The Crane's "Formal Garden" (also known as the "Italian Garden" was designed by the Olmsted Bros. The architects for the hardscape was the Boston firm of Shepley, Rutan and Coolidge. The firm also designed the first mansion on the site for the Crane's in 1910-11 and they worked with the Olmsted Bros. on the "Italian Garden." Boston-area sculptor Johan Selmer Larsen also worked with the Olmsted Bros. on the garden, designing cast-stone mermaid figures atop the columns and the relief sculptures along the walls. A large figural sculpture was designed by Bela Pratt. Pratt's solid white marble "Rainbow Fountain (1916) was located in a recessed niche behind the pool area. Landscape architect Arthur Schurcliff designed the Crane's circular Rose Garden and the Grand Allee among other garden areas on the property. In 1924-1928, David Adler later designed a second mansion on the site. The Great House is the central feature of Castle Hill that was designated a National Historic Landmark in 1998.
Related Materials:
Records related to this site can be found at the Frederick Law Olmsted National Historic Site, Olmsted Job Number 10109, Crane Reservation.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
For information or study purposes only. Use or copyright restrictions may exist. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, J. Horace McFarland Company Collection.
National Museum of American History (U.S.). Division of Cultural History Search this
Former owner:
National Museum of American History (U.S.). Division of Cultural History Search this
Extent:
1 Cubic foot (3 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Newsletters
Photographs
Patents
Auction catalogs
Clippings
Cyanotypes
Design drawings
Price lists
Trade catalogs
Date:
1925-1994.
Scope and Contents note:
A diverse collection of papers relating to amusement parks and playgrounds, with most of the papers relating to carousels. Contents include correspondence, photographs (including one cyanotype), exhibition catalogs, trade literature and trade catalogs, price lists, articles and clippings, newsletters, and patents (photocopies) for carousel animals. One series, that relating to the woodcarver Salvatore Cernigliaro, contains his sketchbook for carousel animal designs.
Arrangement:
Divided into 7 series, arranged by donor.
Provenance:
Collection donated by multiple donors.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Music, Sports and Entertainment, Division of, NMAH, SI Search this
Music, Sports and Entertainment, Division of, NMAH, SI Search this
Extent:
0.5 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Clippings
Photographs
Notes
Scrapbooks
Date:
1920s-1970.
Summary:
A Fairbury, Illinois, optometrist, Dr. Anthony W. Pendergast, (1879 -?) was a collector, author, antiquarian, dealer, and authority on the subject of cigar store figures. The collection includes correspondence; newspaper clippings on Pendergast and his various folk art collections; a scrapbook of photographs and miscellaneous materials relating to cigar store figures; and a large number of black and white photographs of figures from his personal collection, mostly for use in selling the figures.
Scope and Contents:
The collection documents Dr. Pendergast's interest in and work with cigar store figures as well as some of his other folk art collections. Included among the materials are correspondence, photographs of cigar store figures, and books on the subject. There are also articles and clippings about Dr. Pendergast and his collections and about cigar store figures in general, a scrapbook of photographs of figures, miscellaneous clippings, advertisements, business cards, postcards, and an inventory list.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
A Fairbury, Illinois, optometrist, Dr. Anthony W. Pendergast, (1879-?) was a collector, author, antiquarian, dealer, and authority on the subject of cigar store figures. As a newsboy in his youth, Pendergast was fascinated by the cigar store "Indians" he saw all around the streets of his home town. In their book on the cigar store figure, Dr. Pendergast and co-author W. Porter Ware state that the earliest evidence of cigar store figures dates them to as early as 1600 in the city of Amsterdam, where a tobacconist's shop had a figure of an American black slave as his sign, because of the association between slaves and tobacco. The tradition was continued in England and the figures began to look more like American Indians, usually with feathered headdresses, often holding a pipe or a roll of tobacco leaves. Not all the figures were of Indians or of slaves. As their popularity spread, "Turks," "Moors," Scotsmen, jockeys, Roman figures, mythological figures, and others were used. Antiquarian John L. Morrison, cited by Mr. Pendergast in his 1953 book Cigar Store Figures, states that the first appearance of a cigar store "Indian" in America was in 1770 in Lancaster, Pennsylvania. By the latter half of the nineteenth century the cigar store figure (usually an Indian) was as much a symbol of the tobacco trade as the barber pole was of barber shops. Mr. Pendergast owned at least two hundred figures during his lifetime and was a noted expert on the genre. He sold many figures to other collectors and had a workshop where he repaired and reconditioned the figures.
