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James A. E. Halkett Papers and Sigmund A. Wesolowski, M.D. Papers

Creator:
Halkett, James A. E. (physicist)  Search this
Wesolowski, Sigmund A.  Search this
Names:
Massachusetts Institute of Technology  Search this
Former owner:
National Museum of American History (U.S.). Division of Medical Sciences  Search this
Extent:
0.15 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Theses
Masters theses
Manuscripts
Diaries
Date:
1948-1951.
Scope and Contents note:
Halkett and Wesolow(ski) materials show the process of technological innovation through laboratory protocols. They also demonstrate the various alternatives explored in the search for effective artificial circulation by using materials which would not damage or clot blood and that could be sterilized. The evolution of the pumping mechanism and power source, the design and materials of the pump itself, and a series of catheters (cannulae) or varying shapes and materials are described as a workable solution is found. Secondly, diversity of techniques developed to solve the problems of artificial circulation and their contributions to that work are documented.

The 2018 addenda documents the life and career of physicist James A.E. Halkett. It includes papers relating to his education, his U.S. Navy service, his work with various employers, his research in various fields including radio, metallurgy, ordnance, and radioactivity. Some of the papers relate to his work with General Electric in developing the proximity fuse. The papers include letters; notes, including lab notes, graphs and charts; reports; drawings; photographs; training and operational manuals; bibliographic card files; journals, conference materials and other publications; and miscellany.
Arrangement:
The collection is organized into three series.

Series 1: James A. E. Halkett Papers

Series 2: Sigmund A. Wesolowski Papers

Series 3: H.J. Sugarman Papers
Biographical/Historical note:
James A. E. Halkett and Sigmund A. Wesolowski, M.D. (now named Adam Wesolow) experimented on an early mechanical heart. In 1948, James Halkett and William Sewell succesfully bypassed the left side of a cat's heart. Modifications in the pump and surgical procedures allowed Dr. Sigmund A. Wesolowski and others to achieve long-term survival of animals after bypass surgery. Halkett and Wesolowski went on to other projects. Although Wesolowski published articles on this work, neither went on to develop this technology for trials with human subjects.
Provenance:
Collection donated by James A. E. Halkett and Adam Wesolow, May 6, 1985.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Surgeons  Search this
Topic:
Medical sciences  Search this
Heart pump  Search this
Medical Equipment  Search this
Heart, Artificial  Search this
Heart -- Surgery  Search this
Biophysics  Search this
Genre/Form:
Theses
Masters theses
Manuscripts
Diaries -- 20th century
Citation:
James A. E. Halkett and Sigmund A. Wesolowski, M.D. Papers, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0220
See more items in:
James A. E. Halkett Papers and Sigmund A. Wesolowski, M.D. Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8e06d38ad-f900-477d-b16d-136628aec5f8
EDAN-URL:
ead_collection:sova-nmah-ac-0220

Spotted-Tail, Sioux Indian

Maker:
Kasebier, Gertrude  Search this
Physical Description:
platinum print (overall production method/technique)
paper (overall material)
Measurements:
image: 17.5 cm x 12.3 cm; 6 7/8 in x 4 13/16 in
Object Name:
platinum print
Date made:
ca 1898
Subject:
Children  Search this
Native Americans  Search this
Related Publication:
Delaney, Michelle. Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Kasebier
Credit Line:
Mina Turner
ID Number:
PG.69.236.013
Accession number:
287543
Catalog number:
69.236.013
See more items in:
Work and Industry: Photographic History
Gertrude Kasebier
Photography
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a8-a532-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1005368

European Marquetry Furniture of the Late 17th Century

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2015-10-22T00:24:47.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_3RP80tq3zOE

Artist Emily Mae Smith: On Art and its Legacies

Creator:
Hirshhorn Museum and Sculpture Garden  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2022-12-08T02:21:01.000Z
YouTube Category:
Entertainment  Search this
Topic:
Art, modern  Search this
See more by:
hirshhornmuseum
Data Source:
Hirshhorn Museum and Sculpture Garden
YouTube Channel:
hirshhornmuseum
EDAN-URL:
edanmdm:yt_xMDVtXlY3Nc

Live Drawn to Figures: Working with Palette Knives

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2021-05-06T15:00:20.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_uksimH2SArQ

What does clothing communicate?

