Search Results

Creator:

Solomon, Alan R.  Search this

Solomon, Alan R.  Search this

Subject:

Castelli, Leo  Search this

Louis, Morris  Search this

Segal, George  Search this

Fahlström, Öyvind  Search this

Poons, Larry  Search this

Duchamp, Marcel  Search this

Bontecou, Lee  Search this

Picasso, Pablo  Search this

Provinciali, Michele  Search this

Reed, Lou  Search this

Lichtenstein, Roy  Search this

Mulas, Ugo  Search this

Sonnabend, Ileana  Search this

Rosenquist, James  Search this

Sabol, Audrey  Search this

Grisi, Laura  Search this

Noland, Kenneth  Search this

Scull, Ethel  Search this

MacElroy, Robert R.  Search this

Namuth, Hans  Search this

Newman, Barnett  Search this

Finkelstein, Nat  Search this

Stella, Frank  Search this

Sisler, Mary  Search this

Greenberg, Jeanine  Search this

Oldenburg, Patty  Search this

Morris, Robert  Search this

Scull, Robert C.  Search this

Hay, Alex  Search this

Dine, Jim  Search this

Kron, Joan  Search this

Chamberlain, John  Search this

Greenberg, Clement  Search this

Oldenburg, Claes  Search this

Frankenthaler, Helen  Search this

Paxton, Steve  Search this

Moore, Peter  Search this

Whitman, Robert  Search this

Novick, Elizabeth  Search this

Rauschenberg, Robert  Search this

Redon, Odilon  Search this

Schute, Terry  Search this

Warhol, Andy  Search this

Hay, Deborah  Search this

Rainier, Yvonne  Search this

Childs, Lucinda  Search this

Johns, Jasper  Search this

Dunn, Judith  Search this

Leo Castelli Gallery  Search this

Expo 67 (Montréal, Québec)  Search this

Pasadena Art Museum  Search this

Institute of Contemporary Art (Boston, Mass.)  Search this

Albright-Knox Art Gallery  Search this

Art Gallery of Ontario  Search this

Velvet Underground (Musical group)  Search this

Biennale di Venezia  Search this

Artforum  Search this

Amsterdam (Netherlands). Stedelijk Museum  Search this

Jewish Museum (New York, N.Y.)  Search this

University of California (System)  Search this

Cornell University.  Search this

San Francisco Art Institute  Search this

Centro de Artes Visuales (Asunción, Paraguay)  Search this

Los Once (Artists' group)  Search this

Harvard University  Search this

Type:

Drawings

Transcripts

Photographs

Interviews

Lithographs

Place:

Italy -- Venice

Topic:

Abstract expressionism  Search this

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Art -- History -- Study and teaching  Search this

Performance art  Search this

Art, Abstract -- United States  Search this

Art -- Exhibitions  Search this

Art -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Sculptors  Search this

Art, Modern -- 20th century -- United States  Search this

Educators -- New York (State) -- New York  Search this

Curators -- New York (State) -- New York  Search this

Theater  Search this

Pop art  Search this

Museum directors -- New York (State) -- New York  Search this

Theme:

Art Movements and Schools  Search this

Record number:

(DSI-AAA_CollID)7165

(DSI-AAA_SIRISBib)209301

AAA_collcode_soloalan

Theme:

Art Movements and Schools

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209301

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Collection Restrictions:

Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

See more items in:

The Garden Club of America collection

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref32850

Creator:

Varian, Dorothy, 1895-1985  Search this

Varian, Dorothy, 1895-1985  Search this

Subject:

Schmidt, Katherine  Search this

Schulte, Antoinette E.  Search this

Bacon, Peggy  Search this

Brook, Alexander  Search this

Karfiol, Bernard  Search this

Marshall, Lenore  Search this

Peirce, Waldo  Search this

Klienert, Herminie  Search this

Kuniyoshi, Yasuo  Search this

Type:

Photographs

Sketches

Topic:

Painters -- New York (State) -- New York  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women painters  Search this

Theme:

Sketches & Sketchbooks  Search this

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9258

(DSI-AAA_SIRISBib)211453

AAA_collcode_varidoro

Theme:

Sketches & Sketchbooks

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211453

Interviewee:

Snyder, Joan, 1940-  Search this

Snyder, Joan, 1940-  Search this

Interviewer:

Richards, Judith Olch, 1947-  Search this

Subject:

Cammer, Maggie  Search this

Fink, Larry  Search this

Lippard, Lucy R.  Search this

Snyder-Fink, Molly  Search this

Wilke, Ulfert  Search this

Bykert Gallery (New York, N.Y.)  Search this

Hirschl & Adler Galleries  Search this

Parsons School of Design  Search this

Rutgers University  Search this

School of Visual Arts (New York, N.Y.)  Search this

Women Against War  Search this

Type:

Sound recordings

Interviews

Topic:

AIDS (Disease) and the arts  Search this

Art, Abstract  Search this

Feminism  Search this

Feminism and art  Search this

Poverty  Search this

Social justice  Search this

Artists (LGBTQ)  Search this

Lesbian artists  Search this

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)15788

(DSI-AAA_SIRISBib)288669

AAA_collcode_snyder10

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_288669

Creator:

Kelly, Emerson Crosby, 1899-1977  Search this

Hollinger & Co.  Search this

Kelly, Emerson Crosby, 1899-1977  Search this

Subject:

