The papers of Edith Bry measure 1.3 linear foot and date from 1914 to 1969. The papers document her art career and her activities with the Federation of Modern Painters and Sculptors through biographical material, correspondence, writings and notes, personal business records, printed material, photographs, artwork, and two scrapbooks.
Scope and Contents:
The papers of Edith Bry measure 1.3 linear foot and date from 1914 to 1969. The papers document her art career and her activities with the Federation of Modern Painters and Sculptors through biographical material, correspondence, writings and notes, personal business records, printed material, photographs, artwork, and two scrapbooks.
Correspondence from friends and colleagues largely discusses Bry's artwork and activity within committees and organizations. Correspondents include John Taylor Arms, Alfred H. Barr, Marc Blitzstein, Adolf Dehn, Alma Dettinger, George Gershwin, Adolph Gottlieb, Marsden Hartley, Ruth Lembeck, Abraham Rattner, Sigmund Romberg, C. L. Sulzberger, Louis Untermeyer, John von Wicht, Stow Wengenroth, Harold Weston, and others.
Writings include notes on various techniques and materials used by Bry in her artwork. An etching is by Hermann Struck and a doodle is by Adolph Gottlieb. Two mixed media scrapbooks contain newspaper clippings and exhibition announcements and catalogs spanning Bry's career from 1922 to 1967.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Series 1: Edith Bry papers, 1914-1967 (Boxes 1-3; 1.0 linear feet)
Biographical / Historical:
Edith Bry (1898-1991) was an assemblage artist, collagist, painter, and lithographer active in New York City, New York.
Edith Bry was born in 1898 in St. Louis, Missouri and moved to New York City to study art. She began her career making batik and went on to produce oil paintings, enamels, mosaics, jewelry, lithographs, stained glass, collages, assemblage works, woodcuts and silkscreen prints. Later in life, she became an officer with the Federation of Modern Painters and Sculptors.
Bry married Maurice Shevelson Benjamin and together they had one child, Bry Benjamin. Edith Bry died in 1991 at her apartment located in the Beresford along Central Park in New York City, New York.
Provenance:
Edith Bry loaned her papers for microfilming and later donated them to the Archives of American Art from 1969 to 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Assemblage artists -- New York (State) -- New York Search this
Lithographers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Collagists -- New York (State) -- New York Search this
Biographical material (1945-1965), letters (1917-1979), notes (1950-1970), writings (1944-1970), business records (1927-1977), art works (1932-1964), subject files (1952-1955), scrapbook (1927-1939), printed material (1923-1977), and photographs (1922-1968) documenting Botkin's career and his friendship with George and Ira Gershwin and other entertainment and artistic figures.
Among the correspondents and subjects of photographs or letters are: George and Ira Gershwin, their sister Frances Godowsky, Botkin's brother Benjamin, Botkin's daughter Toinette Botkin Laurent, and grandson Alexander Laurent, composer Harold Arlen, Fanny Brice and her son William Brice, artists Chaim Gross, Saburo Hasegawa, Hans Hofmann, Karl Knaths, Paul Manship, Paul Mocsanyi, Robert Motherwell, Louise Nevelson, Barnett Newman, Pablo Picasso, Wallace Putnam, Abrahmam Rattner, Hugo Robus, Arnold Schoenberg, Jack Shadbolt, John Von Wicht, and Abraham Walkowitz. Also included are photographs of Botkin's studio, night picnic in Provincetown attended by many artists; and material relating to American Abstract Artists, New School Art Center, Provincetown Art Association, and the Federation of Modern Painters and Sculptors. [See Finding Aid for information on location of items on the microfilm].
UNMICROFILMED: 3 untranscribed interviews of Botkin, 1 done for the "Today" show, NBC, June 4, 1965; 1 for Colette Roberts "Meet the Artist" Program, undated, and 1 by an unidentified interviewer. Also included is an untranscribed monologue, Oct. 11, 1970.
Biographical / Historical:
Painter; New York, N.Y. and Provincetown, Mass. Born in Boston and attended art schools there from 1913-1917. From 1917-1920, he attended the Art Students League and was employed as an illustrator for prominent magazines until 1929. Traveling abroad between 1926 and 1933, he attained his first one-man show in 1927 at the Billiet Galleries in Paris. Through his cousin, composer George Gershwin, Botkin became acquainted with people active in the performing arts, such as Harold Arlen, Fanny Brice, Harry Kurnitz, and Bert Lahr. Botkin was also involved in the American Abstract Artists, Artists Equity Association, Federation of Modern Painters and Sculptors, and Gallery 256 in Provincetown, Massachusetts.