Creator:
Smithsonian Education  Search this
Type:
YouTube Videos
Uploaded:
2014-03-13T20:01:37.000Z
YouTube Category:
Education  Search this
Topic:
Education  Search this
See more by:
SmithsonianEducation
Data Source:
Smithsonian Education
YouTube Channel:
SmithsonianEducation
EDAN-URL:
edanmdm:yt_MnaSgPMKUm0

A Natural History Approach to Plant Study and Conservation

Creator:
Smithsonian Education  Search this
Type:
YouTube Videos
Uploaded:
2014-03-13T20:06:41.000Z
YouTube Category:
Education  Search this
Topic:
Education  Search this
See more by:
SmithsonianEducation
Data Source:
Smithsonian Education
YouTube Channel:
SmithsonianEducation
EDAN-URL:
edanmdm:yt_nlBKMDB56eE

“I Saw Your Light And It Was Shining”: The Power of Imaginative Sight in Classroom Storytelling

Creator:
Smithsonian Education  Search this
Type:
YouTube Videos
Uploaded:
2021-09-30T13:04:47.000Z
YouTube Category:
Entertainment  Search this
Topic:
Education  Search this
See more by:
SmithsonianEducation
Data Source:
Smithsonian Education
YouTube Channel:
SmithsonianEducation
EDAN-URL:
edanmdm:yt_nv51B4No5fc

How to Make a "Today I Am Here" Family Storybook (Demonstration)

Creator:
Smithsonian Education  Search this
Type:
YouTube Videos
Uploaded:
2013-04-10T18:58:38.000Z
YouTube Category:
Education  Search this
Topic:
Education  Search this
See more by:
SmithsonianEducation
Data Source:
Smithsonian Education
YouTube Channel:
SmithsonianEducation
EDAN-URL:
edanmdm:yt_zoDp7jVe5RY

Curator Ann Yonemura on Hokusai

Creator:
Freer Gallery of Art and Arthur M. Sackler Gallery  Search this
Type:
YouTube Videos
Uploaded:
2012-06-13T18:32:40.000Z
YouTube Category:
Education  Search this
Topic:
Art, Asian  Search this
See more by:
FreerSackler
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
YouTube Channel:
FreerSackler
EDAN-URL:
edanmdm:yt_-fhius5R3IQ

Objects We Love: Preparatory Drawing of the Bodhisattva Maitreya

Creator:
Freer Gallery of Art and Arthur M. Sackler Gallery  Search this
Type:
YouTube Videos
Uploaded:
2021-06-03T16:15:03.000Z
YouTube Category:
Education  Search this
Topic:
Art, Asian  Search this
See more by:
FreerSackler
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
YouTube Channel:
FreerSackler
EDAN-URL:
edanmdm:yt_n22SoK-gyIw

Bahamian Junkanoo Parade

Creator:
Smithsonian Institution  Search this
Type:
YouTube Videos
Uploaded:
2009-12-22T17:59:55.000Z
YouTube Category:
Music  Search this
See more by:
SmithsonianVideos
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianVideos
EDAN-URL:
edanmdm:yt_vszWrR5YjMM

Michael Ponce de Leon papers, 1952-1979

Creator:
Ponce de Leon, Michael, 1922-  Search this
Subject:
Canaday, John  Search this
Davis, Elmer Holmes  Search this
Quirarte, Jacinto  Search this
Type:
Sketchbooks
Citation:
Michael Ponce de Leon papers, 1952-1979. Archives of American Art, Smithsonian Institution.
Topic:
Prints -- Technique -- 20th century  Search this
War in art  Search this
Latino and Latin American artists  Search this
World War, 1939-1945  Search this
Theme:
Diaries  Search this
Latino and Latin American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5523
(DSI-AAA_SIRISBib)211131
AAA_collcode_poncmich
Theme:
Diaries
Latino and Latin American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211131