Carlsen, Emil  Search this

Murphy, John Francis  Search this

Murphy, Adah Clifford  Search this

Murphy, John Francis  Search this

Sarony, Napoleon  Search this

Vandyk, C.  Search this

National Academy of Design (U.S.)  Search this

Pestalozzi Foundation of America  Search this

Salmagundi Club  Search this

Type:

Drawings

Sketchbooks

Place:

Arkville (N.Y.) -- Pictorial works

Topic:

Artists' studios -- Photographs  Search this

Landscape painting, American -- New York (State)  Search this

Art -- Collectors and collecting -- New York (State)  Search this

Women artists  Search this

Women painters  Search this

Theme:

Diaries  Search this

Sketches & Sketchbooks  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)7703

(DSI-AAA_SIRISBib)209867

AAA_collcode_kellemer

Theme:

Diaries

Sketches & Sketchbooks

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209867

Creator:

Pereira, I. Rice (Irene Rice), 1902-1971  Search this

Pereira, I. Rice (Irene Rice), 1902-1971  Search this

Subject:

Davis, Charles H. (Charles Harold)  Search this

United States. Work Projects Administration  Search this

Design Laboratory (New York, N.Y.)  Search this

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women educators  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)8932

(DSI-AAA_SIRISBib)211118

AAA_collcode_pereiric

Theme:

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211118

Creator:

Meyerowitz, William, 1887-1981  Search this

Bernstein, Theresa F. (Theresa Ferber), 1890-2002  Search this

Meyerowitz, William, 1887-1981  Search this

Subject:

Holmes, Oliver Wendell, Jr.  Search this

Bluemner, Oscar  Search this

Karolik, Maxim  Search this

Phillips, Duncan  Search this

Saint-Gaudens, Homer  Search this

Ward, Lynd  Search this

Weichsel, John  Search this

Arms, John Taylor  Search this

Blashfield, Edwin Howland  Search this

Type:

Drawings

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Etching -- New York (State) -- New York  Search this

Jewish artists  Search this

Women artists  Search this

Women painters  Search this

Theme:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9044

(DSI-AAA_SIRISBib)211234

AAA_collcode_meyewill

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211234

Creator:

Rebay, Hilla, 1890-1967  Search this

Rebay, Hilla, 1890-1967  Search this

Subject:

Moholy-Nagy, László  Search this

Bauhaus  Search this

Solomon R. Guggenheim Museum  Search this

Art Dealers Association of America  Search this

Topic:

Painting, Abstract -- New York (State) -- New York  Search this

Art as an investment -- Taxation -- Law and legislation -- New York (State) -- New York  Search this

Art -- Collectors and collecting  Search this

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Art Movements and Schools  Search this

Record number:

(DSI-AAA_CollID)9185

(DSI-AAA_SIRISBib)211380

AAA_collcode_rebahill

Theme:

Women

Art Movements and Schools

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211380

Creator:

Robins, Louisa Winslow, 1898-1962  Search this

Robins, Louisa Winslow, 1898-1962  Search this

Topic:

Painting, Modern -- 20th century -- New York (State)  Search this

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9203

(DSI-AAA_SIRISBib)211398

AAA_collcode_robiloui

Theme:

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211398

Creator:

Huntley, Victoria Hutson, 1900-1971  Search this

Huntley, Victoria Hutson, 1900-1971  Search this

Subject:

Philadelphia Museum of Art  Search this

Old Bergen Art Guild  Search this

Type:

Sketchbooks

Photographs

Designs

Topic:

Women printmakers  Search this

Women artists  Search this

Printing -- Technique  Search this

Muralists -- New York (State) -- New York  Search this

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)15665

(DSI-AAA_SIRISBib)282434

AAA_collcode_huntvict

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_282434

Creator:

Feigin, Dorothy Dee Lubell, 1902-1969  Search this

Feigin, Dorothy Dee Lubell, 1902-1969  Search this

Subject:

Peirce, Waldo  Search this

Silvermine Guild Center for the Arts  Search this

Federation of Modern Painters and Sculptors  Search this

Type:

Scrapbooks

Topic:

Painting, American -- New York (State) -- New York  Search this

Lithography -- New York (State) -- New York  Search this

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)8903

(DSI-AAA_SIRISBib)211088

AAA_collcode_feigdoro

Theme:

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211088

Creator:

Robins, Louisa Winslow, 1898-1962  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

[ca. 1930-1960]

Scope and Contents:

Correspondence; photographs of Robins' work; clippings, exhibition catalogs and announcements; and sketches of her Christmas card designs.

Biographical / Historical:

Painter; Buffalo and Long Island, New York.

Provenance:

Material donated by Mrs. Julien McKee and Mrs. Evan Thomas, Robins' daughters, 1978.

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)  Search this

Topic:

Painting, Modern -- 20th century -- New York (State)  Search this

Women artists  Search this

Women painters  Search this

Identifier:

AAA.robiloui

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-robiloui

Creator:

Kelly, Emerson Crosby, 1899-  Search this

Hollinger & Co. photography firm.  Search this

Photographer:

Moffett (Firm)  Search this

Sarony, Napoleon, 1821-1896  Search this

Vandyk, C.  Search this

Names:

National Academy of Design (U.S.)  Search this

Pestalozzi Foundation of America  Search this

Salmagundi Club  Search this

Carlsen, Emil, 1853-1932  Search this

Murphy, Adah Clifford, 1860-1949  Search this

Murphy, John Francis, 1853-1921  Search this

Murphy, John Francis, 1853-1921 -- Catalogues raisonnés  Search this

Extent:

16.7 Linear feet ((on 21 microfilm reels))

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Place:

Arkville (N.Y.) -- Pictorial works

Date:

1761-1973

Scope and Contents:

Biography and catalogue raisonné of J. Francis Murphy by Emerson Crosby Kelly, M.D., and correspondence relating to Dr. Kelly's interest in Murphy. Personal papers of J. Francis Murphy and Adah Clifford Smith Murphy include diaries and notebooks, correspondence, Smith and Murphy family documents, financial records, printed matter, artifacts, photographs, and works of art.

