -- Joined forces with the United States Information Agency (USIA) to create the Overseas Museum Donor Program. Published the reference guide Films on Art. Co-sponsored the Films on Art Festival in Woodstock, New York, through 1957.
1952 -- Moved headquarters to New York City.
1953 -- Magazine of Art liquidated.
1954 -- Introduced the Picture of the Month Program.
1956 -- Founded the Art Collectors Club of America.
1958 -- Received a Ford Foundation grant to finance a series of one-person shows of contemporary American artists.
1960 -- Created the Museum Donor Program.
1961 -- Received a grant from the New York State Council on the Arts to circulate exhibitions to small New York state communities.
1963 -- Received a grant from the Ford Foundation for the Artists in Residence program.
1964 -- Introduced the List Art Poster Program.
1965 -- Produced The Curriculum in Visual Education, a series of films that attempted to heighten the aesthetic awareness of children.
Appendix: List of Artists Exhibiting with American Federation of Arts:
The following is an alphabetical list of artists who exhibited with the American Federation of Arts; many are obscure. The alpha-numeric codes and numbers appearing with the artist's name represent specific AFA exhibition programs and, most often, AFA's exhibition numbering system. In cases where the AFA did not assign an exhibition number, Archives' staff have done so.
The primary reference source for the names and name variants is the American Federation of Arts Records. The names are documented in handwritten notes and lists, typed lists, and exhibition catalogs and announcements. The Archives of American Art name authority file was also consulted in questionable cases. The majority of names, however, were not found in either the AAA name authority file or standard bibliographic resources, and only in the AFA records.
Examples:
55-1: AFA annual exhibitions program
AD-1: Addison Gallery exhibitions
L-1: Life Magazine Exhibitions
ME-1: Misceallaneous exhibitions (numbers assigned by AAA staff)
NMA-1: Metropolitan Museum of Art exhibitions
NE-96: Contemporary Color Lithography
NY-1: New York State Council on the Arts exhibitions
VA-1: Virginia Museum of Fine Arts exhibitions
Missing Title
A. Quincy Jones, Frederick E. Emmons & Assoc: 62-34
The records of the American Federation of Arts (AFA) were donated to the Archives of American Art (AAA) over a thirteen-year period, with the bulk of the material arriving between 1964 and 1966. In 1979, Preston Bolton donated his letters and those from John de Menil, Ann Drevet, Lee Malone, and others regarding planning for the 1957 AFA annual convention held in Houston, Texas; convention committee minutes from 1956; and AFA newsletters. This material, as well as a 1979 gift from Louise Ferrari of transcripts from a panel discussion from the 1957 AFA convention in Houston, was microfilmed on AAA Reel 1780. All material previously microfilmed on Reel 1780 has been fully integrated into the collection and arranged within proper series and subseries. The provenance of the 1990-1993 printed material is unknown.
Restrictions:
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.
An interview of Nell Blaine conducted 1967 June 15, by Dorothy Seckler, for the Archives of American Art.
Blaine speaks of her family background; her competitive spirit; commercial art; becoming a "disciple" of Hans Hofmann; Hofmann as a teacher; the influence of Arp, Helion, Leger and Mondrian; the American Abstract Artists group; the Jane Street Gallery; jazz musicians; painting in Paris, Italy, Mexico, Greece, England, and elsewhere; her paralysis caused by polio; design work with Alvin H. Ross; her interest in color and light; landscape and figurative paintings; and the contemporary art scene. She recalls Leland Bell, Worden Day, Jane and Jack Freilicher, Wolf Kahn, Albert Kresch, Larry Rivers, Hyde Solomon, and others.
Biographical / Historical:
Nell Blaine (1922-1996) was a painter in New York, New York.