Rockwell Kent papers

Creator:
Kent, Rockwell, 1882-1971  Search this
Names:
American Artists' Congress  Search this
Artists League of America  Search this
Artists' Union (New York, N.Y.)  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
International Workers Order  Search this
Macbeth Gallery  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
Boyesen, Bayard  Search this
Chamberlain, J. E.  Search this
Chase, William Merritt, 1849-1916  Search this
Cleland, T. M. (Thomas Maitland), 1880-1964  Search this
Daniel, Charles, 1878-1971  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Fitzgerald, James, 1899-1971  Search this
Freuchen, Peter, 1886-1957  Search this
Gellert, Hugo, 1892-1985  Search this
Gottlieb, Harry, 1895-  Search this
Hartley, Marsden, 1877-1943  Search this
Hays, Lee, 1914-1981  Search this
Henri, Robert, 1865-1929  Search this
Jones, Dan Burne  Search this
Keller, Charles, 1914-2006  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Nearing, Helen  Search this
Nearing, Scott, 1883-1983  Search this
Pach, Walter, 1883-1958  Search this
Phillips, Duncan, 1886-1966  Search this
Rasmussen, Knud, 1879-1933  Search this
Reeves, Ruth, 1892-1966  Search this
Robeson, Paul, 1898-1976  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Ruggles, Carl, 1876-1971  Search this
Seeger, Pete, 1919-2014  Search this
Stefansson, Vilhjalmur, 1879-1962  Search this
Untermeyer, Louis, 1885-1977  Search this
Wildenstein, Felix, 1883-1952  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
88 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Sketches
Business records
Photographs
Drawings
Date:
circa 1840-1993
bulk 1935-1961
Summary:
The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized 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)  Search this
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Function:
Labor unions
Genre/Form:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kentrock
See more items in:
Rockwell Kent papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a
EDAN-URL:
ead_collection:sova-aaa-kentrock
Online Media:

William Burroughs and Brion Gysin writings

Creator:
Gysin, Brion, 1916-1986  Search this
Burroughs, William S., 1914-1997  Search this
Names:
Hotel Les Goelands (Saint-Jean-de-Luz, France)  Search this
Bradshaw, David  Search this
Brady, John  Search this
Grinstein, Elyse, 1929-2016  Search this
Grinstein, Stanley, 1927-2014  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Date:
1997
1963-1973
Summary:
The writings of American writer William S. Burroughs and British writer Brion Gysin measure 0.4 linear feet and date from 1963 to 1973, and 1997. This collection includes three books of writings by Burroughs and Gysin and one folder of letters from artist David Bradshaw to art collectors Stanley and Elyse Grinstein about William Burroughs.
Scope and Contents:
The writings of American writer William S. Burroughs and British writer Brion Gysin measure 0.4 linear feet and date from 1963 to 1973, and 1997. This collection includes three books of writings by Burroughs and Gysin and one folder of letters from artist David Bradshaw to art collectors Stanley and Elyse Grinstein about William Burroughs.

The three books of writings by William Burroughs and Brion Gysin use a "cut-up technique" of diaristic writings. Drawings, clippings, photos, and other items are pasted onto the pages throughout the books. Two of the books were created in agenda books and the third was created in a Les Goelands notebook. The third book has been identified as "John Brady's book," after a friend of Burroughs. There are a few loose pages from the Les Goelands notebook in a corresponding folder and one folder of letters about Burroughs written by the artist David Bradshaw.
Arrangement:
The collection is arranged as 1 series.

Missing Title

Series 1: Writings, 1963-1973, 1997 (0.4 linear feet; Box 1)
Biographical / Historical:
William S. Burroughs (1914-1997) was a writer in New York, Mexico, Morocco, and Kansas. Burroughs's friend, painter and poet Brion Gysin, developed the "cut-up technique" of writing, a form of collage using blocks of randomly arranged text, which was popularized by Burroughs. Gysin taught the cut-up technique to Burroughs at the Beat Hotel in Paris, France around 1959, and Burroughs implemented the technique to create his third novel, Naked Lunch. The two continued to collaborate on projects and remained close friends.
Related Materials:
Also found at the Archives of American Art are the papers of Stanley and Elyse Grinstein, who were prominent art collectors and patrons.