Research notes, drafts, and manuscript of an unpublished biography, "J. Francis Murphy, N.A., (1853-1921): Tints of a Vanished Past," and illustrated catalogue raisonne of the works of J. Francis Murphy by Emerson Crosby Kelly (1953). Kelly corresponded with friends and relatives of the Murphys, with owners of Murphy paintings, publishers, printers, and possible financial backers for his book. Also documented is Dr. and Mrs. Kelly's involvement in the sale of "Weedwild," the Murphy's Arkville, N.Y. home, to the Pestalozzi Foundation of America.

Diaries of J. Francis Murphy (25 vols.) contain very brief entries that faithfully record weather conditions, garden progress, and other nature notes, with occasional mention of social engagements or service on art juries; entries recorded during trips to Europe mainly list places visited with little elaboration. Notebooks (16 vols.) include painting registers, daily listings of mail sent and received, address books, and jottings relating to Indian relics, his farmland, and paintings sent to dealers. Mrs. Murphy's diaries (46 vols.) also contain very brief entries mentioning friends, social engagements, travels, and an "Account of the pictures I painted and gave away. Portraits of them. + landscapes + old houses." Her notebooks (4 vols.) contain "Notes for a book. J.F.'s".

Correspondence concerns family matters, exhibitions, sales, professional memberships, involvement with the Salmagundi Club and National Academy of Design, and the couple's finances. Whenever separated, the Murphys exchanged lengthy letters with one another; the majority of these are from husband to wife.

Receipts and invoices are mainly for art supplies, framing, and shipping costs; expense records for personal purchases and farm upkeep and improvements; taxes; and legal papers concerning a property boundary dispute and lawsuit against the Murphys.

Photographs are of Mr. and Mrs. Murphy, their families and ancestors, friends, studios, "Weedwild" (country home) and surrounding Arkville, N.Y. area, landscape subjects, works of art by the Murphys, medals and certificates of award. Six tintypes are included. Photographers include: Hollinger, Moffett, Napoleon Sarony, and C. Vandyk. Commercially produced stereographs mainly depict U.S. scenes.

Art works consist of sketchbooks, oil sketches, and works of art on paper by both Murphys, Emil Carlsen, and other artists (ca. 500 items).

Other materials include exhibition catalogs and announcements, clippings, scrapbooks (probably compiled by Mrs. Murphy ca. 1885), medals awarded to J. Francis Murphy, copper plate etched by Adah C. Murphy, and artifacts.

Arrangement:

I. Writings and Research Notes. II. Kelly Correspondence and Miscellaneous Files. III. J. Francis and Adah Clifford Smith Murphy Papers.

Biographical / Historical:

Emerson Crosby Kelly, M.D., art collector, surgeon, and medical bibliographer; d. 1977. J. Francis Murphy, landscape painter and one of the leading tonalists of the American Barbizon school, lived and worked in New York City and Arkville, N.Y. Studied very briefly at the Chicago Academy of Design, 1875. Member of the National Academy of Design and active in the Salmagundi Club. His wife, Adah Clifford Smith Murphy, a painter and illustrator, studied at the Female Art School of the Cooper Union for the Advancement of Science and Art.

Provenance:

The donor, Sydney Kelly, is the widow of Dr. Emerson Crosby Kelly. Dr. Kelly acquired the Murphy papers in 1949 from Hulda Gregerson, Mrs. Murphy's long-time companion, for the purpose of writing a biography and catalogue raisonne of J. Francis Murphy.

Occupation:

Painters -- Biography  Search this

Biographers  Search this

Illustrators -- New York (State)  Search this

Landscape painters -- New York (State)  Search this

Topic:

Artists' studios -- Photographs  Search this

Landscape painting, American -- New York (State)  Search this

Art -- Collectors and collecting -- New York (State)  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Drawings

Sketchbooks

Identifier:

AAA.kellemer

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-kellemer

Creator:

Huntley, Victoria Hutson, 1900-1971  Search this

Names:

Old Bergen Art Guild  Search this

Philadelphia Museum of Art  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Photographs

Designs

Date:

1929-1999

Summary:

The papers of Victoria Hutson Huntley measure 1.3 linear feet and date from 1929-1999. Biographical material, correspondence, writings, artwork, printed material and photographs chronicle the professional activities and personal life of the lithographer and muralist.

Scope and Content Note:

The papers of Victoria Hutson Huntley measure 1.3 linear feet and date from1929-1999. Biographical material, correspondence, writings, artwork, printed material and photographs chronicle professional activities and personal life of the lithographer, painter, and muralist.

Biographical materials highlight Huntley's achievements. Her professional correspondence illustrates an active career; correspondents include Old Bergen Art Guild and Philadelphia Museum of Art.

Autobiographical notes convey her passion for art, feelings about her health, and the hindrances faced by female artists. Her other writings include "An Artist's Experience in the Everglades" and "On Making a Lithograph," articles that reflect her personality, ideas, rationale and procedures for executing her work.