Related Materials:
Henry Botkin papers also at Syracuse University.
Provenance:
Donated 1969-1982 by Henry Botkin and by his son Glenn and his assistant Rene Barilleaux. Many items were returned to Botkin after microfilming.
Restrictions:
Patrons must use microfilm copy. Use of untranscribed tapes requires an appointment at the Washington, D.C. office.
The papers of painter Edwin Walter Dickinson (1891-1978) measure 20.2 linear feet and date from 1909-1971. Included are photographs of works of art and personal photographs, object files, correspondence, a biographical account, and printed material.
Biographical / Historical:
Edwin Walter Dickinson (1891-1978) was a painter in Wellfleet, Massachusetts. Dickinson studied with William Merritt Chase at the Art Students League and was a member of Federation of Modern Painters and Sculptors.
Related Materials:
Also in the Archives is material lent for microfilming on reels D93-D96 including 36 journals, 1916-1961, by Edwin Dickinson. The original journals are available at Syracuse University. Also in the Archives on microfilm reel 1130 are photographs, 1909-1965, of Dickinson and others, including Bill [Vaclav] Vytlacil, Richard Parmenter, Ross E. Moffett, Ted Beall, Henry Sutter, L.W. Veeder, R. H. Ives Gammell, Raymond J. Eastwood, Eugene Fitch, Thomas Bouchard, William F. Halsall, Charles W. Hawthorne, Coulton Waugh, and Charles Heinz.
Provenance:
A majority of the collection was donated in 2020 by Steven C. Baldwin, Edwin Dickinson's grandson. Material on reels D93-D96 and 1130 was lent for microfilming in 1962 and 1976 by Edwin Dickinson. A small portion of unmicrofilmed material was donated in 1972 by Edwin Dickinson.
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.
1.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1930-1997
Scope and Contents:
Biographical material, correspondence, notes, writings, photographs, business and financial records, works of art, and printed material document the career of painter and educator Michael Loew.
REEL N68-94: Biographical material, 1957-1967, includes 5 biographical sketches, a bibliography of Loew's publications, and an artist's statement. Correspondence, 1935-1968, is with colleagues, galleries, and educational institutions. There are one or two letters each from colleagues Josef Albers, Willem de Kooning, Adolph Gottlieb, Philip Johnson, Richard Lahey, George L.K. Morris, and Clifford Odets. Nine letters relate to Loew's work for the U.S. Works Progress Administration and the New York World's Fair. Writings, 1966, consist of several drafts for essay "Is It the Function of the Artist to Communicate with his Audience." A contract, 1938, is between Loew and Willem de Kooning and the New York World's Fair 1939 Inc. Printed material, 1944-1968, consists of exhibition announcements and catalogs. Photographs, 1960-1964, are of Loew and his art works. Notes consist of 2 undated notebooks and a typescript concerning Josef Albers. A scrapbook, 1938-1965, contains 4 photographs of art works, clippings, and exhibition announcements and catalogs.
REEL 5053: Correspondence, 1944-1990, is with galleries, including the Holland-Goldowsky Gallery, educational institutions, including the University of California at Berkeley, and colleagues including Dorothy Dehner, Burt Hasen, and Aaron Siskind. Correspondence, 1956-1957, with Rockwell Kent concerns the rental of Kent's Monhegan Island cabin. One letter, 1959, includes 3 photographs of Loew, Louis Kahn, Allan Kaprow, and George McNeil. Lecture notes are for an Artists Equity symposium, 1956, and a panel discussion on painting, 1968. Writings, 1968-1979, consist of 3 essays by Loew and tributes written to Sarah Freedman McPherson by Loew and others. Printed material, 1932-1992, consists of clippings, exhibition announcements and catalogs, and a book "The Artist's World" by Fred W. McDarrah. Photographs, 1930-1979, are of Loew, his friends, and his art works. One photograph is of Alfred Jensen, Theodore Schempp, Max Schnitzler, and Loew in Tunis, 1930.