General:
Originally recorded 2 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 2 hr.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Printmakers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Illustrators -- New York (State) -- New York Search this
Included are extensive memoirs of William Henry Fox director of the museum for over 25 years; scattered records of the Brooklyn Institute, 1823-1873; catalogs for Brooklyn Museum exhibits (4 1/2 reels) and for exhibits held in various galleries and museums, primarily in N.Y. (14 reels); brief records of the Dept. of Painting and Sculpture primarily relating to Gilbert Stuart's portrait of George Washington; records of the Dept. of Prints and Drawings, mainly regarding exhibitions, including correspondence, much of it with curator Una Johnson, correspondence with art dealers, files on artists, and statistics on exhibitions, 1936-1939; and records of the Registrar's office, 1933-1936, regarding the museum's involvement in the Federal Art Project of the Works Progress Administration, mainly the Graphic Arts Division.
Dept. of Prints & Drawings artists files relate to: Grace Albee, Josef Albers, Glen Alps, Maxil Ballinger, Leonard Baskin, Wilfred Roloff Beny, Fiske Boyd, Robert Broner, Edmond Casarella, Minna Citron, Robert Conover, Worden Day, Arthur Deshaies, Werner Drewes, Antonio Frasconi, Leon Goldin, William Gropper, Stanley William Hayter, Helen West Heller, Margo Hoff, John Paul Jones, Misch Kohn, David Lang, Ezio Martinelli, Seong Moy, Danny Pierce, Rudolph Pozzatti, Peter Sager, Louis Schanker, Karl Schrag, Susanne Suba, Maltby Sykes, Peter Takal, John Von Wicht, Sylvia Wald, Hyman Warsager, Max Weber, Toshi Yoshida, Richard Zoellner, and others.
Other correspondents of note (reels BR21-22) include John Taylor Arms, Mary Cassatt (1 letter, 1903), George Overbury "Pop" Hart, Mrs. Gaston Lachaise, Joseph Pennell (re Whistler), and a group from art dealers.
Also included are papers of and related to Austrian artist Emil Fuchs, including letters regarding commissions, a list of books and prints, and miscellany.
Biographical / Historical:
The Brooklyn Museum had its roots in the Brooklyn Institute of Arts and Sciences, founded 1823. The Museum was formed in 1889.
Provenance:
Lent for microfilming 1964-1965 by Brooklyn Museum.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.
Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.
There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.
Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.
Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.
Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.
Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.
Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.
Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.
Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.
Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.
Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.
Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
Arrangement:
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.
Missing Title
Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)
Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)
Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)
Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)
Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)
Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)
Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)
Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)
Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Biographical Note:
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.
Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.
After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.
In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.
After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.
In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.
A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.
Katharine Kuh died on January 10, 1994 in New York City.
Provenance:
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of abstract painter and art instructor Vaclav Vytlacil date from 1885-1990 and measure 5.2 linear feet. Found within the papers are scattered biographical materials, correspondence primarily discussing art school-related matters and the exhibition and sale of Vytlacil's work, scattered business and financial records, and notes and writings including lecture notes. The papers also contain audio recordings of interviews of Vytlacil and his associates, artwork by Vytlacil and others, four scrapbooks, printed material including clippings and exhibition catalogs, and photographs of Vytlacil, his colleagues, and his artwork.
Scope and Content Note:
The papers of abstract painter and art instructor Vaclav Vytlacil date from 1885-1990 and measure 5.2 linear feet. Found within the papers are scattered biographical materials, correspondence, scattered business and financial records, and notes and writings including lecture notes. The papers also contain audio recordings of interviews of Vytlacil and his associates, artwork by Vytlacil and others, four scrapbooks, printed material including clippings and exhibition catalogs, and photographs of Vytlacil, his colleagues, and his artwork.
Scattered biographical materials include documents relating to family history and biographical accounts for Vytlacil. Correspondence consists of letters exchanged between Vytlacil and his wife and colleagues including Josef Albers, Worden Day, Hugo Feigl, John Haley, Alfred Jensen, Irving Manoir, Mercedes Matter, Worth Ryder, Ernest Thurn, and Glenn Wessels.