Artwork consists of a mural design and 10 sketchbooks that also include notes. Printed material includes newspaper clippings and pamphlets that provide insight into the art world of the 1930s and 1940s as it chronicles Huntley's art endeavors and exhibitions. Books are Le Colophon Book Collector's Quarterly containing a reproduction of work by Huntley, and Victoria Hutson Huntley, an article she made into a volume as a gift for her mother.

The majority of the photographs are of Huntley's artwork. They show her growth as an artist and the influences of the places she lived. Also found are some family photographs.

Arrangement:

The collection is arranged as 6 series:

Missing Title

Series 1: Biographical Material, 1946-circa 1968 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1954-1997 (Box 1; 0.1 linear feet)

Series 3: Writings, 1946-1999 (Box 1; 0.2 linear feet)

Series 4: Artwork, 1939-1952 (Box 1-2; 0.2 linear feet)

Series 5: Printed Materials, 1929-1999 (Box 1; 0.50 linear feet)

Series 6: Photographs, 1929-circa 1970's, undated (Box 1; 0.20 linear feet)

Biographical Note:

Victoria Hutson Huntley (1900-1971) was a painter, printmaker, muralist, and educator who worked in New York City, Florida, and New Jersey.

Beginning in 1919, Victoria Ebbels studied at the Art Students League with John Sloan, George Bridgman, Max Weber, Kenneth Hayes Miller, George Luks, and William C. Palmer. After her father's death, circa 1920, she briefly attended teacher's college and moved to Denton, Texas.

At the time of her first solo exhibition at Weyhe Gallery, New York City, in 1930, she was encouraged by Mr. Weyhe and his gallery director, Carl Zigrosser, to explore lithography. Hutson followed their suggestion. George Miller was her lithography instructor from 1930-1948. For the first five years, she devoted herself to lithography exclusively; during the first year, the Boston Museum of Fine Arts, Metropolitan Museum of Art, Art Institute of Chicago, Houston Museum of Fine Arts, and Newark Public Library purchased prints. After developing chronic health problems and undergoing surgery in 1954, the physical demands of lithography greatly limited her ability to work, and when she did, assistance was required.

Huntley considered herself to be a modern artist but felt it was going nowhere. Around 1935, she explored Cubism and other modern movements. After experimenting with other techniques she adopted the Mixed Technique, using egg emulsion underpainting with resin-oil overpainting. Subjects included lyrical landscapes of the Florida Everglades, industrial themes, people, flora, and fauna. She also painted murals commissioned by the U.S. Treasury Department Section of Fine Arts for post offices in Greenwich, Connecticut, and Springfield, New York.

From 1921-1930 she was an Associate Professor of Art at the College of Industrial Arts, which later became the State College for Women. Huntley taught painting and drawing at Birch-Wathen School in New York City. In Connecticut she was resident artist at Redding Ridge School, 1939-1942 and at Pomfret School for Boys, 1942-1946. She served on the faculty of Rollins College, Winter Park, Florida, from 1946-1953. Although Huntley stopped teaching when health problems curtailed her activities and they had to move to a cooler climate, she continued to paint and, when able, produced prints.

Victoria Hutson Huntley exhibited widely. She had solo exhibitions in New York City, Philadelphia, San Francisco, and Washington, D.C., and participated in group shows throughout the United States, and in Algeria, England, France, Italy, Scotland, South America, and Sweden.

When Kopper's Coke won The Philadelphia Print Club's Mary Collins prize for Lithography in 1932, the donor found it difficult to accept that a woman would find a factory suitable subject matter, and made it clear she had no part in selecting the winner. (When Huntley's industrial scenes were exhibited in London, it was assumed the artist was a man and she received checks written to Victor Huntley.) Huntley also won awards from the Library of Congress (1945), Association of American Artists (1946), and Society of American Graphic Artists (1950 and 1951). In 1947, the National Academy of Arts and Letters funded an Everglades expedition. The following year, a Guggenheim fellowship enabled her to create 25 lithographs in Florida.

The work of Victoria Hutson Huntley is represented in the permanent collections of many institutions, including: Metropolitan Museum of Art; Boston Museum of Fine Arts; Art Institute of Chicago; IBM Corporation; University of Florida; Art Students League Memorial Collection; Bureau of Education, Italy; Collection of the Government of Italy; and University of Glasgow, Scotland.

She married William K. Hutson in 1925 and they had one daughter. The marriage ended in divorce in 1933 and Ralph Huntley, a scientist and mathematician, became her second husband. By the following year, she was using the name Victoria Hutson Huntley professionally. His academic career took them to Connecticut, New York City, back to Connecticut, Florida, Illinois, and New Jersey. After her husband retired, the Huntleys remained in Chatham, New Jersey, where she had two studios, one for painting and another for lithographic work.

Victoria Hutson Huntley died in 1971.

Provenance:

The Victoria Hutson Huntley papers were donated by Derek Cocovinis of DDC Fine Arts, which purchased the artist's estate.

Restrictions:

Use of original material 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:

Painters -- New York (State) -- New York  Search this

Topic:

Women printmakers  Search this

Women artists  Search this

Printing -- Technique  Search this

Muralists -- New York (State) -- New York  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sketchbooks

Photographs

Designs

Citation:

The Victoria Hutson Huntley papers, 1929-1999. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.huntvict

See more items in:

Victoria Hutson Huntley papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-huntvict

Creator:

Mason, Alice Trumbull, 1904-1971  Search this

Names:

American Abstract Artists  Search this

Kelpe, Paul, 1902-1985  Search this

Lassaw, Ibram, 1913-2003 -- Photographs  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketchbooks

Poetry

Date:

1921-1977

Summary:

The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.

