The papers of artist and art educator Edwin Ziegfeld measure 3 linear feet and date from 1917 to 1986, with the bulk of the records dating from the 1930s to 1970s. The papers document Ziegfeld's career through biographical materials, files comprised of writings and talks, professional files, and printed materials.
Scope and Contents:
The papers of artist and art educator Edwin Ziegfeld measure 3 linear feet and date from 1917 to 1986, with the bulk of the records dating from the 1930s to 1970s. The papers document Ziegfeld's career through biographical materials, files comprised of writings and talks, professional files, and printed materials. Biographical materials include a list of Ziegfeld's publications and field contacts, resumes, biographical summaries, certificates and awards, miscellaneous receipts, membership cards, one interview transcript, mixed professional and personal correspondence, and more. Writings and talks include drafts, transcripts, notes, and outlines of Ziegfeld's articles, speeches, and essays. Also found in this series is a travel log he carried through Europe, Egypt, and Lebanon. Professional files shed light on Ziegfeld's various projects and professional undertakings including his teaching positions, the Owatonna Art Education Project, National Art Education Association, International Society for Education Through Art, and others. Folders include writings and drafts, editions of Art Today (1935-1944) and Art For Daily Living (1944), photos, transcripts, teaching files, and correspondence. Printed materials consist of published articles by Ziegfeld, clippings about Ziegfeld, artists, art education, the Prisendam fire in 1980—Ziegfeld and his wife were passengers on the cruise ship; ephemera from Ziegfeld exhibitions and speaking engagements; and a print of his drawing of "Sibley house."
Arrangement:
The collection is arranged as four series.
Series 1: Biographical Materials, 1917-1986 (Box 1; .2 linear feet)
Series 2: Writings and Talks, 1930s-1983 (Box 1; .8 linear feet)
Series 3: Professional Files, 1930s-1986 (Box 2-3; 1.6 linear feet)
Series 4: Printed Materials, 1930s-1986 (Box 3; .2 linear feet)
Biographical / Historical:
Edwin Ziegfeld (1905-1987) was an artist and art educator in Minnesota, New York, and Washington, D.C. He attended Ohio State University for his bachelor's degree and Harvard University for his master's. After completing his education, Ziegfeld was an instructor of landscape architecture at Ohio State and soon after began working for the Owatonna Art Project. He served as the program's resident director from 1934 to 1939 and published the book Art For Daily Living, co-authored by Mary Elinore Smith, about the project in 1944. Toward the end of this project, Ziegfeld taught art education at the University of Minnesota. In 1943, Ziegfeld began working for the Bureau of Navy Personnel in its education services department. From 1944 to 1946, he served as the officer-in-charge for the educational program of the U.S. Navy; and completed his doctorate in educational psychology with a minor in architecture in 1946. After the war, Ziegfeld took a position as an art professor in the Department of Fine and Industrial Arts at Teachers College, Columbia University. He ultimately became chairman of the department and served as editor of Art Education Today, the department's annual publication. He remained at Columbia until his retirement in 1970.
Ziegfeld was a founding president of the National Art Education Association and International Society for Education Through Art; and a member of the Eastern Arts Association and Museum of Modern Art committee on art education. In addition to numerous published articles, Ziegfeld edited five editions of Art Today from 1941 to 1963, and wrote "Art and Education: A Symposium," published by UNESCO in 1953. Though most well-known for his work in art education, Ziegfeld's watercolors were exhibited a number of times throughout his career, most notable in group shows at the Columbus Gallery of Fine Arts and Baltimore Museum of Art.
Provenance:
The collection was donated in 1987 by Ernest Ziegfield, Ziegfield's brother.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
Printmakers -- New York (State) -- New York Search this
Draftsmen (artists) -- New York (State) Search this
Genre/Form:
Interviews
Citation:
Edwin Ziegfeld papers, 1917-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.
Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.
Missing Title
Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)
Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)
Series 3: Business Records, 1952-1978 (box 6; 5 folders)
Series 4: Notes, 1967-1970, undated (box 6; 3 folders)
Series 5: Writings, 1970, undated (box 6; 2 folders)
Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)
Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.
With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.
Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.
In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.
Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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
Draftsmen (artists) -- New York (State) -- New York Search this
Ceramicists -- New York (State) -- New York Search this
A transcript of an interview with Argentina born printmaker, Mauricio Lasansky, conducted 1976 June 26-July 6 by Jan Muhlert.
Biographical / Historical:
Mauricio Lasansky (1914-2012) was an Argentina born printmaker and draftsman in Iowa City, Iowa.
Provenance:
Donor unspecified.
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.