The New York Public Library archive also possesses a substantial collection of William S. Burroughs papers.
Provenance:
The William Burroughs and Brion Gysin writings were donated in 2017 by the Grinstein family, via Ayn Grinstein, Ellen Grinstein Perliter, and Nancy Grinstein, executors.
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.
Rights:
The copyright for the material by William Burroughs and Brion Gysin is controlled by the William S. Burroughs Trust (which includes the Gysin Estate). The Wylie Agency LLC, 250 West 57th Street, Suite 2114, New York, N. Y. 10107, are literary agents representing the Estates of William S. Burroughs and Brion Gysin.
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:
Collagists  Search this
Topic:
Authors  Search this
Experimental fiction  Search this
Genre/Form:
Drawings
Photographs
Citation:
William Burroughs and Brion Gysin writings, 1963-1973, 1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.burrwill
See more items in:
William Burroughs and Brion Gysin writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d76b9ccd-c520-448f-ab12-68e53fc59769
EDAN-URL:
ead_collection:sova-aaa-burrwill
Online Media:

Michael Ponce de Leon papers

Creator:
Ponce de Leon, Michael, b. 1922  Search this
Names:
Canaday, John, 1907-1985  Search this
Davis, Elmer Holmes, 1890-1958  Search this
Quirarte, Jacinto, 1931-2012  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1952-1979
Summary:
The papers of Michael Ponce de Leon measure 0.3 linear feet and date from 1952 to 1979. The papers document his career as an artist through two letters, one being a congratulatory letter from David Goddard upon receiving a Guggenheim award, 1967; photos and slides of Ponce de Leon's work, a slide of him in a workshop, and photos showing his metal collage intaglio printing technique; exhibition catalogs and announcements, reprints, clippings, miscellaneous notes, three cartoon drawings, and an intaglio, "There's a Time."
Scope and Contents:
The papers of Michael Ponce de Leon measure 0.3 linear feet and date from 1952 to 1979. The papers document his career as an artist through two letters, one being a congratulatory letter from David Goddard upon receiving a Guggenheim award, 1967; photos and slides of Ponce de Leon's work, a slide of him in a workshop, and photos showing his metal collage intaglio printing technique; exhibition catalogs and announcements, reprints, clippings, miscellaneous notes, three cartoon drawings, and an intaglio, "There's a Time."
Arrangement:
The collection is arranged into one series.

Series 1: Michael Ponce de Leon papers 1952-1979 (0.3 linear feet; Box 1, OV 2)
Biographical / Historical:
Michael Ponce de Leon (1922-2006) was a an artist, printmaker, and cartoonist based in New York, N.Y. Ponce de Leon was born in Miami, but he grew up and attended school in Mexico City. He served in the United States military during World War II, and he settled in New York after the war where he studied at the Art Students League of New York, the National Academy of Design, and the School of the Brooklyn Museum. Between 1953 and 1980 Ponce de Leon taught at various colleges and universities including the Art Students League, Columbia University, Cooper Union, Hunter College, New York University, Pratt Institute, the Pratt Graphic Art Center, and Vassar College. Ponce de Leon died in Mexico in 2006.
Provenance:
Material on reels N69-127 & N70-14 lent for microfilming 1969 and unmicrofilmed material donated 1977-1979 by Michael Ponce de Leon.
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.
Occupation:
Cartoonists -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Prints -- Technique -- 20th century  Search this
War in art  Search this
Latino and Latin American artists  Search this
World War, 1939-1945  Search this
Genre/Form:
Sketchbooks
Citation:
Michael Ponce de Leon papers, 1952-1979. Archives of American Art, Smithsonian Insitution.
Identifier:
AAA.poncmich
See more items in:
Michael Ponce de Leon papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw958671413-da2a-4537-8d3f-90e9f46ecffe
EDAN-URL:
ead_collection:sova-aaa-poncmich