Scattered business and financial records consist of teaching contracts and scattered financial records. Notes and writings include lecture notes, notebooks concerning teaching, minutes of meetings, essays, and writings by others. Three untranscribed sound recordings on cassette contain an interview of Vytlacil by Susan Larsen and interviews of Vytlacil's students and associates.
Artwork consists of drawings and prints by Vytlacil and others, etchings by Betty Vytlacil, and a color woodcut by Zalmar. Four scrapbooks contain printed materials and artwork by students compiled as a get-well gift to Vytlacil. Additional printed materials include numerous clippings, exhibition catalogs, and art school catalogs. Photographs in the collection are of Vytlacil, family members, his artwork, and his colleagues including Blanche Lazzell and Irving Manoir with Diego Rivera. One small motion picture film reel, 8mm, shows views of Manhattan and a family outing.
Arrangement:
The collection is arranged as 10 series:
Missing Title
Series 1: Biographical Material, 1885, 1933-1981 (Box 1; 3 folders)
Series 2: Correspondence, 1911-1985 (Boxes 1-2, 7; 2.0 linear feet)
Series 3: Business Records, 1912-1982 (Box 3; 11 folders)
Series 4: Notes and Writings, 1928-1978 (Boxes 3, 7; 0.9 linear feet)
Series 6: Artwork, 1921-1952 (Boxes 4, 7; 5 folders)
Series 7: Scrapbooks, 1927-1979 (Boxes 4, 7; 4 folders)
Series 8: Printed Material, 1912-1990 (Boxes 4-5, 7; 1.3 linear feet)
Series 9: Photographs, 1906-1976 (Boxes 6-7; 27 folders)
Series 10: Motion Picture Film, circa 1938-1968 (Box FC 8; 1 film reel)
Biographical Note:
Vaclav Vytlacil (1892-1984) was an abstract painter and art instructor who worked primarily in the New York city area. He was also one of the co-founders of the American Abstract Artists group.
Born in New York City of Czech parentage, Vytlacil moved at an early age with his family to Chicago. Beginning in 1906 he studied at the Art Institute of Chicago under Antonin Sterba for approximately 3 years. In 1912 he graduated as William Vytlacil from Crane Technical and English High School. After receiving a scholarship in 1913, Vytlacil returned to New York to study at the Art Students League with John C. Johansen for three years. From 1917 to 1921 Vytlacil was employed as an instructor at the Minneapolis School of Art.
Beginning in 1921 Vytlacil traveled to Paris, Prague, and Munich, deciding to remain in the latter city indefinitely. He enrolled as a student at the Royal Academy of Art in Munich with fellow American art students Worth Ryder and Ernest Thurn. Vytlacil first studied under Karl Kaspar and, a year later, he and Ernest Thurn enrolled at the Hans Hofmann School in Munich. Vytlacil studied with Hofmann sporadically over the next seven years.
On August 18, 1927, Vytlacil married Elizabeth Foster of St. Paul, Minnesota at the Palazzo Vecchio in Florence, Italy. In the following year, he accepted an invitation to teach at the Art Students League and became an invited lecturer at the University of California at Berkeley during the summer terms of 1928 to 1929. Vytlacil urged Hans Hofmann, with his assistance, to come to the United States to teach at the Art Students League during the 1931-1932 term. Also during the early 1930s, Vytlacil and his wife spent summers in Positano, Italy, and winters in Paris.
In 1935 the Vytlacils returned permanently from Europe to live at 8 West 13th Street in New York City, where they stayed for three years. Vytlacil resumed teaching at the Art Students League, spending the summer sessions teaching at the California College of Arts and Crafts. In the following year he accepted an invitation to teach at the Florence Cane School at Rockefeller Center and continued teaching during the summer session at the California College of Arts and Crafts. It was also during 1936 that Vytlacil co-founded the American Abstract Artists with thirteen other artists.