UNMICROFILMED Biographical material incudes curriculum vita, obituaries, and birth announcements of Jonathan Loew, Michael Loew's son. Correspondence is with Willem and Elaine de Kooning. Writings include notes and a transcription of Loew's 1966 MoMA talk Must the Artist Communicate with his Audience, drafts of an article by Loew regarding Joseph Albers NEA and Guggenheim grant applications. Photographs are of Loew, his artwork, and his travels in Mexico as well as a color photograph of Loew and Willem de Kooning in de Kooning's studio taken by Rose Slivka. Artwork includes original off-prints for book covers. Business files relate to the 1939 World's Fair mural commission and include information about gifts of artwork to museums. Financial material includes a sales record book and records of sales with the Marilyn Pearl and Landmark galleries. Also included are literature and directories from the Federation of Modern Painters & Sculptors, exhibition announcements,and newspaper clippings.
Biographical / Historical:
Born in New York City, Michael Loew (1907-1985) studied at the Art Students League from 1926-1929, Academie Scandinave in Paris from 1929-1930, the Hans Hofmann School of Fine Art from 1947-1949, and at the Atelier Fernand Leger from 1949-1950. Loew worked as a stained glass artist from 1926 to 1929, and painted murals with Willem de Kooning for the New York World's Fair of 1939. Between 1956 and 1966, he taught painting at the Portland (Oregon) Art Museum, University of California at Berkeley, and at the School of Visual Arts in New York.
Provenance:
Material on reel N68-94 lent for microfilming 1968 by Michael Loew; approximately 50 letters and an artists' statement were later received in subsequent donations. Additional papers were donated in 1981-1982 by Loew, and in 1994 and 2008 by his widow, Mildred C. Loew, a portion of which was microfilmed on reel 5053. The photograph of Loew and de Kooning taken by Rose Slivka was donated by Loew's niece, Jackie Cohen, in 2007.
Restrictions:
Microfilmed portion must be accessed on film. Use of original papers requires an appointment.
Interview of Ilya Bolotowsky conducted 1968 March 24-April 7, by Paul Cummings, for the Archives of American Art.
Bolotowsky, a lively raconteur, recalls a host of episodes from his personal and professional life. He speaks of his childhood in Russia and Azerbaijan; the effects of war and communism; the family's flight as refugees into Georgia and then to present-day Istanbul; and his early education with a private tutor and at a Jesuit school in Istanbul. Bolotowsky recalls his family's emigration to the United States by ship in 1923; his first impressions of New York City; and early visits to the city's museums. He relates numerous anecdotes about faculty and fellow students at the National Academy of Design, including Ivan Olinsky, Raymond Neilson, Charles Hawthorne, Amedee Ozenfant, and William Henry Johnson.
He speaks of various early exhibitions of his work, including those with the Art Students League, G.R.D. Studio, and the J.B. Neumann Gallery. He also describes a stay at Yaddo in 1934.
Bolotowsky recounts his participation in the Public Works of Art Project as a teacher of art to delinquent children; later work on the mural project of the Works Progress Administration; the picketing of WPA offices, providing anecdotes about Max Spivak and Joseph Vogel; military service during World War II, first working on a Russian dictionary of technical terms and then as a liason officer with the Soviet Air Force in Nome, Alaska.
Upon his return from the military, Bolotowsky immediately resumed his painting career, and describes his involvement with artists' organizations such as the American Abstract Artists, the American Artists' Congress, the Concretionists, the Federation of Modern Painters and Sculptors, and the Ten; he mentions in these contexts such personalities as Byron Browne, Burgoyne Diller, Werner Drewes, Arshile Gorky, Clement Greenberg, Balcomb and Gertrude Greene, Harry Holtzman, Fernand Leger, Piet Mondrian, and Meyer Schapiro.
Bolotowsky gives an extensive description of his experiences filling in for Joseph Albers for a year at Black Mountain College, and goes on to discuss his subsequent teaching positions at the University of Wyoming (including a discussion of the impact of the Wyoming landscape on his painting), Brooklyn College, Southampton College, and SUNY New Paltz. He devotes great attention to the development of his painting, his understanding of neo-plasticism and abstraction, and his efforts in filmmaking and playwriting.
Biographical / Historical:
Ilya Bolotowsky (1907-1981) was a Russian-American abstract painter in New York, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 37 min.
Provenance:
These interviews are 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 others. Funding for the interview was provided by the New York State Council on the Arts.
This series consists of scattered documentation of Alice Trumbull Mason's career as an artist and her active membership in many art organizations. Included are brief resumes and biographies that provide information about her memberships, exhibitions, awards, representation in permanent collections, and other professional information. Also found here is her Guggenheim fellowship application. Other professional records include scattered exhibition records and records of her work as an officer in the American Abstract Artists group that includes letters to members written by Mason, lists of members, press releases, reports, and letters to her from the vice president, Esphyr Slobodkina. Mason's active participation in other art organizations, such as the Federation of Modern Painters and Sculptors and the International Association of Plastic Arts, is documented here through reports to members, brochures, newsletters, meeting minutes, and other membership information. This series also includes some of Mason's personal financial records as well as a few legal documents.