Michael Ponce de Leon papers

Collection Creator:
Ponce de Leon, Michael, b. 1922  Search this
Extent:
0.3 Linear feet (Box 1, OV 2)
Type:
Archival materials
Date:
1952-1979
Scope and Contents:
The papers of Michael Ponce de Leon measure 0.3 linear feet and date from 1952 to 1979. The papers document his career as an artist through two letters, one being a congratulatory letter from David Goddard upon receiving a Guggenheim award, 1967; photos and slides of Ponce de Leon's work, a slide of him in a workshop, and photos showing his metal collage intaglio printing technique; exhibition catalogs and announcements, reprints, clippings, miscellaneous notes, three cartoon drawings, and an intaglio, "There's a Time."
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Michael Ponce de Leon papers, 1952-1979. Archives of American Art, Smithsonian Insitution.
Identifier:
AAA.poncmich, Series 1
See more items in:
Michael Ponce de Leon papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9808b3c3b-3525-4fd6-8f27-19d5d6881435
EDAN-URL:
ead_component:sova-aaa-poncmich-ref8

Chester Beach papers

Creator:
Beach, Chester, 1881-1956  Search this
Names:
American Academy in Rome  Search this
Architectural League of New York  Search this
Cleveland Museum of Art  Search this
Ecole nationale supérieure des beaux-arts (France)  Search this
Frontier Art Colony  Search this
Mark Hopkins Institute of Art  Search this
National Academy of Design (U.S.)  Search this
National Sculpture Society (U.S.)  Search this
Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this
Salmagundi Club  Search this
Salon d'automne  Search this
Allen, Mary Jester  Search this
Beach, Eleanor Murdock  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Carrington, Fitz Roy, 1869-1954  Search this
Couper, William, 1853-1942  Search this
Fitchen, Eleanor Beach  Search this
French, Daniel Chester, 1850-1931  Search this
Greacen, Edmund W., 1876-1949  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Jackson, Hazel Brill  Search this
Jennewein, Carl Paul, 1890-  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Walt, 1877-1949  Search this
Käsebier, Gertrude, 1852-1934  Search this
Leibig, Bonnie  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Nelson, Laurence, 1887-1978  Search this
Nisbet, Robert H., 1879-1961  Search this
Olmsted, Frederick Law, 1822-1903  Search this
Piexotto, Jessica B.  Search this
Winter, Ezra, 1886-1949  Search this
Extent:
7.32 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Date:
1846-1999
bulk 1895-1999
Summary:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.
Scope and Contents:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.
Arrangement:
The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)
Biographical / Historical:
Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.
Separated Materials:
Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Glass plate negatives are housed separately and not served to researchers.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors, American -- New York (State) -- New York  Search this
Eclecticism in architecture  Search this
Sculpture -- Technique  Search this
Sculpture -- Equipment and supplies  Search this
Artists' studios  Search this
Sculpture -- Economic aspects  Search this
Genre/Form:
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Citation:
Chester Beach papers, 1846-1999, bulk circa 1900-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beacches
See more items in:
Chester Beach papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93fbc1322-a3ff-4570-b08a-68b84efe296b
EDAN-URL:
ead_collection:sova-aaa-beacches
Online Media:

Philip Leslie Hale papers

Creator:
Hale, Philip Leslie, 1865-1931  Search this
Names:
Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this
Butler, Theodore Earl, 1861-1936  Search this
Cox, Kenyon, 1856-1919  Search this
Hale, Nancy, 1908-  Search this
Hart, William H., b. 1863  Search this
Kennedy, Albert J. (Albert Joseph), 1879-1968  Search this
Tarbell, Edmund Charles, 1862-1938  Search this
Extent:
7.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Sketchbooks
Sketches
Date:
1818-1962
bulk 1877-1939
Summary:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Scope and Contents note:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.

Biographical materials include financial and legal records; personal documents, such as educational records and biographical notes; printed material; and notes concerning art classes and teaching. Also included are scattered letters, invitations, schoolwork, and notebooks from his youth. Ten notebooks contain sketches, along with some class notes and essays.

Family, general, and business correspondence document the personal and professional life of Philip Leslie Hale and, to a lesser extent, several of his relatives. Family correspondence includes Hale's exchanges with various relatives, and some of their correspondence with others. General correspondence with friends, colleagues, and other artists is both personal and professional in nature. Correspondents include Theodore Butler, Kenyon Cox, Nancy Hale, William H. Hart, and Edmund C. Tarbell. Business correspondence concerns many aspects of Hale's career. Correspondents include students, arts institutions, models, and publishers.

