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Author:

Hunt, J.N.  Search this

Gourley, H.I.  Search this

Publisher:

Butler, Sheldon and Company  Search this

Physical Description:

cloth (binding material)

paper (covers; text block material)

ink (covers; text material)

staple (binding material)

graphite (inscription material)

Measurements:

overall: 1/2 in x 7 3/8 in x 5 in; 1.27 cm x 18.7325 cm x 12.7 cm

Object Name:

book

Place published:

United States: New York, New York City

United States: Pennsylvania, Philadelphia

United States: Illinois, Chicago

Place inscribed:

United States: Connecticut, Mystic

Copyright date:

1896

Inscribed date:

1899

Subject:

Children's Literature  Search this

Education, elementary  Search this

ID Number:

ZZ.RSN82667U11

See more items in:

Home and Community Life: Domestic Life

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b2-5a69-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_318114

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2011-04-07T21:42:22.000Z

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_37bSb-aQ4BM

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2011-04-08T15:50:26.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

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NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_4iiLMJru7SY

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2011-04-07T23:28:01.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

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NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_YABR74utGps

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2011-06-20T20:16:23.000Z

YouTube Category:

Education  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_Tgzg-n9nqpQ

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2011-06-20T20:39:45.000Z

YouTube Category:

Education  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_i9Lw_83fmTU

Creator:

National Museum of the American Indian  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2023-03-24T18:53:12.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

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SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_CGcq__MFZVI

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2011-08-03T19:24:00.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

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americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_Hq28xEbhQw8

Publisher:

Rand McNally and Company  Search this

Physical Description:

paper (overall material)

ink (overall material)

fabric (overall material)

Measurements:

overall: 23.2 cm x 20.2 cm x 1.2 cm; 9 1/8 in x 7 15/16 in x 15/32 in

Object Name:

book

Place made:

United States: Illinois, Chicago

Date made:

1894

Subject:

Geography  Search this

Credit Line:

Gift of Dr. Richard Lodish American School Collection

ID Number:

2017.0095.002

Accession number:

2017.0095

Catalog number:

2017.0095.002

See more items in:

Home and Community Life: Education

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b4-db45-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1842656

Physical Description:

red; black (cover color)

paper (overall material)

ink (overall material)

fabric (cover material)

Measurements:

overall: 31 cm x 25.4 cm x 1.4 cm; 12 7/32 in x 10 in x 9/16 in

Object Name:

book

Place made:

United States: New York, New York City

United States: Illinois, Chicago

Date made:

1880

Subject:

Geography  Search this

Credit Line:

Gift of Dr. Richard Lodish American School Collection

ID Number:

2017.0095.003

Accession number:

2017.0095

Catalog number:

2017.0095.003

See more items in:

Home and Community Life: Education

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-78d8-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1842657

Creator:

Lipchitz, Jacques, 1891-1973  Search this

Names:

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

Curt Valentin Gallery (New York, N.Y.)  Search this

Bassett, Bruce W.  Search this

Cortois, Jenny  Search this

Frank, Mary, 1933-  Search this

Fry, Annette  Search this

Fry, Varian, 1907-1967  Search this

Gaspard, Leon, 1882-1964  Search this

Hay, Gyorgy  Search this

Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this

Landau, Gregorio  Search this

Larrea, Juan  Search this

Larrea, Marianne  Search this

Lipchitz, Yulla, 1911-  Search this

Modigliani, Amedeo, 1884-1920  Search this

Rapoport, Nathan, 1911-  Search this

Soula, Camille, 1888-  Search this

Starrels, Celeste  Search this

Starrels, Joel  Search this

Wilkinson, Alan G., 1941-  Search this

Zorach, William, 1887-1966  Search this

Extent:

52.8 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Scrapbooks

Sketches

Designs

Date:

circa 1910-2001

bulk 1941-2001

Summary:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Scope and Contents note:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Arrangement note:

The collection is arranged as 2 series:

Missing Title

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)

Biographical/Historical note:

Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.

Related Archival Materials note:

Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.

Provenance:

Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Artists' studios -- Photographs  Search this

Genre/Form:

Diaries

Scrapbooks

Sketches

Designs

Citation:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Jacques and Yulla Lipchitz Foundation, Inc.