Arrangement note:
Microfilm reel and frame numbers are noted at folder headings.
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. Contact Reference 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:
Alice Trumbull Mason papers, 1921-1977. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
An interview of Dorothy Canning Miller conducted 1981 May 14, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Miller talks about the first time she, with Alfred Barr, saw Mark Rothko's work in Federation of Modern Painters and Sculptors exhibitions. She remembers her first visit to Rothko's studio and frequent conversations at an Italian restaurant near the studio. Miller recounts incidents involving Rothko and Clyfford Still while she was organizing the show "15 Americans" and others at the Museum of Modern Art. She recalls the relationship between Rothko and Still, their split, her own split with Still, and the psychological changes she noted in Rothko. She recalls Holger Cahill, Alfred Barr, Barnett Newma, Robert Motherwell, Clyfford Still, Howard Putzel, Carla Panicali, de Kooning, and others.
Biographical / Historical:
Dorothy Miller (1904-2003) was an art museum curator and art consultant from New York, N.Y.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 24 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript is available on the Archives of American Art's website.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. 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. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.
Putnam, Patrick Tracy Lowell, 1903 or 4-1953 Search this
Extent:
40 Items
Type:
Collection descriptions
Archival materials
Place:
Africa, Central -- Description and Travel
Date:
1936-1968
Summary:
The scattered papers of painter Anne Eisner Putnam consist of 40 items and date from 1936 to 1968. Found is an application for Who's Who of American Women, and two letters concerning her book and artwork. Printed material includes clippings (1936-1965) about exhibitions of her artwork in New York, her experiences in Africa, press releases, and her obituary. Photographs are of Putnam's paintings; of Putnam at "Camp Putnam" in the Ituri Rainforest in the Belgian Congo (now Democratic Republic of the Congo) with members of one of the Congo Pygmy tribes; a snapshot of Putnam; and a portrait of Patrick Tracy Lowell Putnam.
Scope and Contents:
The scattered papers of painter Anne Eisner Putnam consist of 40 items and date from 1936 to 1968. Found is an application for Who's Who of American Women, and two letters concerning her book and artwork. Printed material includes clippings (1936-1965) about exhibitions of her artwork in New York, her experiences in Africa, press releases, and her obituary. Photographs are of Eisners' paintings; of Putnam at "Camp Putnam" in the Ituri Rainforest in the Belgian Congo (now Democratic Republic of the Congo) with members of one of the Congo Pygmy tribes; a snapshot of Putnam; and a portrait of Patrick Tracy Lowell Putnam.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Anne Eisner Putnam (1911-1967) was an abstract painter, a landscape painter, a watercolorist, a printer, and a writer. Additionally, she and her husband were collectors of African art.
Putnam attended the Art Students League and was the secretary for the Federation of Modern Painters and Sculptors. She married anthropologist Patrick Tracy Lowell Putnam and together they moved to Africa. From 1945 to 1953, Putnam lived in a Pygmy village in the Belgian Congo (now Democratic Republic of the Congo) in the Ituri Rainforest, and devoted her painting and writing talents to portraying the life of the Congo Pygmies and African flora and fauna. Her collection of African art was exhibited in 1967 at the Museum of Natural History, New York.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel N70-10 including correspondence, clippings, photographs and sketchbooks primarily relating to her life in the Belgian Congo among Pygmies with her husband, anthropologist Patrick Tracy Lowell Putnam. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
William J. Eisner, the father of Anne Eisner, donated her papers to the Archives of American Art in 1970.
Restrictions:
The 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 it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. PLease refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Congo (Democratic Republic) Search this
Painters -- New York (State) -- New York Search this
Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.
An interview of Rhys Caparn conducted 1983 November 23, by Tom Wolf, for the Archives of American Art's Mark Rothko and His Times oral history project.
Caparn describes her youth in New York and art study in France. She recalls her teacher Alexander Archipenko and the activities of the American Abstract Artists and the Federation of Modern Painters and Sculptors (of which she was president for a term). Caparn talks a lot about her own work. She does not recall much about Mark Rothko, who was only a distant acquaintance.
