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Photographs of plans and drawing; negatives; clippings

Collection Creator:
Breuer, Marcel, 1902-  Search this
Container:
Box 15, Reel 5725, Frame 1182-1186
Type:
Archival materials
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
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Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.5: Elementary and Secondary Schools / 8.5.10: Torrington High School, Torrington, Connecticut
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b720e4a8-3d36-4f27-a23b-9ff0352be1c4
EDAN-URL:
ead_component:sova-aaa-breumarc-ref918

Whitby Elementary School, Greenwich, Connecticut

Collection Creator:
Breuer, Marcel, 1902-  Search this
Type:
Archival materials
Date:
1959-1961
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.breumarc, Subseries 8.5.12
See more items in:
Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.5: Elementary and Secondary Schools
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a84e06d7-994c-4a9f-a922-298902e31343
EDAN-URL:
ead_component:sova-aaa-breumarc-ref921

Contract, Photographs of Plans, and Negatives

Collection Creator:
Breuer, Marcel, 1902-  Search this
Container:
Box 15, Reel 5725, Frame 1190-1204
Type:
Archival materials
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
See more items in:
Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.5: Elementary and Secondary Schools / 8.5.12: Whitby Elementary School, Greenwich, Connecticut
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e7464948-db47-4945-8b09-5e1bb05e9bbf
EDAN-URL:
ead_component:sova-aaa-breumarc-ref922

Kent School, Girls' Chapel, Kent, Connecticut

Collection Creator:
Breuer, Marcel, 1902-  Search this
Type:
Archival materials
Date:
1967
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.breumarc, Subseries 8.6.6
See more items in:
Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.6: Colleges and Universities
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw905b5602d-aa24-4e9f-9ac8-9dcf69a028cb
EDAN-URL:
ead_component:sova-aaa-breumarc-ref959

Letters and contract

Collection Creator:
Breuer, Marcel, 1902-  Search this
Container:
Box 15, Reel 5726, Frame 236-244
Type:
Archival materials
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
See more items in:
Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.6: Colleges and Universities / 8.6.6: Kent School, Girls' Chapel, Kent, Connecticut
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92cd06e22-1c69-4c82-93fa-95bbe09a34fb
EDAN-URL:
ead_component:sova-aaa-breumarc-ref960

Photographs of plans and drawings

Collection Creator:
Breuer, Marcel, 1902-  Search this
Container:
Box 15, Reel 5726, Frame 245-250
Type:
Archival materials
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
See more items in:
Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.6: Colleges and Universities / 8.6.6: Kent School, Girls' Chapel, Kent, Connecticut
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90519d24f-b203-45a7-b859-361318bcfdb1
EDAN-URL:
ead_component:sova-aaa-breumarc-ref961

Negatives

Collection Creator:
Breuer, Marcel, 1902-  Search this
Container:
Box 15, Reel unfilmed, Frame unfilmed
Type:
Archival materials
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
See more items in:
Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.6: Colleges and Universities / 8.6.6: Kent School, Girls' Chapel, Kent, Connecticut
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90ba22b22-7954-49ce-8f99-bb198a32d21b
EDAN-URL:
ead_component:sova-aaa-breumarc-ref962

Copy of the school magazine

Collection Creator:
Breuer, Marcel, 1902-  Search this
Container:
Box 15, Reel 5726, Frame 251-255
Type:
Archival materials
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
See more items in:
Marcel Breuer papers
Marcel Breuer papers / Series 8: Project Files / 8.6: Colleges and Universities / 8.6.6: Kent School, Girls' Chapel, Kent, Connecticut
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9555ca155-6a7f-4da7-92a7-daf2049e745f
EDAN-URL:
ead_component:sova-aaa-breumarc-ref963