Identifier:

AAA.lipcjacq2

See more items in:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91b1a0c38-358c-4de5-bef5-2c27f942b166

EDAN-URL:

ead_collection:sova-aaa-lipcjacq2

Maker:

Francisco I. Madero Middle School  Search this

Physical Description:

paper (overall material)

folded; printed (overall production method/technique)

Measurements:

overall: 10 1/4 in x 5 1/2 in; 26.035 cm x 13.97 cm

Object Name:

card, report

Place made:

United States: Illinois, Chicago

Associated Place:

United States: Illinois, Chicago

Date made:

1997

Subject:

Immigrants  Search this

Education  Search this

Education, elementary  Search this

Children  Search this

Girls  Search this

Women's History  Search this

ID Number:

2018.0157.04

Accession number:

2018.0157

Catalog number:

2018.0157.04

See more items in:

Political and Military History: Political History, Civil Rights Collection

Government, Politics, and Reform

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-e717-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1890336

Maker:

Francisco I. Madero Middle School  Search this

Physical Description:

paper (overall material)

printed (overall production method/technique)

Measurements:

overall: 10 1/4 in x 5 1/2 in; 26.035 cm x 13.97 cm

Object Name:

Report of Student Achievement and Effort

card, report

Place made:

United States: Illinois, Chicago

Associated Place:

United States: Illinois, Chicago

Date made:

1998

Subject:

Immigrants  Search this

Immigration  Search this

Education  Search this

Education, elementary  Search this

Girls  Search this

Women's History  Search this

Children  Search this

ID Number:

2018.0157.05

Accession number:

2018.0157

Catalog number:

2018.0157.05

See more items in:

Political and Military History: Political History, Civil Rights Collection

Government, Politics, and Reform

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-e1de-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1890337

Maker:

Farragut Career Academy  Search this

Physical Description:

paper (overall material)

printed (overall production method/technique)

Measurements:

overall: 4 1/4 in x 5 1/4 in; 10.795 cm x 13.335 cm

Object Name:

card, report

Place made:

United States: Illinois, Chicago

Associated Place:

United States: Illinois, Chicago

Date made:

2002-02

2002-02 February

Subject:

Immigrants  Search this

Immigration  Search this

Children  Search this

Girls  Search this

Education  Search this

Education, High School  Search this

Women's History  Search this

ID Number:

2018.0157.06

Accession number:

2018.0157

Catalog number:

2018.0157.06

See more items in:

Political and Military History: Political History, Civil Rights Collection

Government, Politics, and Reform

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-e528-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1890338

Maker:

Farragut Career Academy  Search this

Physical Description:

paper (overall material)

printed (overall production method/technique)

Measurements:

overall: 8 1/2 in x 5 1/2 in; 21.59 cm x 13.97 cm

Object Name:

card, report

Place made:

United States: Illinois, Chicago

Associated Place:

United States: Illinois, Chicago

Date made:

2003-06

Subject:

Immigrants  Search this

Immigration  Search this

Education  Search this

Education, High School  Search this

Girls  Search this

Women's History  Search this

ID Number:

2018.0157.07

Accession number:

2018.0157

Catalog number:

2018.0157.07

See more items in:

Political and Military History: Political History, Civil Rights Collection

Government, Politics, and Reform

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-e4c4-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1890339

Creator:

Archives of American Art  Search this

Type:

Sound recordings

Interviews

Podcast

MIME Type:

audio/mpeg

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Tue, 25 Jan 2011 07:00:00 -0500

Topic:

Art  Search this

American  Search this

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Oral History Collection from the Archives of American Art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:podcasts_f7e656094ae5d724577ee2f8a314df82

Published by:

Alan Bell, American  Search this

Edited by:

Alan Bell, American  Search this

Subject of:

Kenneth Errol Reeves, American, born 1951  Search this

Black Gay and Lesbian Leadership Forum, American, 1988 - 2003  Search this

Reggie Williams, American, 1951 - 1999  Search this

National Task Force on AIDS Prevention, American, 1985 - 1998  Search this

Phill Wilson, American, born 1956  Search this

Lambda Legal Defense and Education Fund, American, founded 1973  Search this

Nia Collective, American, founded 1987  Search this

Pat Norman, American, born 1939  Search this

African-American Lesbian and Gay Alliance, American, founded 1986  Search this

Magic Johnson, American, born 1959  Search this

Simon Nkoli, South African, 1957 - 1998  Search this

Gay and Lesbian Organization of Witwatersrand, South African, 1988 - 1997  Search this

David N. Dinkins, American, born 1927  Search this

Tina Turner, American, 1939 - 2023  Search this

Rosa Parks, American, 1913 - 2005  Search this

WRFG, American, founded 1973  Search this

Medium:

ink on paper (fiber product)

Dimensions:

H x W x D: 10 13/16 × 8 1/4 × 1/8 in. (27.4 × 20.9 × 0.3 cm)

Type:

magazines (periodicals)

Place made:

Los Angeles, Los Angeles County, California, United States, North and Central America

Place depicted:

Cambridge, Middlesex County, Massachusetts, United States, North and Central America

Chicago, Cook County, Illinois, United States, North and Central America

Philadelphia, Philadelphia County, Pennsylvania, United States, North and Central America

San Francisco, San Francisco county, California, United States, North and Central America

Los Angeles, Los Angeles County, California, United States, North and Central America

Sausalito, Marin County, California, United States, North and Central America

Washington, District of Columbia, United States, North and Central America

Atlanta, Fulton County, Georgia, United States, North and Central America

Malibu, Los Angeles County, California, United States, North and Central America

Kalamazoo, Kalamazoo County, Michigan, United States, North and Central America

Anaheim, Orange County, California, United States, North and Central America

New York City, New York, United States, North and Central America

Date:

January 1994

Topic:

African American  Search this

Activism  Search this

Associations and institutions  Search this

Black Press  Search this

Communities  Search this

Health  Search this

Identity  Search this

LGBTQ  Search this

Mass media  Search this

Politics  Search this

Race relations  Search this

Sexuality  Search this

U.S. History, 1969-2001  Search this

Violence  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Bell

Object number:

2018.108.39ab

Restrictions & Rights:

© BLK Publishing Company, Inc

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Movement:

HIV/AIDS Activist Movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd58786f58e-d621-4f73-a3f3-8e12cb1e81f5

EDAN-URL:

edanmdm:nmaahc_2018.108.39ab

Creator:

Biesel, family  Search this

Subject:

Richards, William Trost  Search this

Biesel, Charles  Search this

Biesel, Fred  Search this

Beisel, Frances Strain  Search this

United States. Works Progress Administration  Search this

Artists Equity Association  Search this

University of Chicago. Renaissance Society  Search this

Federal Art Project (Ill.)  Search this

Type:

Drawings

Sketchbooks

Citation:

Biesel family papers, circa 1859-1983. Archives of American Art, Smithsonian Institution.

Topic:

Modernism (Art)  Search this

Art, Modern -- 20th century -- Illinois -- Chicago  Search this

Women artists  Search this

Women painters  Search this

Theme:

Sketches & Sketchbooks  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9617

(DSI-AAA_SIRISBib)211824

AAA_collcode_biesfami

Theme:

Sketches & Sketchbooks

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211824

Creator:

Museum of Contemporary Art (Chicago, Ill.)  Search this

Names:

Adrian, Dennis, 1937-  Search this

Brown, Roger, 1941-1997  Search this

Close, Chuck, 1940-  Search this

Danforth, George  Search this

Fischl, Eric, 1948-  Search this

Hafif, Marcia, 1929-  Search this

Jacobi, Peter, 1935-  Search this

Jacobi, Ritzi, 1941-  Search this

Keister, Steve, 1949-  Search this

LeWitt, Sol, 1928-2007  Search this

Lohan, Dirk  Search this

Mies van der Rohe, Ludwig, 1886-1969  Search this

Pollock, Jackson, 1912-1956  Search this

Pozzi, Lucio, 1935-  Search this

Ryman, Robert, 1930-  Search this

Schulze, Franz, 1927-2019  Search this

Yasuda, Robert, 1940-  Search this

Extent:

8 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Video recordings

Date:

1979-1986

Summary:

The Museum of Contemporary Art Interviews measure 8 linear feet and contain video interviews with 35 artists, curators, and an art collector, conducted by the staff of the Museum of Contemporary Art, Chicago between 1979 and 1986, on 107 U-Matic videocassettes.

Scope and Contents:

The Museum of Contemporary Art Interviews measure 8 linear feet and contain video interviews with 35 artists, curators, and an art collector, conducted by the staff of the Museum of Contemporary Art, Chicago between 1979 and 1986, on 107 U-Matic videocassettes.