Biographical / Historical:
Rhys Caparn (1909-1997) was a sculptor from Connecticut.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 29 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
1.2 Linear feet ((partially microfilmed on 4 reels))
0.6 Linear feet (Addition (D.C.))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1938-1994
Scope and Contents:
Correspondence; writings and lectures; press releases; photographs; sketchbook; exhibition annoucements, invitations and catalogs; and printed material.
REEL 92: Material relating to Hios' Marine Corps service as a combat photographer, 1943-1947, including correspondence, a citation and lists of watercolors done and exhibited by Hios showing war scenes; correspondence, 1957-1963, concerning a U.S. government grant to study Byzantine art, exhibitions and loans; draft of speech to the Federation of Modern Painters and Sculptors, February 1968, on the new aesthetic; miscellaneous journal notes, 1953-1961 on Greek art, the purpose of art, etc,; photographs of Hios, his family and his work; clippings and exhibition announcements. Also included is a sketchbook, ca. 1957, with landscape and flower studies as well as notes from Hios' reading on Byzantine art, on rhythmic forms in art, and comments on his own paintings.
REEL 96: Sketches, notes, and photos.
REELS 1094 & 1116 (photos): Correspondence, mostly about exhibitions and his work, including letters from Elmira Bier, Harold Weston, Fairfield Porter, Martha Jackson, John Canaday, Arthur Osver and others; clippings and magazine articles; writings and lectures by Hios; press releases and writings about Hios; exhibition announcements, invitations, and catalogs, and printed material; and 23 photographs of Hios, his paintings, and exhibitions.
UNMICROFILMED: A letter; exhibition announcements; 22 photos of Hios and his family, 69 photos of his work and its installation; and copies of letters, articles and press releases.
ADDITION: A resume; awards from Parrish Art Museum, 1971, Grumbacher Award, 1979, Audubon Artists, 1979 and 1983, and letter awarding a grant from the Adolph and Esther Gottlieb Foundation, 1981; correspondence, 1939-1994, including letters from museums and university art galleries, letters from author Lawrence Campbell, and a card from photographer Hans Namuth; a sketchbook, 1947-1958; 9 loose drawings; photographs of Hios, friends, and his paintings; printed material including THEO HIOS, 52 YEARS OF PAINTING, by Lawrence Campbell, 1987, clippings documenting Hios's career, 1948-1991, exhibition announcements and catalogs, 1944-1993, press releases, reviews, and transcript of a 1981 television film about Hios.
Biographical / Historical:
Painter, graphic artist; New York, N.Y. Died Jan. 10, 1999. Combat photagrapher during WWII.
Provenance:
Material on reels 92, 96, 1094 and 1116 lent for microfilming 1971-1976 by Theo Hios. Unmicrofilmed material donated by Hios, 1981-1995.
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:
Graphic artists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
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:
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.
1 Linear foot ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1938-1972
Scope and Contents:
Correspondence, photographs; writings; exhibition catalogs and announcements; and clippings.
REELS 680 & 1007: Correspondence, mostly business and professional letters; writings such as "The Animal in Art" and other jottings on art and form; price lists, statements from galleries and sales memos; catalogs and annoucements; clippings; photographs of Caparn's work, and photos of Caparn in her studio, snapshots and a portrait by Maya Deren, 1948, as well as one by Alan Shayne.
UNMICROFILMED: Correspondence, clippings, exhibition material, receipts, photographs and records relating mainly to the Federation of Modern Painters and Sculptors.
Biographical / Historical:
Sculptor; Connecticut.
Related Materials:
Rhys Caparn papers also at Syracuse University.
Provenance:
Donated 1972-1983 by Rhys Caparn.
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.
0.5 Linear feet ((partially microfilmed on 1 reel))
1 Linear foot (Addition)
Type:
Collection descriptions
Archival materials
Date:
1940-1996
Scope and Contents:
Organizational records, exhibition catalogs, scrapbook, photographs, and printed materials.
REEL N69-75: Minutes of Federation meetings; correspondence; membership lists; copy of constitution; exhibition catalogs and announcements; a scrapbook; and miscellaneous printed materials.
UNMICROFILMED: Photographs of art works by Federation members exhibited in a traveling show sponsored by the American Federation of Arts; autobiographical collages by members of the Federation; exhibition catalogs and announcements; and treasurer's records kept by Dorothy Feigin while treasurer of the Federation during the 1950s.