Writings by Philip L. Hale consist of lectures on anatomy, art history, and various art topics; miscellaneous articles; notes on artists, esthetics and philosophy either for classroom use or his writings; character sketches, a play, poems, and political writings.

Artwork consists of 9 sketchbooks and loose sketches in pencil and ink of heads, figures, anatomical studies, landscapes, and miscellaneous subjects. A much smaller number of pastels, prints, and oil sketches are included. This series also includes a few items by other artists.

Research files and catalogs, compiled from 1932 to 1939 by Hale's friend Albert J. Kennedy for a never-published memorial volume, include extensive correspondence and notes of interviews with friends, relatives, colleagues, former students, and models recording their reminiscences of Hale. Kennedy collected exhibition catalogs and a variety of other printed material, along with biographical and genealogical information, and photographs of Hale's work. Many of his research notes consist of handwritten transcriptions of published articles by and about Hale.

Printed material about Philip L. Hale includes articles, reviews, and miscellaneous newspaper clippings mentioning him or containing reproductions of his work. Printed items by Hale consist of art reviews, miscellaneous articles on art topics, copies of his columns that appeared in Arcadia: A Journal Devoted to Music, Art and Literature, and the text of a speech.

The majority of photographs record works of art, mainly by Philip L. Hale, and also by Lilian Westcott Hale, Robert Payne, and Edmund C. Tarbell. Personal photographs include images of Hale, his relatives, and friends. There are also several group portraits of the 1915 Panama-Pacific Exhibition Jury, a group portrait with students, views of Hale at work in his studio and in the classroom, pictures of a summer house, and landscapes.
Arrangement note:
The collecion is arranged as 7 series:

Missing Title

Series 1: Biographical Materials, 1875-1939 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1818-1944 (2 linear feet; Boxes 1-3)

Series 3: Writings, circa 1910-1930 (0.8 linear feet; Boxes 3-4)

Series 4: Artwork, circa 1870-1930 (0.4 linear feet; Box 4)

Series 5: Memorial Book, circa 1862-1962 (2.8 linear feet; Boxes 4-8, OV 9)

Series 6: Printed Material, 1883-1951 (8 folders; Box 7)

Series 7: Photographic Material, 1868-1931 (12 folders; Box 7)
Biographical/Historical note:
Philip Leslie Hale (1865-1931) was the son of prominent Unitarian minister and well-known author, Edward Everett Hale. Members of this distinguished old Boston family included such ancestors as Revolutionary War hero Nathan Hale, influential preacher Lyman Beecher, educator Catherine Beecher, and Harriet Beecher Stowe, author of Uncle Tom's Cabin. From a young age Philip's talent and interest in drawing was encouraged by his parents, especially his mother. An older artist sister, Ellen Day Hale (1855-1940) and an aunt, Susan Hale (1834-1910), a trained painter, provided Philip with his first art lessons.

Family tradition and expectations decreed that after completing studies at the Boston Latin School and Roxbury Latin School, Hale would attend Harvard. After passing Harvard's entrance examination, as required by his father, Philip was free to pursue art. He enrolled in the School of the Museum of Fine Arts, Boston, in the fall of 1883, where he was an early pupil of Edmund C. Tarbell. The following year he continued his studies in New York at the Art Students League under J. Alden Weir and Kenyon Cox.

In early 1887, Hale went to Paris, adopted a bohemian lifestyle, and studied at the Ecole des Beaux-Arts and the Académie Julian. He became friends with fellow students Theodore Butler and William Howard ("Peggy") Hart. In the summer of 1888, the three made their first trip to Giverny, where they were among the first Americans to experiment with Impressionism. They met other American artists, including Theodore Robinson, John Leslie Breck, and Theodore Wendel, who also had been drawn to Giverny by the presence of Claude Monet. Hale returned to Boston in the summer of 1890, but was soon drawn back to Paris to be with his sweetheart Katharine Kinsella. He spent the summers of 1891-1893 continuing his experiment with Impressionism in Giverny, and during that period traveled to London, Paris, and Spain, periodically returning home and to the family's Rhode Island summer place.