Scope and Content Note:

The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.

Biographical material consists of resumes, passports, exhibition files, as well as documentation of her membership and active participation in art organizations, including her work as an officer in the American Abstract Artists group. Also found here are scattered personal financial and legal records. Personal and professional correspondence is with family members, including many detailed letters between her and her husband Warwood, fellow artists, including Paul Kelpe, art organizations, curators, museums, galleries, and others. Professional correspondence generally discusses selection of exhibition and awards, sale of artwork, and art events. Writings and notes, mostly from the 1920s and 1930s, consist of Mason's notes on art history and her creative writings, including poetry and "abstract writing." Also found are a few writings about abstract art and various notes and lists.

Printed material includes news clippings on topics of interest to Mason, and other miscellaneous items such as brochures, and exhibition announcements. Photographs include several portraits of Mason with her artwork, photographs of friends including artist Ibram Lassaw, photographs of an American Abstract Artists exhibition, and artwork by her and others. Original artwork found in this collection includes five sketchbooks belonging to Mason, including two that document her travels through Greece and Italy, and other loose drawings.

Arrangement:

The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Material, 1925-1968 (Box 1, OV 3; 0.2 linear feet)

Series 2: Correspondence, 1922-1977 (Box 1; 0.4 linear feet)

Series 3: Writings and Notes, 1921-1965 (Box 1; 6 folders)

Series 4: Printed Material, 1936-1974 (Box 1; 2 folders)

Series 5: Photographs, 1920s-1967 (Box 1, OV 3; 5 folders)

Series 6: Artwork, 1924-1963 (Box 1-2, OV 3; 0.4 linear feet)

Biographical Note:

Alice Trumbull Mason was born in 1904 in Litchfield, Connecticut. Her mother, Anne Leavenworth Train, was an accomplished artist before she met Alice's father, William Trumbull, a descendent of the Revolutionary War era painter, John Trumbull. Alice spent much of her childhood in Europe with her family. From 1921 to 1922 they lived in Florence and Rome where she studied at the British Academy. In 1923 she continued her studies with painter Charles W. Hawthorne at the National Academy of Design in New York and from 1927 to 1928 attended courses at the Grand Central Art Galleries taught by Arshile Gorky. Gorky inspired her interest in abstract painting, and Mason painted her first non-objective works in 1929. In 1928 she returned to Italy and Greece and was greatly influenced by ancient art, Byzantium, and Italian primitives. She married Warwood Mason, a merchant seaman, in 1930 and her daughter Emily was born in 1932 and her son Jonathan in 1933. During this period she stopped painting and devoted her creative energy to writing poetry inspired by American avant-garde writers.

Mason began painting again in 1934 and was recognized as a key figure of American abstraction. In 1935 she met and became close friends with fellow artist Ibram Lassaw, and they, along with several other artists, began to meet on a regular basis which led to the first American Abstract Artists group exhibition in 1937. Mason remained very active in the group and served as treasurer in 1939, secretary from 1940 to 1945, and president from 1959 to 1963. She was also an activist for abstract art, protesting the decisions of the Museum of Modern Art several times for excluding abstract artists from exhibitions. During the 1940s her paintings and concept of "architectural abstraction" was influenced by the arrival of Piet Mondrian in New York. Also in the 1940s she had two one-woman shows, but throughout her career she felt there was a bias against women in the New York art world and most often she participated in AAA group shows. Her work would be viewed as an important bridge for future abstract and conceptualist artists. In 1958 her son died, and though she continued to paint and participate in exhibitions, she never recovered from this tragedy and in the late 1960s withdrew into seclusion until her death in 1971.

Related Material:

Also found in the Archives of American Art is a collection of interviews by Ruth Bowman of members of the American Abstract Artists group conducted between 1963-1965, that includes an interview with Alice Trumbull Mason. The Archives of American Art also houses 2.3 linear feet of the records of the American Abstract Artists group.

Separated Material:

A portion of the material donated by Alice Trumbull Mason in 1969 relating to her involvement with the American Abstract Artists was separated and filed with the American Abstract Artists records at the Archives of American Art. Files of news clippings and exhibition catalogs were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library after microfilming.

Provenance:

A portion of this collection was donated by Alice Trumbull Mason in 1969. Additional material was donated from 1972 to 1977 by Mason's daughter, Emily Mason Kahn.

Restrictions:

The collection is partially microfilmed. Use of material not microfilmed 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:

Painters -- New York (State) -- New York  Search this

Topic:

Women artists  Search this

Women painters  Search this

Genre/Form:

Photographs

Sketchbooks

Poetry

Citation:

Alice Trumbull Mason papers, 1921-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.masoalic

See more items in:

Alice Trumbull Mason papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-masoalic

Creator:

Flack, Audrey  Search this

Names:

Arizona State University  Search this

Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this

Cooper Union for the Advancement of Science and Art  Search this

Guild Hall of East Hampton  Search this

Louis K. Meisel Gallery  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Janson, Anthony F.  Search this

Extent:

15.8 Linear feet

0.897 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Motion pictures (visual works)

Video recordings

Scrapbooks

Sound recordings

Date:

1950-2009

Summary:

The papers of painter Audrey Flack measure 15.8 linear feet and 0.897 GB and date from 1950-2009. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Scope and Contents:

The papers of painter Audrey Flack measure 15.8 linear feet and 0.897 GB and date from 1950-2009. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.