Oral history interview with Richard Tuttle

Creator:
Tuttle, Richard, 1941-  Search this
McElhinney, James Lancel, 1952-  Search this
Extent:
3 Items (sound files (4 hrs., 4 min.), digital, wav)
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2016 November 14-17
Scope and Contents:
An interview with Richard Tuttle conducted 2016 November 14 and 17, by James McElhinney, for the Archives of American Art, at Tuttle's home in New York, New York.
Tuttle recalls early memories at the Metropolitan Museum of Art; his mother's influence; family background from Pennsylvania, and Celtic ancestry; discussion of Calvinism; philosophies of art schools; discussion of Japanese language, literature and philosophy; designing book covers for Graham Greene; joining the air force and being honorably discharged; friendship with Agnes Martin; observations about the landscapes and geology of New Mexico and the Lascaux caves; thoughts on Humboldt and other German philosophers, Husserl, Philipp Otto Runge, and others; Travel in Peru, and his recent exhibitions in Lima, Peru; discussion of religion, art, senses; discussion of philosophy: Epicurus, Lucretius. Tuttle speaks of his childhood; he describes his siblings and his brother serving in the Vietnam War; discussion of creativity, education and difficulty with teachers, and being a creative child; influence of his grandparents; influence of religion and German background; teachers and relationship to his childhood schools; discussion of the 2016 elections and comparison to Republican Rome and Julius Caesar; engagement in theater, and writing at Trinity College in Hartford, Connecticut; influence of Sam Wagstaff; Interest in Allan Kaprow; comparing Picasso and Matisse; discussion of the cultural history of Hartford; visiting New York City in high school and college and the encouragement of his high school teacher; early artworks and creation of Paper Cubes; briefly attending Cooper Union; working in the library at the Cooper Hewitt Museum; discussion of Beat poetry and Abstract Expressionism; discussion of Betty Parsons and speaking about the "invisible" in art; thoughts about color and eidos in respect to Gaugin; working at Parsons; the importance of Ad Reinhardt's work; discussion of Romanticism. Tuttle also recalls Betty Parsons, Agnes Martin, Mark Rothko, Sam Wagstaff, A. Everett Austin, Herbert Vogel, Allen Ginsberg and others.
Biographical / Historical:
Richard Tuttle (1941- ) is a postminimalist artist and author in New York, N.Y. James McElhinney (1952- ) is a painter and educator of New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Artists -- New York (State) -- New York -- Interviews  Search this
Installations (Art)  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.tuttle16
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw975632cad-e058-480a-acf2-67d0a3fc7f6c
EDAN-URL:
ead_collection:sova-aaa-tuttle16
Online Media:

Oral history interview with Carlyle H. Smith

Interviewee:
Smith, Carlyle H., 1912-2004  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Rhode Island School of Design  Search this
University of Kansas -- Faculty  Search this
Bennett, William E.  Search this
Rose, Augustus F. (Augustus Foster), 1873-1946  Search this
Extent:
2 Items (sound cassettes (1 hr., 46 min.), analog.)
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1994 August 8
Scope and Contents:
An interview with Carlyle H. Smith conducted 1994 August 8, by Robert F. Brown, for the Archives of American Art.
Smith discusses his childhood in Torrington, Connecticut, his early interest in jewelry design, education at the Rhode Island School of Design in jewelry making and silversmithing, and teaching at the Rhode Island College of Education. He recalls working in the metal craft shop of Augustus Rose on jewelry design and repair, and studying with English master silversmith, William Bennett, at his workshop in 1947. Smith speaks of teaching metal arts in the Providence, R.I., public schools and setting up the first American university-level metal arts curriculum at the University of Kansas, 1947-1977. He describes his liberal approach to teaching by setting general assignments and working alongside students. He comments on his work, 1930-1993.
Biographical / Historical:
Carlyle H. Smith (1912-2004) was a metal worker, jewelry designer, silversmith, and educator of Providence, R.I. and Lawrence, Kansas
General:
Originally recorded 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 46 min.
Accompanied by 14 illustrations (7 slides and 7 photocopies).
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 transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Jewelry making  Search this
Silverwork  Search this
Jewelry makers -- United States -- Interviews  Search this
Metal-workers -- United States -- Interviews  Search this
Decorative arts  Search this
Metal-work  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.smith94
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw961f70e7c-73aa-4789-bfc0-758559481794
EDAN-URL:
ead_collection:sova-aaa-smith94
Online Media:

Diary, Volume IV

Collection Creator:
McEntee, Jervis, 1828-1891  Search this
Container:
Box BV 6, Folder 1
Type:
Archival materials
Date:
1883 June 16-1889 July 31
Collection Restrictions:
Use of original papers requires and 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:
Jervis McEntee papers, 1796, 1848-1905. Archives of American Art, Smithsonian Institution.
See more items in:
Jervis McEntee papers
Jervis McEntee papers / Series 5: Diaries
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d7668cec-dca3-464c-b071-763c3d5aa8a2
EDAN-URL:
ead_component:sova-aaa-mcenjerv-ref120
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Bernard Chaet papers

Creator:
Chaet, Bernard  Search this
Extent:
8.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
circa 1944-2012
Scope and Contents:
The papers of painter and teacher, Bernard Chaet (1924-2012), measure 8.1 linear feet and date from circa 1944-2012. Included is biographical material, correspondence, writings, photographs, works of art and printed material.
Biographical material includes resumes and awards. Correspondence is with students, friends and other artists and art related professional and letters from various galleries and schools that represented Chaet or employed him. Also included are a significant number of condolence letters and cards to Chaet's wife, Ninon, upon Chaet's death. Writings include manuscripts for Chaet's books, "The Art of Drawing," and "An Artist's Notebook: Techniques and Materials," and assorted lecture notes.
Photographs are of Chaet in studio and the classroom and with family, friends, and students and a DVD of images of Chaet's work. Artwork includes sketchbooks and loose sketches by Chaet. Printed material consists of press clippings, catalogs, and gallery announcements.
Biographical / Historical:
Bernard Chaet (1924-2012) was a painter and teacher in Boston, Massachusetts and New Haven, Connecticut. Chaet was born March 7, 1924 in Boston, and attended the School of the Museum of Fine Arts, Boston, studying with Karl Zerbe and graduating in 1949 with a B.S. from Tufts University which had an affiliated program with the MFA. On Zerbe's recommendation, he began teaching painting at Yale University in 1951, retiring in 1990. He exhibited often in Boston at the Boris Mirski Gallery and the Alpha Gallery. Chaet is the author of "Artists at Work" (1961), the "Art of Drawing" (1971 and 1977), and "An Artists's Notebook: Techniques and Materials" (1979).
Provenance:
Donated 1995 by Bernard Chaet and 2014 and 2020 by Leah Vogel, Bernard Chaet's daughter. One drawing of Chaet donated 1998 by Chaet's wife, Ninon Chaet.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records in this collection must use access copies. Contact References 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 -- Connecticut -- New Haven  Search this
Painters -- Connecticut  Search this
Painters -- Massachusetts -- Boston  Search this
Topic:
Art -- Technique  Search this
Artists' studios -- Photographs  Search this
Drawing -- Study and teaching  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.chaebern
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95d466842-9602-4330-b64e-2a2a6fe9f255
EDAN-URL:
ead_collection:sova-aaa-chaebern

Applications

Type:
Archival materials
Date:
1864
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1026, File 3.2.1
See more items in:
Records of the Superintendent of Education for the State of Louisiana, Bureau of Refugees, Freedmen, and Abandoned Lands, 1864-1869.
Records of the Superintendent of Education for the State of Louisiana, Bureau of Refugees, Freedmen, and Abandoned Lands, 1864-1869. / Series 3: Personnel Records / 3.2: Correspondence Received Relating to Employment
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io39cf31b42-e302-4b5e-85a0-b9ecca55d270
EDAN-URL:
ead_component:sova-nmaahc-fb-m1026-ref25
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Online Media:

Applications

Type:
Archival materials
Date:
1865-66
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1026, File 3.2.2
See more items in:
Records of the Superintendent of Education for the State of Louisiana, Bureau of Refugees, Freedmen, and Abandoned Lands, 1864-1869.
Records of the Superintendent of Education for the State of Louisiana, Bureau of Refugees, Freedmen, and Abandoned Lands, 1864-1869. / Series 3: Personnel Records / 3.2: Correspondence Received Relating to Employment
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3b476d953-6b3f-471d-b78d-350b1d144af3
EDAN-URL:
ead_component:sova-nmaahc-fb-m1026-ref26
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Online Media:

Unregistered Letters and Telegrams Received

Type:
Archival materials
Date:
Mar. 1864-Aug. 1868
Scope and Contents:
Records of the Superintendent of Education include a series of letters and telegrams received, March 28, 1864-August 30, 1868, with most of the correspondence dated before 1866. Arranged chronologically, the series includes receipts for school supplies, requests for school accommodations, general statements of school conditions or public opinion concerning schools, and reports of damage done to schools by vandals or anti-Bureau groups. A name index to this correspondence, prepared by NARA staff is arranged alphabetically by correspondent's surname.
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M1026, Subseries 1.3
See more items in:
Records of the Superintendent of Education for the State of Louisiana, Bureau of Refugees, Freedmen, and Abandoned Lands, 1864-1869.
Records of the Superintendent of Education for the State of Louisiana, Bureau of Refugees, Freedmen, and Abandoned Lands, 1864-1869. / Series 1: General Correspondence
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3dff77808-e5e2-4e79-a471-7f65cae074e0
EDAN-URL:
ead_component:sova-nmaahc-fb-m1026-ref9
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Online Media:

Austin Purves papers

Creator:
Purves, Austin, 1900-  Search this
Extent:
1 Linear foot ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1939-1961
Scope and Contents:
Financial and business records relating to various commissions, including the decorative work on the S.S. America, the S.S. United States, and Grace Line ships Santa Rosa and Santa Paula; the mural decoration of the World War II battle monument in Draguignan, France; the decorative map in the Boston Federal Reserve Bank; and the spandrel sculpture on the barracks at the United States Military Academy, West Point, New York.
Biographical / Historical:
Sculptor, mural painter, craftsman, and educator; Litchfield, Conn. Studied at the Pennsylvania Academy of Fine Arts, Academie Julian, Paris, the American Conservatory, Fontainebleau, and studied fresco painting independently in Italy.
Provenance:
Provenance unknown.
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:
Artisans -- Connecticut  Search this
Designers -- Connecticut  Search this
Muralists -- Connecticut  Search this
Topic:
Sculpture  Search this
Decoration and ornament, Architectural  Search this
Decorative arts -- United States  Search this
Mural painting and decoration -- United States  Search this
Identifier:
AAA.purvausp
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b2a86ee2-2272-4d97-afcf-6593e0592488
EDAN-URL:
ead_collection:sova-aaa-purvausp

Oral history interview with Anni Albers

Interviewee:
Albers, Anni  Search this
Interviewer:
Fesci, Sevim  Search this
Names:
Bauhaus  Search this
Klee, Paul, 1879-1940  Search this
Extent:
20 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1968 July 5
Scope and Contents:
An interview of Anni Albers conducted 1968 July 5, by Sevim Fesci, for the Archives of American Art, in New Haven, Connecticut.
Albers speaks of her educational background; Paul Klee as a teacher; color in weaving; techniques and materials; Peruvian and European textiles; her "sound-absorbing" textile designed for the Bauhaus auditorium; and her weaving workshop at Black Mountain College. She reminisces about the Bauhaus in the 1920s.
Biographical / Historical:
Anni Albers (1899-1994) was a weaver from New Haven, Connecticut.
General:
Reformatted in 2010 as 2 digital wav files. Duration is 40 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:
Art teachers -- Connecticut -- New Haven  Search this
Authors -- Connecticut -- New Haven  Search this
Printmakers -- Connecticut -- New Haven  Search this
Weavers -- Connecticut -- New Haven  Search this
Topic:
Women artists  Search this
Women authors  Search this
Women educators  Search this
Women printmakers  Search this
Women textile artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.albersa68
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91499ea5d-a113-4db4-901d-d969049c126e
EDAN-URL:
ead_collection:sova-aaa-albersa68
Online Media:

Winsted, Connecticut, Post Office Mural

Collection Creator:
Jones, Amy, 1899-1992  Search this
Container:
Box 3, Folder 30-32
Type:
Archival materials
Date:
1935-1943
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Amy Jones papers, 1910s-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Amy Jones papers
Amy Jones papers / Series 7: Scrapbooks
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw952f9e304-c58e-443a-8b13-61fa65ecd32c
EDAN-URL:
ead_component:sova-aaa-joneamy-ref93

Alexander Calder papers

Creator:
Calder, Alexander, 1898-1976  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Photographs
Scrapbooks
Date:
1926-1967
Summary:
The papers of abstract kinetic artist and sculptor Alexander Calder measure 2.6 linear feet and date from 1926 to 1967. Found within the papers are scattered biographical materials, correspondence, printed materials, photographs, scattered prints and sketches by Calder, and a scrapbook. Of particular interest are the numerous photographs of Calder, including many of Calder at work in his studios, with his family at their home in Touraine, France, exhibitions, and artwork. Among the photographs are several taken by photographer and artist Herbert Matter and a photograph of Pierre Matisse at Calder's home.
Scope and Content Note:
The papers of abstract kinetic artist and sculptor Alexander Calder measure 2.6 linear feet and date from 1926 to 1967. Found within the papers are scattered biographical materials, correspondence, printed materials, photographs, scattered prints and sketches by Calder, and a scrapbook. Of particular interest are the numerous photographs of Calder, including many of Calder at work in his studios, with his family at their home in Touraine, France, exhibitions, and artwork. Among the photographs are several taken by photographer and artist Herbert Matter and a photograph of Pierre Matisse at Calder's home.

Biographical material contains a few of Calder's personal documents, including a passport and address lists, as well as writings. Correspondence is scattered and of a general nature, including letters about exhibitions and artwork, and postcards from friends, some of which are illustrated. The printed material contains exhibition invitations and catalogs, news clippings, and magazines, primarily about Calder's career. Also found is scattered artwork by Calder and others, and a scrapbook of news clippings dating from 1926-1932.
Arrangement:
The Alexander Calder papers are arranged into six series, according to type of material. The contents of each folder have been arranged chronologically.

Missing Title

Series 1: Biographical Material, 1928-1954, undated(Box 1; 8 folders)

Series 2: Correspondence, 1928-1962, undated (Box 1; 3 folders)

Series 3: Printed Material, 1927-1967, undated(Box 1-3; 1 linear foot)

Series 4: Photographs, 1927-1962, undated (Box 3-6; 0.6 linear feet)

Series 5: Artwork, 1930-1947, undated(Box 5-6; 1 folder)