In 1893 Hale began teaching cast drawing at the School of the Museum of Fine Arts, Boston, where he remained on the faculty until his death in 1931. Eventually he became the chief instructor of drawing, and also offered courses in life drawing, artistic anatomy, and art history. Hale also taught at the Worcester Art Museum (1898-1910), the Pennsylvania Academy of the Fine Arts (1913-1928), and Boston University (1926-1928).

Hale's first solo exhibition, held in 1899 at Durand-Ruel Galleries in New York City, consisted of Impressionist paintings and pastels that received mixed reviews. In subsequent years his work became increasingly academic and focused on figure paintings and portraits. He exhibited frequently in national and international shows, won numerous medals and prizes, and was elected an Associate National Academician of the National Academy of Design in 1917.

In 1902, Hale married former student, Lilian Westcott, a painter and portraitist whose success during some periods eclipsed that of her husband.

Philip Leslie Hale, like many of his relatives, was a noted writer and speaker. His column "Art in Paris" appeared regularly in the Canadian-based periodical Arcadia: A Journal Devoted to Music, Art and Literature between 1892 and 1893 and discussed Impressionism, Post-Impressionism, and Symbolism. Hale regularly contributed art columns, reviews, and miscellaneous articles to the Boston Daily Advertiser, Boston Commonwealth, Boston Herald, and Boston Evening Transcript during the first decade of the twentieth century.

Hale's teaching stressed the importance of learning Old Master's techniques. He had a life-long interest in Vermeer, and as a writer and critic he generated quite a bit of enthusiasm for that artist among the figurative painters of the Boston School, his own students, and others. Jan Vermeer of Delft, a highly regarded monograph by Philip Leslie Hale - the first on the subject published in the United States - appeared in 1913. He wrote several other books on art subjects, and his services as a lecturer on art topics were sought after by a variety of organizations both locally and nationally.

Philip Leslie Hale died following emergency surgery in Dedham, Massachusetts, on February 2, 1931.
Related Archival Materials note:
The Archives of American Art also holds a separately cataloged collection of Philip Leslie Hale drawings on microfilm reel 3766 and two collections related to the Hale family, including the Ellen Hale and Hale family papers and the Edward Everett Hale letter to an unidentified person.
Provenance:
The Philip Leslie Hale papers were donated to the Archives of American Art in 1962 by the artist's daughter, Nancy Hale Bowers. Additionally, notes written by Mrs. Nathan Hale were donated by Lilian Westcott Hale in 1963.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- Massachusetts -- Boston  Search this
Art critics -- Massachusetts -- Boston  Search this
Topic:
Art -- History  Search this
Art -- Study and teaching  Search this
Painting, American  Search this
Painters -- Massachusetts -- Boston  Search this
Authors -- Massachusetts -- Boston  Search this
Function:
Artists' studios -- Massachusetts
Genre/Form:
Photographs
Interviews
Sketchbooks
Sketches
Citation:
Philip Leslie Hale papers, 1818-1962, bulk 1877-1939. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halephil
See more items in:
Philip Leslie Hale papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw986c5713b-e14b-47a1-a44d-f4c3b49ea2f0
EDAN-URL:
ead_collection:sova-aaa-halephil
Online Media:

Ralph Bacerra papers

Creator:
Bacerra, Ralph, 1938-2008  Search this
Names:
Chouinard Art Institute (Los Angeles, Calif.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Otis Art Institute  Search this
Heino, Vivika, 1910-1995  Search this
Moore, Eudorah M.  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Sketchbooks
Date:
1957-2015
Summary:
The papers of Los Angeles ceramic artist and educator Ralph Bacerra measure 3.4 linear feet and date from 1957 to 2015. The collection documents Bacerra's career through correspondence, professional activity files including teaching files from Chouinard Art Institute and Otis Art Institute, exhibition files, writings and notes including the artist's ceramic formulas and a diary, artwork including sketchbooks and drawings, photographs including images of Bacerra and his work, and printed material relating to Bacerra's career.
Scope and Contents:
The papers of Los Angeles ceramic artist and educator Ralph Bacerra measure 3.4 linear feet and date from 1957 to 2015. The collection comprises correspondence with the Decorative Arts Council, Los Angeles County Museum of Art, the Theo Portnoy Gallery, and others; professional activity files including teaching files from Chouinard Art School and Otis College of Art, exhibition files, and a file for his National Council on Education for the Ceramic Arts award. Also found are writings and notes containing ceramic formulas, Bacerra's student notes, and a diary record of his road trip with Vivika Heino in 1959; artwork consisting of sketchbooks and drawings from Chouinard, the Shoji Hamada workshop at the University of Southern California, and other sketches of ceramic designs; photographic materials of Bacerra and his work, personal photographs, Asian art, sculptures, and travel; and printed materials relating to Bacerra's career.
Arrangement:
The collection is arranged as 6 series.

Series 1: Correspondence, 1959-2002 (0.2 linear feet; Box 1)

Series 2: Professional Activity Files, 1959-2013 (0.4 linear feet; Boxes 1, 4, OV 5)

Series 3: Writings and Notes, 1957-circa 1990s (0.4 linear feet; Box 1)

Series 4: Artwork, circa 1959-circa 1970s (0.2 linear feet; Boxes 1, 4)

Series 5: Photographic Material, 1958-2001 (1.8 linear feet; Boxes 2-4)

Series 6: Printed Material, 1958-2015 (0.4 linear feet; Box 4, OV 5)
Biographical / Historical:
Ralph Bacerra (1938-2008) was a ceramic artist and educator in Los Angeles, California.

Born to a Filipino father and mother from Montana, Bacerra grew up on a farm in Garden Grove, California where his parents settled before he was born. Bacerra began studying art in high school and later went onto study commercial art and ceramics with Bill Payne at Orange Coast Junior College. Bacerra planned on continuing his commercial art studies when he enrolled in Chouinard Art Institute, now the California Institute of the Arts, but changed his major to ceramics after taking a class with Vivika Heino, who became his mentor. Heino and her husband Otto were respected figures in the ceramics field. In 1959, on a road trip from Los Angeles to New Hampshire, Heino introduced Bacerra to prominent artists across the country.

After graduating with a Bachelor of Fine Arts, Bacerra joined the Army and served for two years. Upon his return to Los Angeles, he began teaching at Chouinard. Heino, who headed the ceramics department at the time, left the school to teach at the Rhode Island School of Design, leaving the department in the hands of Bacerra and John Fassbinder. A few years later, Bacerra became the department head. In 1971, when Chouinard became the California Institute of Art, the ceramics department was discontinued. Over the next decade, Bacerra focused on studio work and travel to Asia, and the influence of Japanese Imari and celadon can be seen in Bacerra's work. Bacerra also did commercial work for the Induction Stove Corporation and developed an advanced ceramics technique using electromagnetic induction. From 1983 to 1997, Bacerra taught at the Otis Art Institute. After retiring, he devoted his time to studio work.

Bacerra's work is in the permanent collections of the Smithsonian Institution and the Los Angeles County Museum of Art, among others. His work has been exhibited throughout the United States and abroad. In 1998, he was awarded honorary membership by the National Council on Education for the Ceramic Arts.

Bacerra died in Eagle Rock, California in 2008.
Related Materials:
Also in the Archives of American Art is an oral history interview of Ralph Bacerra conducted on April 7-19, 2004 by Frank Lloyd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Los Angeles, California.
Provenance:
The Ralph Bacerra papers were donated in 2003 by Ralph Bacerra, in 2016 by Cindy Bass, Bacerra's niece and executor, and in 2017 by Jo Lauria Fargo on behalf of Bass as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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.
Occupation:
Ceramicists -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Topic:
Asian American artists  Search this
Filipino American artists  Search this
American studio craft movement  Search this
Genre/Form:
Drawings
Diaries
Sketchbooks
Citation:
Ralph Bacerra papers, 1957-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.baceralp
See more items in:
Ralph Bacerra papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f35b9309-aa9b-4f11-86b6-c16d70fb2d93
EDAN-URL:
ead_collection:sova-aaa-baceralp

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