There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.

Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.

Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)

Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)

Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)

Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)

Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)

Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)

Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)

Biographical / Historical:

Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism. Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.

Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles. Audrey Flack lives and works in New York and in East Hampton, New York.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.

Provenance:

The collection was donated by Audrey Flack in April 2009.

Restrictions:

Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The 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:

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Art -- Economic aspects  Search this

Women artists  Search this

Women painters  Search this

Women painters  Search this

Genre/Form:

Photographs

Motion pictures (visual works)

Video recordings

Scrapbooks

Sound recordings

Citation:

Audrey Flack papers, 1950-2009. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.flacaudr

See more items in:

Audrey Flack papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-flacaudr

Creator:

Dreier, Dorothea A., 1870-1923  Search this

Names:

Cooperative Mural Workshop  Search this

Women's Trade Union League of America  Search this

Bartlett, Agnes Willard  Search this

Bartlett, Mary F.  Search this

Bartlett, Maud W.  Search this

Davis, Charles H. (Charles Harold), 1856-1938  Search this

Dreier, Ethyl Eyre Valentine  Search this

Dreier, Katherine Sophie, 1877-1952  Search this

Dreier, Mary E. (Mary Elisabeth), 1875-1963  Search this

Forbes, Rebecca  Search this

Gogh, Elisabeth du Quesne van, 1859-1936  Search this

Kuhn, Walt, 1877-1949  Search this

Mahan, Ellen Kuhn  Search this

Robins, Margaret Dreier  Search this

Robins, Raymond, 1873-1954  Search this

Schetter, Charlotte  Search this

Shirlaw, Walter, 1838-1909  Search this

Extent:

2.6 Linear feet

Type:

Collection descriptions

Archival materials

Pamphlets

Sketchbooks

Photographs

Broadsides

Date:

1881-1941

bulk 1887-1923

Summary:

The papers of artist and art patron Dorothea A. Dreier measure 2.6 linear feet and date from 1881-1941, with the bulk of the material dating from 1887-1923. The papers document the life and work of Dorothea Dreier and also contain the papers of and about members of her immediate family, particularly her sisters, Mary and Katherine Dreier, and Margaret Dreier Robins. Found are correspondence, printed materials, legal and financial records, photographs, and one sketchbook by Dreier.

Scope and Content Note:

The papers of the painter Dorothea A. Dreier measure 2.6 linear feet and date from 1881 to 1941, with the bulk of the materials dating from 1887-1923. These papers document not only her life and work as an artist, but also the activities of her distinguished family in the realms of social reform, women's suffrage, and politics, through correspondence, newspaper clippings, pamphlets, broadsides, exhibition catalogs, publications, photographs, ephemera, a sketchbook, and legal and financial records.

Biographical materials include official documents, childhood writings, notes, ephemera, membership cards, invitations, programs, notes, lists, and legal and financial records.

Measuring 1.2 linear feet, correspondence is the largest and most extensive series and consists of letters from family and close friends as well as business correspondence. Although the letters in this series span from 1881-1925, a large number stem from Dorothea's 1913-1916 stay at Saranac Lake for treatment of her tuberculosis.

Family correspondents consist of members of Dorothea's immediate family as well as more distant relations, including those who resided in her parent's native Germany. Letters from her sisters Mary E. Dreier, and Margaret (Gretchen) Dreier Robins, her sister-in-law Ethyl Eyre Valentine Dreier and brother-in-law Raymond Robins provide some insight into the varied social reform and political movements, such as women's suffrage and the Bull Moose Party, with which they were allied. Additionally both Mary and Margaret were active in the Women's Trade Union League, Margaret having served as the League's president from 1907-1922. Therefore their correspondence is a rich resource for scholars interested in women's history and the history of the Progressive Era in the United States.

Due to their shared interest in the arts, her sister Katherine S. Dreier's letters provide information about her own work as an artist, particularly when she was studying abroad, exhibitions in which she participated or visited, and the Cooperative Mural Workshop, a combination art school and workshop that she ran from 1914-1917 with Walt Kuhn, with substantial financial help from Dorothea.

Additionally through her Brooklyn neighborhood, art classes, and support of numerous social causes, Dorothea had a large circle of friends. Frequent correspondents include the Bartlett sisters, Agnes, Mary, and Maud, Rebecca Forbes, Ellen Kuhn Mahan, and Charlotte Schetter. Notable art world correspondents include Vincent van Gogh's sister Elisabeth du Quesne van Gogh, the American Tonalist landscape painter Charles Harold Davis and Dreier's painting instructor and close friend, the painter Walter Shirlaw.

Printed materials reflect the varied interests and activities of Dorothea Dreier and select members of her immediate family through exhibition announcements, catalogs, including a numbered copy of the The Dorothea A. Dreier Exhibition from the memorial exhibition of her work at the Brooklyn Museum of Art in 1925, newspaper clippings relating to her career, the activities of other members of the Dreier family, art and politics; as well as pamphlets, broadsides, brochures and blank postcards.

Photographs include both studio portraits and informal snapshots of Dorothea and Katherine Dreier; group photographs including Dorothea; travel photographs, many of which appear to have been taken in the Netherlands; and photographs of Teddy Roosevelt giving a speech at a railway station. Artworks include a sketchbook by Dreier, five sketchbooks by friend and teacher, Walter Shirlaw, and an unidentified artist, a pencil drawing by Shirlaw, an engraving by Huquier and an etching by Ernest D. Roth.