The first set of interviews are with contemporary artists who had solo exhibitions at the museum between 1979 and 1985, including Chuck Close, Roger Brown, Eric Fischl, Peter and Ritzi Jacobi, Steve Keister, Sol Le Witt, and collector Dennis Adrian, whose Chicago art collection was exhibited in 1982. The remainder of the series contains four sets of interviews and other footage relating to exhibitions and programming, including the 1979 exhibition Wall Painting - Ryman, Hafif, Pozzi, Jackson, Yasuda; the 1981 exhibition Kick out the jams: Detroit's Cass Corridor 1963-1977; and the 1983 exhibition and educational program Eleven Chicago Artists, created with Chicago's N.A.M.E. gallery, which traveled to area high schools featuring short video documentaries about each artist that were created from the footage on the tapes in this collection. The last set includes interviews with architects Dirk Lohan and George Danforth and historian Franz Schulze, created for the 1986 program "Mies van der Rohe Remembered," celebrating the centennial of the architect's birth.

Arrangement:

Collection is arranged as one series.

Missing Title

Series 1: Interviews with Artists, Collectors, and Curators (Boxes 1-8)

Biographical / Historical:

The Museum of Contemporary Art in Chicago was founded in 1967 with Jan van der Marck as its first Director. The period from 1979 to 1986, represented in the videorecordings in this collection, was a period of physical expansion for the Museum, as well as a period when audiovisual components of artworks and exhibition design were increasingly incorporated into exhibitions and other programming. In 1979, a physical expansion of the museum begun in 1977 was unveiled with the opening of four new galleries, signaling an increased capacity for showing local and emerging contemporary artists and engaging the community.

The museum's education department began using video to create a rich record of solo and group exhibitions mounted at the museum, and created short video programs to reach out to new audiences. For their 1979 Wall Paintings exhibition, artists were interviewed while making their work in the museum, creating a visual record of the ephemeral works on display and the process of their creation. Video interviews with Detroit artists were created in preparation for a 1981 exhibition showing contemporary artists in the Cass Corridor community of that city. In 1983, Museum staff collaborated with Chicago's N.A.M.E. gallery to create the traveling exhibition Eleven Chicago Artists, which combined artwork with video documentaries showing artists at work and talking about their creative process. The exhibition traveled to city and suburban schools around Chicago. And on the centenary of the birth of architect Ludwig Mies van der Rohe in 1986, interviews were conducted with Mies' grandson, Dirk Lohan, also an architect, as well as architectural historians George Danforth and Franz Schulze.

Provenance:

Donated 1986 by the Museum of Contemporary Art, Chicago.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Rights:

Authorization to quote or reproduce for the purposes of publication requires written permission from the Museum of Contemporary Art, Chicago, Illinois. Contact Reference Services for more information.

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:

Artists -- United States -- Interviews  Search this

Art -- Collectors and collecting -- Illinois -- Chicago -- Interviews  Search this

Art -- Michigan -- Detroit  Search this

Genre/Form:

Interviews

Video recordings

Citation:

Museum of Contemporary Art interviews, 1979-1986. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.musecaci

See more items in:

Museum of Contemporary Art interviews

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cecb0804-229b-41cb-aa21-4c072207f769

EDAN-URL:

ead_collection:sova-aaa-musecaci

Creator:

Biesel family  Search this

Names:

Artists Equity Association  Search this

Federal Art Project (Ill.)  Search this

United States. Works Progress Administration  Search this

University of Chicago. Renaissance Society  Search this

Beisel, Frances Strain, 1898-1962  Search this

Biesel, Charles, 1865-1945  Search this

Biesel, Fred, 1893-1954  Search this

Richards, William Trost, 1833-1905  Search this

Extent:

2.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

circa 1859-1983

bulk 1919-1983

Summary:

The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The papers document the careers of a Chicago family of artists, which included Charles Biesel, his son Fred Biesel and Fred Biesel's wife Frances Strain Biesel. Materials include biographical summaries, Fred and Frances Biesel's personal and professional correspondence, writings, and professional records documenting Fred Biesel's involvement with the Federal Arts Project and Frances Biesel's tenure as the director of the Renissance Society at the University of Chicago. Also found are scrapbooks with news clippings, printed materials, photographs of the Biesel family and their artwork, and artwork in the form of handmade Christmas cards, sketchbooks and loose figure sketches and small paintings.