Series 6: Scrapbook, 1926-1932 (Box 7; 1 item)
Biographical Note:
Sculptor and kinetic artist Alexander Calder was born in 1898 in Lawnton, Pennsylvania. As the son of two artists, he was encouraged to sculpt and construct things in his own workshop at an early age. In 1919 he graduated from Stevens Institute of Technology with a degree in mechanical engineering, and after holding several jobs, he decided to take classes at the Art Students League in New York City. He began exhibiting his paintings, but also focused on drawing, illustration, and wood and wire sculpture. In 1926 Calder moved to Paris and began making toys for his performance piece, "Cirque Calder." He married Louisa James in 1931 and exhibited his mobiles for the first time the same year. He continued to spend his time between New York and Paris, and he and Louisa also bought a farm in Roxbury, Connecticut. They had two children, Sandra and Mary. Calder befriended many influential artists, including Joan Mirò, Fernand Léger, Marcel Duchamp, and Yves Tanguy, and joined the Abstraction-Création group in 1931. He exhibited and worked on commissions extensively throughout his career. As a very prolific artist, he had alliances with several galleries, including the Pierre Matisse Gallery in New York. Later in his career, Calder began focusing on large-scale outdoor sculptures. He died in 1976 at the age of 78.
Related Material:
The Archives also has a transcribed interview of Alexander Calder, conducted October 26, 1971 by Paul Cummings for the Archives of American Art.
Provenance:
The collection was donated in 1963 by Alexander Calder and was microfilmed shortly after receipt.
Restrictions:
The collection has been digitized and is available online via AAA'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.
Topic:
Sculpture, Modern -- 20th century  Search this
Sculptors  Search this
Sculpture, American  Search this
Genre/Form:
Sketches
Photographs
Scrapbooks
Citation:
Alexander Calder papers, 1926-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.caldalex
See more items in:
Alexander Calder papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f7343e48-c2c3-478e-8e71-fcf25e04536c
EDAN-URL:
ead_collection:sova-aaa-caldalex
Online Media:

Carvel Ice Cream Records

Creator:
Carvel, Tom (Thomas Andreas Carvelas), 1906-  Search this
Carvel Corporation.  Search this
Extent:
9 Cubic feet (24 boxes, 1 oversized folder)
12 Cassette tapes
63 Video recordings
Type:
Collection descriptions
Archival materials
Cassette tapes
Video recordings
Blueprints
Interviews
Audiotapes
Patents
Date:
1934-1989
Scope and Contents:
The records provide rich research material on many stories, including: American invention, enterprise, and entrepreneurship; the origins and growth of franchising; popular food and culture; the development of roadside architecture; radio and television advertising; product marketing and promotion; regional studies; and gender issues such as beauty pageants and the role of women in the labor force.
Arrangement:
Divided into 14 series.

Series 1: Tom Carvel Personal Information, 1917-1986

Series 2: Financial Information, 1969-1985 Series 3: Educational Information for Franchise Owners, 1954-1984 Series 4: Employee Magazines, 1956-1989 Series 5: Publicity Materials, 1950-1985 Series 6: Advertising Campaign Materials, 1957-1989 Series 7: Promotional Items, 1951-1986 Series 8: Store and Equipment Records, 1945-1973 Series 9: Vending Vehicles, 1958-1961 Series 10: Store Address Information, 1980s Series 11: Photographs, 1936-1985 Series 12: Dugan's Bakery and Hubie Burger Records, 1950s-1960s Series 13: Non-Carvel Franchise Information, 1950-1988 Series 14: Audiovisual Materials, 1972-1995
Biographical / Historical:
The Carvel Corporation is an American success story. Through hard work and timely luck, its founder and president, Tom Carvel, turned an ice cream trailer with a flat tire into an international chain of ice cream supermarkets with over 800 outlets in 17 states and six countries.

Thomas Andreas Carvelas was born July 14, 1906, in Athanassos, Greece. He was one of seven children of Andreas and Christina Karvelas. The family emigrated from Greece to Danbury, Connecticut, in 1910, and finally settled in New York City in 1920. His father was a chemist and wine specialist who helped support his family during prohibition by restoring fermented wine for Greek restaurant owners.

Tom's father sparked Tom's interest in how things worked. Tom tried his hand as a salesman of radios and automobiles, a test driver for Studebaker, and an auto mechanic. At the age of twenty-six, he was diagnosed with tuberculosis, and his doctors advised him to move out of the city. Consequently, he borrowed $1,000 from relatives and built a frozen custard trailer. His first break came on Memorial Day, 1934, when he borrowed $20 from Agnes Stewart (his future wife), bought a trailer load of custard, and set out to sell it to vacationers in Westchester County, New York. Tom Carvel suffered a minor setback when his trailer had a flat tire in Hartsdale, New York. But luck was on his side: there was a pottery shop across the street and Pop Quinlan, the potter, allowed him to use his electricity so the custard would not melt.