ADDITION: Correspondence of Federation presidents Ahmet Gursoy (1974-1995), Barbara Krashes (1968-1975), and Heim Mendelsohn (1980-1991); administrative correspondence (1940-1996); historical materials describing the origins and purpose of the Federation (1940-1989), membership lists (1940-1989), a complete run of minutes (1940-1989), exhibition catalogs (1948-1996), announcements (1955-1996), proposals (1981-1988), photographs of members (c. 2005), and a photograph of Will Barnet (2003). There is also a very brittle scrapbook, ca. 1941-1954.
Biographical / Historical:
Art association; New York, N.Y. Founded 1940 as an alternative to the Artists' Congress.
Provenance:
Records on reel N69-75 lent for microfilming by the Federation in 1969. Unmicrofilmed papers donated 1974 by Edith Bry (Dorothy Feigin treasurer's records), in 1976 by Theodore Hios, a painter and member of the Federation, and in 1997 by Anelli Arms, Acting Head of the Federation.
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.
Topic:
Painting, Modern -- New York (State) -- New York Search this
Sculpture, Modern -- New York (State) -- New York Search this
The papers of modernist painter and activist Harold Weston (1894-1972) date from 1894 to 1978 and measure 24.3 linear feet. The papers focus on Weston's painting career and his involvement with humanitarian and artistic causes. Found are biographical materials, correspondence, personal business records, association and organization records, commission and project files, materials relating to Weston's book Freedom in the Wilds, writings, artwork, printed materials, two scrapbooks, and photographs.
Scope and Content Note:
The papers of modernist painter and activist Harold Weston (1894-1972) date from 1894 to 1978 and measure 24.3 linear feet. The papers focus on Weston's painting career and his involvement with humanitarian and artistic causes. Found are biographical materials, correspondence, personal business records, association and organization records, commission and project files, materials relating to Weston's book Freedom in the Wilds, writings, artwork, printed materials, two scrapbooks, and photographs. The papers document his involvement with the Committee to Defend America, Federation of Modern Painters and Sculptors, Food for Freedom, the International Association of the Plastic Arts, National Countil on the Arts and Government, National Endowment for the Arts, New York State Council for the Arts, Reconstruction Service Committee, and the YMCA in Baghdad.
Biographical materials include biographical sketches and resumes, including a short biography written by Faith Weston in 1969. There are records from his school years at Exeter Academy and Harvard University that include yearbooks, report cards, scholarship information, Harvard Lampoon materials, and a diploma from Harvard. Also found are materials relating to Faith Weston, membership cards, memorials information, passports and travel papers, and wedding wishes.
Correspondence from Harold Weston dates from his school years up until his death in 1972. In letters to his family, Weston discusses his education; his travel and activities in the Middle East during World War I; the Adirondacks; convalescense in France in the mid-1920s; his immediate family life; and exhibitions. Also found are holiday cards designed and printed by Weston. The majority of correspondence is with his father S. Burns Weston, mother Mary, sister Esther, brother Carl, Faith Weston and the Borton family, children Barbara, Bruce, and Haroldine, and others. Also found are letters between Weston and friend Theodore Sizer and Duncan Phillips of the Phillips Collection in Washington, D.C.
Personal business and financial records relating to Weston's exhibitions include delivery receipts, agreements, hand-drawn gallery plans for exhibitions, lists of exhibitions, framing invoices, legal information, pricelists, records of sales, and lists of works of art. Galleries with which Weston held exhibitions, sold, or lent works of art include Boyer Galleries, Corcoran Gallery, the Gallery in Paoli, Montross Gallery, the Phillips Collection, and Studio House Galleries.
Records relating to Harold Weston's memberships and involvement with professional associations and service organizations are from the Adirondack Trail Improvement Society, the Committee to Defend America, Federation of Modern Painters and Sculptors, Food for Freedom, International Association of the Plastic Arts/International Arts Association, National Countil on the Arts and Government, National Endowment for the Arts, New York State Council on the Arts, Reconstruction Service Committee, and the Young Men's Christian Association, Baghdad. The files include correspondence, financial records, meetings and membership information, notes, organizational history, photographs, printed materials, programs and activities records, speeches, and writings.
Files that document Weston's Building the United Nations and the Treasury Relief Project sponsored "Procurement Building Murals" are found within the Commissions and Project files series. The files include correspondence, financial information, legal documents, photographs of the works of art and research photos, and printed materials. Correspondence of note includes letters written by Lewis Mumford, Duncan Phillips, Eleanor Roosevelt on behalf of Weston's Building of the United Nations and letters from Leonard Carmichael, Secretary of the Smithsonian Institution. Letters from Olin Dows of the Treasury Relief Art Project are within correspondence relating to the "Procurement Building Murals." Also found are preliminary sketches of the murals.