Arrangement:

The collection is arranged into 5 series:

Missing Title

Series 1: Biographical Material, 1884-1923 (Box 1; 0.75 linear feet)

Series 2: Correspondence, 1881-1925 (Boxes 1-2; 1.2 linear feet)

Series 3: Printed Material, 1883-1916 (Boxes 2-3; 0.5 linear feet)

Series 4: Photographs, circa 1900-1923 (Box 3; 7 folders)

Series 5: Artwork, circa 1885-1941 (Boxes 3-4; 9 folders)

Biographical Note:

Dorothea A. Dreier was born on December 8, 1870, in Brooklyn, New York to German immigrant parents. The second of five children in a close knit, socially progressive family, her siblings include the social reformers and suffragettes Mary E. Dreier and Margaret Dreier Robins. However she was closest to her youngest sister, Katherine S. Dreier, fellow artist, patron of modern art and cofounder of the Société Anonyme, an organization dedicated to the promotion of modern art in the United States. Her sole brother, H. Edward Dreier, followed his father into business and managed the family investments.

Of all the Dreier sisters, Dorothea is the least well-known and there is scant information about her artistic career. It appears that she began her formal art training with John Twachtman and William Merritt Chase, although accounts disagree as to whether it took place at the Art Students League or the National Academy of Design. In 1904 Dorothea and her sister Katherine began studying with the painter Walter Shirlaw, with whom they developed a close friendship. Both sisters also traveled abroad frequently as the family maintained close ties with their German relatives and they combined these visits with trips to museums and galleries throughout Europe where they studied the works of the Old Masters as well as more contemporary artists. As evidenced by her series of oil paintings of Dutch weavers of 1908, Dorothea was greatly influenced by Van Gogh's early paintings of rural Dutch peasant life and she spent long periods abroad living and painting in Laren, The Netherlands. Her later paintings depicted landscapes, both in The Netherlands and the Adirondacks, as well as a series of New York street scenes.

Unfortunately, during a 1913 sojourn in Laren, Dorothea contracted tuberculosis. She remained at Saranac Lake, a renowned treatment center in the Adirondacks from late December 1913 to sometime in 1916. During her convalescence, Dorothea remained actively involved in the arts as she continued to paint and draw and supported her sister Katherine's work at the Cooperative Mural Workshop, a short-lived combination art school and workshop that focused on the decorative arts.

In 1920, Dorothea supported Katherine's decision to champion modern art and made generous financial contributions toward the establishment of the Société Anonyme, where Dorothea's first solo exhibition took place in 1921. This was her only solo exhibition prior to her untimely death in 1923. In the spring of 1925, Christian Brinton of the Brooklyn Museum of Art organized a memorial exhibition for which Katherine Dreier privately published a limited edition catalogue.

Related Material:

The papers of Katherine S. Dreier related to the Société Anonyme Archives are located at the Beinecke Rare Book and Manuscript Library at Yale University.

The Schlesinger Library at the Radcliffe Institute of Harvard University holds the papers of Mary E. Dreier

Provenance:

The bulk of the collection was donated to the Archives of American Art in 1959 by Mrs. Peter Voorhees, Dorothea A. Dreier's neice. Additional materials were donated in 2007 by Theodore and Barbara Dreier, Dreier's great-nephew and great-neice.

Restrictions:

The bulk of this collection has been digitized and is available online via the Archives of American Art's website.

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:

Painters -- New York (State) -- New York  Search this

Topic:

Women -- Suffrage  Search this

Suffragists  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Pamphlets

Sketchbooks

Photographs

Broadsides

Citation:

Dorothea A. Dreier papers, 1881-1941, bulk 1887-1923. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.dreidoro

See more items in:

Dorothea A. Dreier papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-dreidoro

Creator:

Pereira, I. Rice (Irene Rice), 1902-1971  Search this

Names:

Design Laboratory (New York, N.Y.)  Search this

United States. Work Projects Administration  Search this

Davis, Charles H. (Charles Harold), 1856-1933  Search this

Extent:

0.2 Linear feet ((on 11 microfilm reels))

Type:

Collection descriptions

Archival materials

Date:

1930-1972

Scope and Contents:

Correspondence; writings and notes; scrapbooks; business material; biographical data; photographs; inventories; exhibition catalogs; and printed material.

REELS D222-D223: Manuscripts; notebooks entitled "Concepts of Substance" containing notes, essays, quotations, a diary, and reviews; scrapbooks; and publications.

REELS 1296-1302 & 1322(photos): Personal and business correspondence; notes and manuscripts of her many philosophical writings on light, space, and the infinite; poems by Pereira and by others; sales and loan receipts for her paintings; inventories of her paintings; paint formulas and technical data; biographical data; notes for the Design Laboratory of the WPA-Fine Arts Project; statements by her about her art and about the alleged suppression of her art by the Museum of Modern Art; exhibition catalogs; clippings; and photographs of her works and personal photos.

REEL 2395: Course outlines, an activity report, and printed material pertaining to the Design Laboratory school of industrial design in New York City. Also included are outlines, writings, and printed material pertaining to Pereira's lectures at Columbia University, the Brooklyn Museum, Smith College, the Artists League, the University of Michigan, and for the United American Artists.