Tom Carvel kept his trailer on the pottery shop's lot and in his first year grossed $3,500. The following year, realizing that a permanent location could be profitable, he leased the shop for $100. In 1937, he borrowed more money and converted the trailer into a frozen custard stand, complete with a second-hand freezer which enabled him to make his own custard. By 1939, he was grossing $6,000 a year and was well on his way toward becoming the "Ice Cream King of the East."

In the early 1940s Agnes, his wife, operated the Hartsdale store while Carvel traveled the carnival circuits selling his frozen custard from a mobile vending vehicle. Next, he managed the ice cream cone stands at the post exchange at Fort Bragg, North Carolina.

Tom Carvel soon developed his own freezer model, known as a batch freezer, (the first of his sixteen U.S. Patent Registrations). In 1947, he sold 71 freezers at $2,900 each under the trade name "Custard King." When some owners defaulted on their payments Carvel discovered that many of the freezer owners were careless in their selection of locations, disregarded cleanliness, and worked sporadically, while others were selling additional, non-ice cream food items. Determined to make the venture succeed, he decided to oversee the operations of the freezer owners directly. He claimed to have developed the franchise concept in 1949 as a result of this strategy.

Franchise business opportunities allow investors to enter retailing without prior business experience and to own their own business. In the case of the Carvel Corporation, potential franchise owners bought equipment and supplies from the Corporation and used the Carvel name. In return, Carvel helped them select a location, taught them how to run an ice cream business, and organized resources for advertising and promotions. Franchise owners were taught the retail ice cream business at the Carvel College, an 18-day series of courses for potential store owners. There they learned about public relations, mechanics of the ice cream machines, local advertising, and making and freezing all kinds of ice cream cakes. They also received The Shopper's Road, an in-house magazine advising them on topics ranging from travel tips, to cooking, to marketing their products to the community.

From the beginning, the Carvel Dairy Freeze Chain stressed cleanliness, hard work, and a quality, all-natural product. Tom Carvel aimed to create a family-type environment for his franchise owners. He wanted people who would work hard and were eager to learn about the retail ice cream business in order to make their individual rags to riches stories come true. A unique and important element to the Carvel story was Tom Carvel's personal involvement --from an early date--in creating commercials for the stores. His was one of the first instances in which a Chief Executive Officer of a major corporation was featured in his company's commercials. In 1955, Carvel began making his own radio commercials. As the story goes, one day while driving in New York City he heard a commercial for a new Carvel store, but the announcer did not state its exact location. Convinced he could do a better job, he drove to the radio station and re-did the commercial himself. After this incident he started doing his own commercials on a full-time basis. Tom Carvel created a distinct style with his garbled delivery and "say it once" philosophy, with the idea that you have to grab people's attention and then let the product speak for itself. Carvel eventually set up an in-house production studio and advertising agency at the Carvel Inn, where most of his television and radio commercials were made.

The use of premiums was an essential marketing component for Carvel. In 1936, he introduced the "Buy One Get One Free" offer. He also used comic books, ice cream eating contests, and a beauty pageant for young girls, called the "Little Miss Half Pint Contest," to attract children. The Carvel Corporation also participated as a corporate sponsor for events like Walt Disney's "Great Ice Odyssey," "Carvel Night at the Rodeo," and numerous promotional tie-ins with the New York Yankees baseball team. Of all the sales promotions, it was the specialty products which brought the greatest notoriety to the Carvel name. From the "Flying Saucer" ice cream sandwich and the "Papapalooza" to the holiday and character ice cream cakes, customers could always count on a quality product. There were ice cream cakes for every holiday, including a "Flower Basket" for Mother's Day, "Fudgie the Whale" for Father's Day, "Tom the Turkey" for Thanksgiving, and a "Snow Man" for Christmas. Eventually, a customer could special order an ice cream cake for any occasion, using a toll-free phone number.