The Freedom in the Wilds series contains materials relating to the book which combined Weston's autobiography with a history of the Adirondack Mountain Reserve. Additional writings and notes are by Harold Weston and others, and include articles, poetry, notes, speech notes and speeches, and lists. Harold Weston's articles include "Persian Caravan Sketches" published in 1921 discussing his travels throughout the Middle East. Other articles are written by Duncan Phillips, Paul Rosenfeld, Barbara Weston, and Faith Weston. Also found are postcards annoted with notes by Harold Weston about his travels.
Artwork inlcudes sketches, etchings, copperplates, and woodcuts. There are copperplates entitled "Shroud" and of the series Building the United Nations for the Harvard Alumni bulletin in 1957; an untitled etching by Weston; sketches including those from Baghdad and watercolor sketches; a woodcut of the 1924 Weston holiday card; and scattered unsigned sketches probably not by Weston.
Printed materials include calendars with notations; clippings; exhibition catalogs and announcements for Weston's exhibitions dating from 1922-1976 and for others; gallery tags or labels for paintings shown in exhibitions; reproductions of illustrations for the Harvard Lampoon and full issues from 1911-1916; materials relating to the Harvard production of Henry IV, for which Weston designed the sets; reproductions of works of art by Weston and by others; school seals; and various art related publications.
There are two scrapbooks compiled by Faith Weston about her husband. The first contains materials relating to Weston's activity with the International Association of the Plastic Arts Conference of 1963, including a letter and photograph of President John F. Kennedy. The second scrapbook dates from 1977 and consists of general clippings relating to Weston's career, dating from 1917 to 1952 with additional materials added by Faith in 1977.
Photographs are of Weston, family members, exhibitions and installations, and works of art by Weston and others. There are also numerous photographs of Weston's travel through the Adirondacks, the Middle East, Europe, and India. Also found are glass plate negatives of works of art painted in France between 1926-1930; scattered glass plate negatives of Baghdad and the Middle East; glass plates belonging to S. Burns Weston of the Adirondacks, circa 1900; and approximately 100 lantern slides of the various Middle Eastern cities and ruins - probably used by Weston to illustrate his talks given in the 1920s.
Arrangement:
The collection is arranged as 11 series. Glass plate negatives are housed separately and closed to researchers:
Missing Title
Series 1: Biographical Information, 1896-1974 (Box 1, 38; 0.4 linear feet)
Series 2: Correspondence, 1894-1975 (Box 1-3, 38; 2.5 linear feet)
Series 3: Personal Business and Financial records, 1912-1977 (Box 4; 0.4 linear feet)
Series 4: Associations and Organizations records, 1916-1972 (Box 4-10, 37-38; 6.5 linear feet)
Series 5: Commissions and Project files, 1935-1965 (Box 10-12, 38, OV 39; 1.4 linear feet)
Series 6: -- Freedom in the Wilds -- records, late 1960s-1976 (Box 12-13; 1.8 linear feet)
Series 7: Writings and Notes, 1912-1975 (Box 13-14; 0.6 linear feet)
Series 8: Artwork and Artifacts, circa 1917-1967 (Box 14, 21; 0.6 linear feet)
Series 9: Printed Material, circa 1900-1978 (Box 15-18, 38; 2.5 linear feet)
Series 10: Scrapbooks, circa 1963-1977 (Box 17-18; 0.5 linear feet)
Series 11: Photographs, circa 1900-1975 (Box 18-20, 22-36, 38; 4.8 linear feet)
Biographical Note:
Modernist painter and federal Treasury Relief Art Project artist Harold Weston (1894-1972) worked primarily in New York City and St. Huberts, New York in the Adirondacks. Weston was president of the U.S. Commission of the International Association of Art/Plastic Arts and the Federation of Modern Painters and Scultors. He was also chairman of the National Council on the Arts and Government and active with various political and humanitarian causes.
Harold Weston was born in 1894 in Merion, Pennsylvania into a privileged family. He attended school in Europe as a teenager, where he began to draw and sketch. In 1910, Harold contracted Polio which left him with a weak leg. After graduating from Exeter Academy, Harold entered Harvard University with the class of 1916 and was active in the Delta Upsilon Club and the Harvard Lampoon, for which he illustrated.