While continuing to teach at the Art Students League and at the Florence Cane School, Vytlacil began conducting art classes at the Dalton School, where he taught until 1941. In 1938, he moved from New York City to South Mountain Road in New City. Two years later, Vytlacil established his residence and studio in Sparkill, New York, and in 1941, he acquired property in Martha's Vineyard which provided a place to work during the summers.
In 1942, Vytlacil left the Art Students League to become Chairman of the Art Department of Queens College in Flushing, New York. He held this position until 1945, when he accepted an invitation to teach at Black Mountain College. From 1946 to 1951, he returned as instructor at the Art Students League and began selling his artwork through the Feigl Gallery in New York. He also taught at the Minneapolis School of Art in 1947, and at Columbia University in 1950.
From 1952 to 1954, Vytlacil traveled to Colorado to paint and teach at the summer sessions of the Colorado Springs Fine Arts Center. After a summer spent on Monhegan Island, Maine, Vytlacil and his wife spent 1955 in Europe. Upon his return in 1956, he became a guest instructor at the Art Institute of Chicago and, in the following year, he taught a summer session at Boston College.
During the winter months of 1960 and 1961, Vytlacil lived in Oaxaca, Mexico. In 1964, he was a guest instructor at the University of Georgia in Athens, Georgia.
Vytlacil was a member of the Art Students League of New York, the American Abstract Artists, the Federation of American Painters and Sculptors, and the Audubon Artists.
Vaclav Vytlacil died at his home in Sparkill, New York on January 5, 1984.
Related Material:
Also found in the Archives of American Art are oral history interviews with Vaclav Vytlacil, March 2, 1966 and January 10, 1974, and 19 items microfilmed on reel 2016 relating to a 1975 Montclair Art Museum exhibition organized by Worden Day.
Separated Material:
The Archives of American Art also holds material lent for microfilming (D295) including correspondence, lecture notes, general notes, clippings, notebooks concerning paintings, photographs of paintings, photographs titled "Vineyard Boats," and two of Mrs. Vytacil's Paris journals. Two dozen of these letters were later donated. All other lent materials remain with the lender and are not described in the collection container inventory.
Provenance:
Vaclav Vytlacil lent the Archives of American Art materials for microfilming in 1966. Vaclav Vytlacil's daughter, Anne Vytlacil, donated the Vaclav Vytlacil papers in several installments from 1989 to 1993.
Restrictions:
Use of the 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:
Art teachers -- New York (State) -- New York Search this
Family correspondence; personal and professional correspondence relating to Porter's career as a gallery owner, with Caresse Crosby, Eldzier Cortor, Worden Day, Edith Halpert, Adolph Gottlieb, Karl Knaths, Peggy Guggenheim, Mark Rothko, Willem de Kooning, and many others; diaries; notes; financial papers; clippings; publicity catalogs; and miscellany.
Biographical / Historical:
Painter, sculptor, gallery owner; Wainscott, N.Y. Porter opened the G Place Gallery with Caresse Crosby in 1943.
Provenance:
Lent for microfilming 1970 by Edwin David Porter.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Biographical material including Worden Day's curriculum vitae and obituary notice and 5 letters from Worden Day to Lillian Morrison concerning an exhibiton at the New Jersey State Museum planned for 1986, Day's stay at the Virginia Center for the Creative Arts in Southbriar and at the MacDowell Colony in New Hampshire.
Provenance:
Donated 2003 by Lillian Morrison, a friend of Day's.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York Search this
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.
There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Scope and Contents:
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.