The papers of Wisconsin painter, educator, and draftsman John Wilde measure 21.3 linear feet and 0.008 GB and date from 1935 to 2011. The papers consist of biographical material, correspondence, interviews, writings and notes, 27 journals, personal business records, exhibition files, two scrapbooks, photographic materials, six sketchbooks, artwork, and nearly 90 limited edition, letterpress artist collaboration books – many that include artwork contributed by Wilde.
Scope and Contents:
The papers of Wisconsin painter, educator, and draftsman John Wilde measure 21.3 linear feet and 0.008 GB and date from 1935 to 2011. The papers consist of biographical material, correspondence, interviews, writings and notes, 27 journals, personal business records, exhibition files, two scrapbooks, photographic materials, six sketchbooks, artwork, and nearly 90 limited edition, letterpress artist collaboration books – many that include artwork contributed by Wilde.
Biographical materials include certificates and awards, a diploma from the University of Wisconsin, curriculum vitae, memorials, and membership files. Correspondence is with family and friends, and colleagues Karl Priebe, Gertrude Abercrombie, Sylvia Fein, Dudley Huppler, Marshall Glasier, Robert Cozzolino, Theodore Wolff, Peter and Helga Gardetto, Andrew Balkin Editions, Warrington Colescott, Tandem Press, Harvey Littleton, and others. Letters from Walter Hamady are access restricted and housed separately.
There are interviews with Wilde from Harry Bouras' radio show Critics Choice, as well as an interview with Gertrude Abercrombie by Studs Terkel's for Terkel's WFMT radio show broadcast in Chicago.
Wilde discusses his artwork and other topics in 27 journals spanning seven decades. Additional writings by Wilde include term papers, his thesis titled "A Survey of the Development of Surrealism in Painting and Its Chief Innovations with Special Emphasis on the Life and Work of Max Ernst," transcriptions for gallery talks and speeches, notes, and various other writings. Writings about Wilde are by Theodore Wolff, Michael Seefeldt, and other authors. Wilde's personal business records include account books, appraisals, donation papers, inventory books and lists, and a draft of Wilde's last will and testament.
There are exhibition files for Leaders in Wisconsin Art (1982), John Wilde: Drawings 1940-1984 (1984), Wildeworld: The Art of John Wilde (1999), John Wilde: Recent Work (2003), With Friends: Six Magical Realists (2005), and others.
Printed materials include art auction catalogs, calendars, clippings, exhibition catalogs and announcements, invitations, magazines and journals, poetry booklets, press releases, programs, and an annual report. There are also two scrapbooks containing clippings and other printed materials compiled by Wilde. There are photographs of Wilde, his studio and estate, his close friends and fellow artists, and of works of art by Wilde and others. Few photographs are in digital format.
A series of nearly 90 artists collaboration books, many illustrated by Wilde, include Five Poems by Khatchik Minasian, Poems for Self Therepy by George Economou, Six Poems by J.D. Whitney, John's Apples by Reeve Lindbergh and 44 Wilde 1944, What His Mother's Son Hath Wrought (WHMSHW), The Story of Jane and Joan, and A Hamady Wilde Sampler/Salutations 1995. Other books are by Walter Hamady, Mary Laird Hamady, and others.
Six sketchbooks contain drawings and studies, as well as sketches of himself, his friends, and of his first wife Helen. Interspersed througout the sketchbooks are lists of artworks, accounting notes, and other notes and writings. Additional artwork includes files marked as preparatory drawings by Wilde, a large collage by Jerome Karidis titled Homage to the Queen Gertrude Abercrombie, and a few drawings by others.
Arrangement:
The collection is arranged as 13 series.
Missing Title
Series 1: Biographical Materials, 1939-2006 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1935-2011 (9.6 linear feet; Boxes 1-9, 21, 25-27)
Series 3: Interviews, circa 1959-circa 1975 (0.2 linear feet; Box 9)
Series 4: Journals, 1935-2006 (1.5 linear feet; Boxes 9-11)
Series 5: Writings and Notes, 1936-2006 (0.5 linear feet; Box 11)
Series 6: Personal Business Records, 1940-2006 (0.5 linear feet; Box 12)
Series 7: Exhibition Files, 1963-2010 (0.5 linear feet; Boxes 12-13)
Series 8: Printed Materials, 1940-2010 (0.5 linear feet; Boxes 13-14, 21)
Series 9: Scrapbooks, 1948-1963 (0.4 linear feet; Box 21)
Series 10: Photographic Materials, circa 1940-2000s (3.5 linear feet; Boxes 14-17, 21, 0.008 GB; ER01)
Series 11: Artists Collaboration Books, circa 1970-circa 2000 (4.0 linear feet; Box 17-20, 22)
Series 12: Sketchbooks, 1940-1985 (0.2 linear feet; Box 20, 22)
Series 13: Artwork, circa 1943-circa 2000 (0.3 linear feet; Box 20, OVs 23-24)
Biographical / Historical:
John Wilde (1919-2006) was a painter, educator, and draftsman who specialized in silver point and was associated with Magic Realism. He lived and worked in Wisconsin.