Despite his leg, Weston was determined to serve in some form during World War I. He traveled to Baghdad and volunteered with the YMCA. Here he started the Baghdad Art Club and organized exhibitions of soldier art. He remained in the Middle East until 1919 and served as the official painter for the British Army. The colors and the landscape of the region also inspired later works of art.
Upon returning to the United States, Weston built a one-room cabin in the Adirondack Mountains, where he lived and painted. He had his first one-man exhibtition at the Montross Gallery in 1922. In 1923, he married Faith Borton who moved with him to the Adirondacks. His wife inspired his series of "landscape nudes" which treated the body with different techniques that would typically be used in landscape painting. After suffering from a kidney infection in 1925, Weston and his wife moved to Ceres, France to recover. Weston continued to paint and started a family with Faith while in France. In 1930, the family moved back to the United States and lived in Greenwich Village, New York.
From 1936-1938, Harold Weston worked with the federal Treasury Relief Art Project and painted murals in the Procurement Building in Washington, D.C. The murals represent the growth of public buildings during the Great Depression. He took on a second major project to document the contruction of the United Nations in a series of six paintings. Later, the Smithsonian Instution received the paintings as gifts through an independent committee.
In addition to painting, Harold Weston devoted himself to public service by becoming involved in humanitarian causes, artist professional organizations, and federal government support of the arts. Weston served as president or chairman of three different organizations including the Federation of Modern Painters and Sculptors, the International Association of Art/International Association of the Plastic Art, and the National Council on the Arts and Government. Before the start of World War II, Harold Weston was named the Chairman of Essex County Committee to Defend America, which argued for financial support of the allied forces in World War II. After the start of the war, he helped form the Food for Freedom movement which urged American aid for European and Asian refugees. Similarly, Weston served as Executive Secretary for the Reconstruction Service Committee which was established to assist the rebuilding of Europe.
Later in life, Weston wrote a book Freedom in the Wilds, which combined his own autobiography with a history of the Adirondack Mountain Reserve. Harold Weston died on April 10th, 1972 in New York City.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-76) including biographic notes, exhibition material, clippings, a presentation album, and commemorative stamps.
Some, but not all, of these papers were included in later donations. Materials not donated remain with the lender and are not described in the collection container inventory.
Syracuse University also holds circa 14 linear feet of Harold Weston's papers.
Provenance:
Harold Weston lent the Archives of American Art materials for microfilming in 1969. Faith Borton Weston, Harold Weston's widow, donated the papers in several increments between 1972-1980 and lent materials for microfilming in 1977.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting, Abstract -- New York (State) -- New York Search this
Harold Weston papers, 1894-1978. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Interview of Edwin W. Dickinson conducted by Dorothea Weeden.
Biographical / Historical:
Edwin Walter Dickinson (1891-1978) was a painter in Wellfleet, Massachusetts. Dickinson studied with William Merritt Chase at the Art Students League and was a member of Federation of Modern Painters and Sculptors.
Provenance:
Donor unspecified.
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.
The scattered papers of painter and educator Dorothy Lubell Feigin measure 0.6 linear feet and date from 1923 to 1969. Found are sketches by Waldo Peirce, biographical material, correspondence, photographs of Feigin and of works of art, scattered printed material, and two mixed-media scrapbooks. Also found are materials regarding the Federation of Modern Painters and Sculptors including correspondence, exhibition records, printed material, and reports.
Scope and Contents:
The scattered papers of painter and educator Dorothy Lubell Feigin measure 0.6 linear feet and date from 1923 to 1969. Found are sketches by Waldo Peirce, biographical material, correspondence, photographs of Feigin and of works of art, scattered printed material, and two mixed-media scrapbooks. Also found are materials regarding the Federation of Modern Painters and Sculptors including correspondence, exhibition records, printed material, and reports.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Dorothy Lubell Feigin (1902-1969) was a painter, printmaker, and educator in New York City, New York. Feigin studied at the Art Students League and was an active member of the Federation of Modern Painters and Sculptors.
Related Materials:
The Archives of American Art also holds the Federation of Modern Painters and Sculptors records, 1940-1996, and the Edith Bry papers, 1914-1969.
Provenance:
Dr. Simeon Feigin, Dorothy Feigin's son, donated material in 1971. Additional material was donated in 1974 by Edith Bry, a close friend of Feigin and a colleague and fellow member of the Federation of Modern Painters and Sculptors.
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:
Painters -- New York (State) -- New York Search this
Graphic artists -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
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.
Collection Citation:
Dorothy Lubell Feigin papers, 1923-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