Scope and Contents:

The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The papers document the careers of a Chicago family of artists, which included Charles Biesel, his son Fred Biesel and Fred Biesel's wife Frances Strain Biesel. Included in the papers are biographical material; correspondence; writings; professional files; personal business records; printed material; scrapbooks; photographic material and artwork. Correspondence contains letters to Frances and Fred Biesel regarding exhibiting artwork, project consultation, club membership and speaking engagements. Writings contains a notebook with addresses and price list notes; lecture notes and essay drafts by Fred Biesel on printmaking and art movements such as modernism and cubism, as well as essay typescripts and lectures by others. Also found is a short story about a meeting with Charles Biesel. Professional Files contain correspondence, funding proposals, business records and other materials related to the Biesel's management and participation in various organizations and project such as The Renaissance Society and Artist Union Chicago in Frances Biesel's case and Fred Biesel's involvement with the WPA's Federal Art Project's Illinois chapter, as well as his time as an art professor. The personal business records series contains Charles Biesel's deed lists, and printed material includes several exhibition catalogs related to the Biesel family and other artists, along with clippings and materials related to the Federal Arts Program. The papers also include two scrapbooks of clippings, photographs of the Biesel family, their friends and art associations, artwork, and exhibitions. Artwork is in the form of sketches, etchings, handmade christmas cards and small paintings.

Arrangement:

The collection is arranged as nine series

Series 1: Biographical Material, circa 1949-1961 (2 Folders: Box 1)

Series 2: Correspondence, circa 1927-1963 (0.1 Linear feet: Box 1)

Series 3: Writings, circa 1921-1960 (0.1 Linear feet: Box 1)

Series 4: Professional Files, circa 1939-1962 (0.5 Linear feet: Box 1)

Series 5: Personal Business, circa 1928-1961 (2 Folders: Box 1)

Series 6: Printed Material, circa 1897-1983 (1.5 Linear feet: Box 1-3)

Series 7: Scrapbooks, 1915-1931 (0.1 Linear feet: Box 3, OV 1)

Series 8: Photographic Material, circa 1919-1960 (0.3 Linear feet: Box 3)

Series 9: Artwork, circa 1876-1945 (0.4 Linear feet: Box 4)

Biographical / Historical:

The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The Biesel Family were a family of artists comprised of Charles Biesel, his son Fred Biesel, and Fred's wife Frances Strain Biesel.

Charles Biesel (1865-1945) was a marine painter who spent time apprenticing and working with the American Lithography Company in New York and Philadelphia before relocating to Newport, Rhode Island where he co-founded the Newport Art Association in 1912. In 1918, Charles Biesel moved to Chicago where he lived at the 57th street artist colony and was a member of the Arts Club of Chicago and the Chicago Society of Artists. He also helped found the Chicago No-Jury Society of Artists where he served as the organization's first secretary. Biesel exhibited work in several solo exhibitions across the United States; as well as with a group of other Chicago painters who exhibited work annually at the Art Institute of Chicago.

Fred Biesel (1893-1954) was a painter and art administrator born in Philadelphia in 1893 and raised in Newport, Rhode Island where he went on to study at the Rhode Island School of Design from 1913 to 1915. After serving in the U.S. Naval Reserve from 1916 to 1919, Biesel followed his father to Chicago and continued studying at the Art Institute of Chicago where he met his wife Francis Strain and painter John Sloan who wound up influencing them significantly and becoming a lifelong friend. Biesel exhibited at the Art Institute of Chicago, the Chicago Society of Artists, and the Society of Independent Artists. He also participated in museum exhibitions in Rhode Island, New York, New Mexico, and New Jersey. From 1935–1943, Biesel worked under the Federal Art Project, and served as director of Illinois Art and Craft Project from 1941–1943, as well as on the faculty of the Layton Art School in Milwaukee 1946–1953.

Frances Strain Biesel (1898-1962) was a painter and director of the Renaissance Society at the University of Chicago. A native of Chicago, Frances Strain Biesel was an important figure in the art scene of 1920s-1930s Chicago where she was involved in almost every independent exhibition and exhibition group that emerged during that time. Two of these groups included the Chicago No-Jury Society of Artists and the Ten Artists of Chicago, a collective characterized by their commitment to modernist ideals. Her work has been shown across the country, including the Chicago Society of Artists, the Whitney Museum and the Newark Museum.

Provenance:

Microfilmed material was donated in 1985 by Garnett Biesel, son of Fred and Frances Biesel. He later donated unmicrofilmed material in 1990, after it had been used in preparation for the book The Federal Art Project in Illinois, 1935-1943 (1990), by George Mavigliano and Richard Lawson.

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:

Marine painters -- Illinos -- Chicago  Search this

Painters -- Illinois -- Chicago  Search this

Topic:

Modernism (Art)  Search this

Art, Modern -- 20th century -- Illinois -- Chicago  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Drawings

Sketchbooks

Citation:

Biesel Family Papers, circa 1859-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.biesfami

See more items in:

Biesel family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw934594a62-5981-42c6-af0b-69aab802d235

EDAN-URL:

ead_collection:sova-aaa-biesfami