The Carvel Corporation enjoyed continued success and consistent expansion marked by Tom Carvel's innovative concepts in marketing. For example, in 1956, the Hartsdale location was converted into the first ice cream supermarket. Each store remained a full-service ice cream parlor, but now had the added convenience of self-serve freezers where customers could select ice cream specialty products such as Flying Saucers, Carvelogs, Brown Bonnets, and ice cream cakes.

In 1962, the Corporation experienced a crisis. Many franchise owners had begun buying cheaper ingredients and the chain was reduced to 175 stores. This potentially meant financial catastrophe for Tom Carvel and the company because it derived its profits from selling equipment and special mixes to store owners. Carvel insisted the franchise owners had obligations to the company and its customers to provide a uniform, quality product. Furthermore, the franchise owners had agreed to purchase raw ingredients from Carvel. When the Corporation tried to enforce this agreement, the Federal Trade Commission charged Carvel with allegations of coercion and restraint of trade. In 1964, after presenting his side before the full Federal Trade Commission and the Supreme Court, he won his case.

In 1967, Carvel purchased the Westchester Town House Motel, in Yonkers, New York, and changed the name to the Carvel Inn. It was both a full-service motel and the Executive Offices of the Carvel Corporation. It was here that store owners gathered for the annual educational seminars which reinforced the ideas taught by the Carvel College.

In the 1950s Tom Carvel had also developed the franchise concept for a hamburger chain called Hubie Burger. It served hamburgers, french fries, chicken, and waffles. It is ironic that Carvel began the Hubie Burger chain because at a dairy convention in 1956, Ray Kroc asked him if he was interested in setting up the McDonald's chain. It is said that at this time Carvel felt ice cream and hamburgers did not compliment each other and declined the offer. However, Carvel claimed to have given McDonald's permission to use the basic text of his franchise contract and his building design as models. Later, Carvel acquired Dugan's Bakery. However, neither Dugan's nor Hubie Burger was very successful.

Through his strong work ethic, creativity, and perseverance, Tom Carvel built up his ice cream chain and turned his dreams into reality. His achievements were recognized in 1957 when he was awarded the Horatio Alger Award. Carvel credited his success to his father and his wife, Agnes. His father sparked his interest in chemistry and engineering and his wife worked in the first Carvel store, which allowed him time to develop the Carvel Corporation Franchise System. In 1989, he sold the Carvel Corporation to an international investment company, Investcorp, for more than 80 million dollars. Tom Carvel died in 1990. The Carvel name lives on through the Carvel Ice Cream Bakery Company, operated by Investcorp.
Related Materials:
The Archives Center holds many collections related to ice cream and the food industry including:

Warshaw Collection of Business Americana, Series: Diary (AC0060)

Faris and Yamna Naff Arab-American Collection (see waffle cone machine) (AC0078)

Famous Amos Collection (AC0112)

Sam DeVincent Collection of Ilustrated American Sheet Music (see Ice Cream) (AC0300)

Good Humor Collection (AC0451)

Eskimo Pie Collection (AC0553)

Krispy Kreme Donut Corporation Records (AC0594)
Provenance:
These records were generously donated to the Archives Center by Mrs. Agnes Carvel, in May 1993.
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. Reproduction of some materials restricted due to copyright or trademark.

Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Ice cream industry  Search this
Franchises (Retail trade)  Search this
Carnivals  Search this
Restaurants  Search this
Radio advertising  Search this
Television advertising  Search this
Vending machines (food)  Search this
Genre/Form:
Blueprints
Interviews -- 1950-2000
Audiotapes
Patents -- 20th century
Citation:
Carvel Ice Cream Records, 1934-1989, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0488
See more items in:
Carvel Ice Cream Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c1737b10-9d1b-48d6-9b3e-90b9b2782954
EDAN-URL:
ead_collection:sova-nmah-ac-0488
Online Media:

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