REEL 3470: A letter to Juliet Gordon, New York City, October 15, 1969, protesting the denigration of women by -"a whole battalion of these American super artists," and condemning the Museum of Modern Art for devoutedly supporting their art. She writes, "Only when a society is expiring do such aberrations and betrayal of the female become the cultural mode."

Biographical / Historical:

Painter, writer, educator; New York, N.Y. Died 1971.

Provenance:

Material on reels D222-D223 lent for microfilming 1965 and material on reel 2395 donated 1965 by Irene Rice Pereira; material on reels 1296-1302, 1322 lent for microfilming, 1977 and reel 3470 donated 1978 by Djelloul Marbrook, nephew of Pereira.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Educators -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women educators  Search this

Women painters  Search this

Identifier:

AAA.pereiric

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-pereiric

Creator:

Meyerowitz, William, 1887-1981  Search this

Bernstein, Theresa  Search this

Names:

Arms, John Taylor, 1887-1953  Search this

Blashfield, Edwin Howland, 1848-1936  Search this

Bluemner, Oscar, 1867-1938  Search this

Holmes, Oliver Wendell, Jr., 1841-1935  Search this

Karolik, Maxim  Search this

Phillips, Duncan, 1886-1966  Search this

Saint-Gaudens, Homer, b. 1880  Search this

Ward, Lynd, 1905-1985  Search this

Weichsel, John, 1870-1946  Search this

Extent:

1.2 Linear feet ((on 4 microfilm reels))

Type:

Collection descriptions

Archival materials

Drawings

Date:

1915-1978

Scope and Contents:

Biographical accounts, letters, notes, writings, art work, scrapbooks, printed material, and photographs document the careers of William Meyerowitz and his wife Theresa Bernstein, both painters and printmakers.

REELS D285-D285a: Letters, 1918-1967, from patrons and colleagues, including John Taylor Arms, Edwin Blashfield, Maxim Karolik, Duncan Phillips, and John Weichsel; exhibition announcements and catalogs, 1920-1967; 35 photographs of art works; a scrapbook, 1923-1944, containing exhibition announcements and catalogs, a clipping, and a photograph of an art work; 16 drawings; 3 prints; a list of Bernstein's work; 2 poems; a 4-page typescript "Reflections on the Art Status" by Bernstein; a typescript concerning painting in America by Oscar Bluemner; miscellaneous manuscripts, undated and 1964; 2 receipts for gifts of art work, 1927 and 1957; and a copy of the by-laws of the Cape Ann Arts Council, 1955.

REEL N69-137: Three exhibition catalogs, 1969, for works of Meyerowitz and Bernstein.

REEL 4866: Biographical accounts; 2 award certificates for Bernstein; letters, 1921-1978, from patrons and colleagues, including Oliver Wendell Holmes, Homer Saint-Gaudens, and Lynd Ward; 3 lists of Bernstein's works; 7 poems; a manuscript "On Portraiture"; a typescript by Bernstein about Meyerowitz' work; 22 drawings; 1 print; a scrapbook of clippings, 1915-1918; a scrapbook, undated and 1931, containing a clipping, a photograph of an art work, and exhibition catalogs; clippings, 1929-1978; a reprint "On the Need of Art" by Meyerowitz, 1944; exhibition announcements and catalogs, 1921-1977; reproductions of art works; a card advertising a summer art course taught by Meyerowitz and Bernstein; 10 photographs of the artists, 1930-1962; and 19 photographs of art works.

Biographical / Historical:

Painters and printmakers; New York, N.Y. William Meyerowitz was born in Russia in either 1889 or 1898. Moving to New York in 1908, he studied at the National Academy of Design from 1912-1916. He married Theresa Bernstein in 1918, and travelled in Europe from 1922-1923. During his exhibition at the Corcoran in 1930, he met Oliver Wendell Holmes, who became a patron and a subject for later work. Theresa Bernstein was born in Philadelphia and studied at the Philadelphia School of Design, the Pennsylvania Academy of the Fine Arts, and continued her studies at the Art Students League in New York. She died on Feb. 13, 2002, and was generally believed to be 111, though she could have been as old as 116.

Provenance:

Donated 1966-1978 by Mr. and Mrs. William Meyerowitz. Microfilmed 1994 with funding provided by the Henry and Lucy Moses Fund, the Lucius N. Littauer Foundation, the Goldie-Anna Charitable Trust, the Samuel Bronfman Foundation, and the Louis and Anne Abrons Foundation.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Etchers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Etching -- New York (State) -- New York  Search this

Jewish artists  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Drawings

Identifier:

AAA.meyewill

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-meyewill

Creator:

Zorach Family  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Adams, Ansel, 1902-1984  Search this

Cunningham, Imogen, 1883-1976  Search this

Ipcar, Dahlov, 1917-2017  Search this

Newman, Arnold, 1918-2006  Search this

Partridge, Roi, 1888-1984  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, Tessim  Search this

Zorach, William, 1887-1966  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Date:

1900-1987

Summary:

The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

Scope and Content Note:

The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.

Arrangement:

The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)

Biographical Note:

William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.

Related Material:

The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.

Separated Material:

The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.

Provenance:

William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.

Restrictions:

Use of originals 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 dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Weavers  Search this

Topic:

Art -- Collectors and collecting -- New York (State) -- New York  Search this

Artist couples  Search this

Artists' studios -- Photographs  Search this

Works of art  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Citation:

The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.zorazora

See more items in:

The Zorach Family papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-zorazora