Included are biographical material consisting of resumes and an address book. Correspondence is with colleagues, curators, and museum directors including Will Barnet, Carl Zigrosser, May Sarton, Dorothy Dehner, Louise Bourgeois, Sue Fuller, among others. Writings by Day are about sculpture and painting, among them four unpublished manuscripts "Pop Art as an American Cultural Phenomenon," "What is a Print," "The Found Dimension- Aspects in the Development of Modern American Sculpture," and "New Expressions of Woodcut," and reviews for exhibitions written by Day for Art News. Also found in the collection are printed materials; scrapbooks; photographs of Day, her works and photograph albums; and three sketchbooks. Audiovisual material is arranged with biographical material and includes a taped interview on audio cassette with Day and one reel of motion picture film (also available as digital files), "Printmakers," presented by United States Information Service, 1961, showing American printmakers Mauricio Lasansky, Day, Karl Schrag, Seong Moy and Gabor Petredi at work and students in the School of Graphic Arts at the State University of Iowa, founded by Lasansky. Also arranged with biographical material is a file relating to an exhibition on the work of painter Vaclav Vytlacil organized by Day in 1975 at the Montclair Art Museum containing correspondence; letter fragments from Alex Minewski; writings by Vytlacil regarding his career and work with Hans Hofmann; an audio cassette; photographs of Vytlacil, Hofmann teaching in Munich, Ed and Isabell Rupprecht, Ernest Thurn, Betty Foster, and Alice Fish at the Hofmann School of Fine Arts, Munich; and the exhibition catalog.
There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Arrangement:
The collection is arranged as eight series
Series 1: Biographical Material, 1960-1986 (Box 1, FC6; 0.5 linear feet)
Series 2: Correspondence, 1953-1977 (Box 1; 1 folder)
Series 3: Writings, 1955-1985 (Box 1; 0.3 linear feet)
Series 4: Printed Material, 1949-1983 (Box 1; 0.3 linear feet)
Series 5: Scrapbooks, 1940-1984 (Boxes 1, 4; 0.5 linear feet)
Series 6: Photographic Material, 1935-1986 (Boxes 2-3; 0.5 linear feet)
Series 7: Sketchbooks, 1960-1986 (Boxes 3, 5; 0.4 linear feet)
Series 8: Unprocessed Addition, circa 1951-1992 (Box 7; 1.0 linear feet)
Biographical / Historical:
Worden Day (1916-1986) was a sculptor, painter, printmaker and curator in Montclair, New Jersey. Born in Columbus, Ohio, Day graduated from Randolph-Macon College in 1934. She then moved to New York City, and over the next few decades, studied drawing with Maurice Sterne and George Grosz; drawing, painting, and printmaking with William Von Schlegell, Harry Sternberg, Hans Hofmann, Will Barnet, and Vaclav Vytlacil at the Art Students League; and etching with Stanley William Hayter at the New School for Social Research. After earning her M.A. from New York University in 1966, Day taught as an instructor and lecturer in color theory, drawing, printmaking, sculpture, design, collage, American art history, modern art theory, and women artists. Her written reviews and essays were featured in publications such as Art News, Art Voices, and Impressions, and she had solo exhibitions throughout the United States, including at the Smithsonian Institution, Baltimore Museum of Art, Cincinnati Art Museum, and Montclair Art Museum.
Provenance:
The papers were donated to the Archives of American Art from 1972-1983 by Worden Day. Additional material was donated in 2017 by Constance Duhamel, Day's friend. Additional material was donated in 2020 by the Maier Museum of Art at Randoph College via Constance Duhamel.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The 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:
Landscape painters -- Massachusetts -- Provincetown Search this
Biographical material dates from 1960-1986 and consists of addresses; a file relating to an exhibition on the work of painter Vaclav Vytlacil organized by Day in 1975 at the Montclair Art Museum; a sound recorded interview with Day; as well as price lists, loans forms, and resumes. Also included is a film "Printmakers," presented by United States Information Service, 1961, showing American printmakers Mauricio Lasansky, Day, Karl Schrag, Seong Moy and Gabor Petredi at work and students in the School of Graphic Arts at the State University of Iowa, founded by Lasansky. The film and sound recorded interview are also available as digital files.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The 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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Worden Day's correspondence is with colleagues, curators, and museum directors including Will Barnet, Carl Zigrosser, May Sarton, Dorothy Dehner, Louise Bourgeois, Sue Fuller, among others.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