Wilde was born near Milwaukee, Wisconsin on December 12, 1919. He lived his whole life in Wisconsin except when he served in the U.S. Army during World War II. He attended the University of Wisconsin in Madison for his bachelor and master degrees in art and art history. While at university, Wilde, along with Marshall Glasier, Sylvia Fein, Karl Priebe, Dudley Huppler, and Gertrude Abercrombie, formed a close-knit circle of friends who shared similar ideas on art and painted in the style of Magic Realism. They often met at Priebe's studio in Milwaukee or Abercrombie's house in Chicago. Wilde also met his first wife and fellow art student, Helen Ashman, during this time. Wilde later married Shirley Grilley after Helen's death in 1966.
Wilde completed artwork for several books published by Perishable Press, a publishing company owned by Walter Hamady. He contributed illustrations to John's Apples by Reeve Lindbergh, 1985- The Twelve Months by Hamady, and Five Poems by Khatchik Minasian. Wilde also wrote and illustrated 44 Wilde 1944, What His Mother's Son Hath Wrought (WHMSHW), The Story of Jane and Joan, and co-authored A Hamady Sampler, Salutations 1995 with Hamady. In addition to his collaborations with Perishable Press, Wilde worked with Warrington Colescott, Harvey Littleton, Tandem Press, and Andrew Balkin Editions on various projects.
The Elvehjem Museum of Art, now the Chazen Museum of Art, located at the University of Wisconsin in Madison where Wilde taught art for 35 years, held several exhibitions of Wilde's work including John Wilde: Drawings 1940-1984 (1984), Wildeworld: The Art of John Wilde (1999), and With Friends: Six Magical Realists (2005).
The Tory Folliard Gallery in Milwaukee, Wisconsin began representing Wilde in 1993 and continued to represent Wilde's work after his death in Cooksville, Wisconsin on March 9, 2006.
Related Materials:
An interview with John Wilde conducted in 1979 by Michael Danoff for the Archives of American Art and the collection, Maurice W. Berger correspondence with John Wilde, 1952-1959, are also found in the Archives of American Art.
Separated Materials:
Also avaialbe at the Archives of American Art are materials lent for microfilming (reel 5661 and 4710) including letters from Walter Hamaday. Lent material was returned to the lender and is not described in the collection container inventory.
Portions of the loaned material on reel 4710 were subsequently donated, but a comparison of the film and papers was not completed.
Provenance:
The John Wilde papers were donated incrementally between 1975 and 2015 by John Wilde and his estate. Portions were previously lent for microfilming. Additional letters from Walter Hamady were lent for microfilming by John Wilde in December 1999.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
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 Jim Nutt conducted 1979, by I. Michael Ranoff, for the Archives of American Art.
Biographical / Historical:
Jim Nutt (1938- ) is a painter and draftsman from Wilmette, Ill.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hrs., 25 min.
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:
Draftsmen (artists) -- Illinois -- Interviews Search this
An interview with Astrid Preston conducted 2020 July 27, by Matthew Simms, for the Archives of American Art's Pandemic Oral History Project at Preston's studio in Santa Monica, California.
Biographical / Historical:
Astrid Preston (1945- ) is a draftsman and painter who works primarily in Los Angeles, California. Preston was part of a network of artists in Los Angeles that included Lita Albuquerque, Loren Madsen, and Steve Kahn and was first involved in a revival of drawing that brought her into contact with other mainly women draftsmen.
Related Materials:
The Archives of American Art also holds the Astrid Preston papers.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Quotes and excerpts must be cited as follows: Oral history interview with Astrid Preston, 2020 July 27. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Barbara Swan, 1973 June 13-1974 June 12. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Charles Burchfield, 1959 August 19. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- United States -- Interviews Search this
United States. Federal Emergency Relief Administration Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Charles Henry Alston, 1965 September 28. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Charles Henry Alston, 1968 October 19. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Charles R. Strong, 1998 March 14-30. Archives of American Art, Smithsonian Institution.
Topic:
Artists -- California -- San Francisco -- Interviews Search this
Art, Modern -- 20th century -- California -- San Francisco Bay Area Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Eugenie Gershoy, 1964 Oct. 15. Archives of American Art, Smithsonian Institution.