Provenance:
Immediate source of acquisition unknown.
Restrictions:
Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
An interview of Maya Ying Lin conducted 1983 Mar. 6, by Robert Brown, for the Archives of American Art. Lin speaks of a funerary architecture seminar she took at Yale University; entering her design in the Vietnam Veterans Memorial Fund's competition; attempts to add a figured sculpture and a flagpole to her design, and her resistance to this effort.
Biographical / Historical:
Maya Ying Lin (1959- ) is a Chinese American architect based in New York, N.Y.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 34 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This transcript is open for research. Access to the audio is restricted. Contact Reference Services for more information.
Rights:
Authorization to quote or reproduce for the purposes of publication requires written permission from Maya Ying Lin. Contact Reference Services for more information.
Occupation:
Architects -- New York (State) -- New York Search this
Topic:
Vietnam Veterans Memorial (Washington, D.C.) Search this
Letters found here are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe. Some of the folders contain letters from a single correspondent, and some contain a range of correspondents, all of whom are not listed in the folder title.
See Appendix for a list of correspondents from Series 2.
Arrangement note:
The letters are arranged alphabetically by name of sender.
Appendix: Correspondents from Series 2:
What follows is a complete list of correspondents from Series 2: Letters, which supplements the container list in the finding aid. This list also contains details about the letters sent by each individual listed.
Correspondents Identified by First Name Only
Ab: 1962 (1 postcard)
Alice: 1972-1974 (2 letters)
Barb: undated (1 postcard)
Carleen: 1982 (1 postcard)
Carlotta: 1992 (1 letter to Jenny Lee)
Carol: 1989 (1 letter)
Cathy: undated (1 postcard)
Charley: undated (1 letter)
Clary?: 1995 (1 Christmas card to Jenny Lee)
Clay: 1971 (1 postcard)
Diana: 1971 (1 postcard)
Dolores: 1989 (1 letter)
Doug, Sarah, Molly, and Sam: undated (1 letter)
E., D., and L.: 1990 (1 postcard)
Eddie: 1992 (1 illustrated Christmas card)
Edward: undated (1 postcard)
Ernie: 1980 (1 letter)
Grace?: 1972 (1 postcard)
Honey, Francis, Nick, and Carol: 1995(1 Christmas card to Jenny Lee)
Isabelle: undated (1 letter)
Jeanne: 1987 (2 postcards)
Jeff: undated (1 postcard)
Jeffery: 1979 (1 postcard)
Jennifer: 1987 (1 postcard)
Jim: 1976 (1 letter)
Jin: undated (1 postcard)
Joanna: undated (1 postcard)
Joyce: 1992 (1 postcard)
Kate: 1972 (1 postcard)
Ken and Freida: 1972-1986 (2 letters)
Marina and Bruce: 1987-1989 (1 Christmas card and 2 postcards)
Marion: 1978 (1 postcard)
Martin: 1989-1990 (2 postcards)
Michael: 1985 (1 postcard)
Moira?: 1980 (1 postcard)
Ninette: 1962 (1 postcard)
Patsy: 1985 (1 postcard)
Rene: 1977 (1 postcard)
Roberta: undated (1 postcard)
Robyn: 1988-1989 (2 letters)
Roger and Harriet: undated (1 illustrated postcard)
Ross: 1990 (1 letter)
Sevin?: undated (1 postcard)
Steve: undated and 1994 (4 postcards)
Tom: undated (1 postcard)
Tony: 1978 (1 letter)
Wolfgang: undated (1 postcard)
Correspondents Identified by Surname
Advanced Design: 1989 (1 letter)
Agee, Jon and Carol: undated and 1982-1991 (6 letters, including 2 transparencies and 2 illustrated letters)
Albert, Calvin: 1974 (one postcard with photograph of Albert)
Allan Frumkin Gallery, Inc.: see Frumkin: Allan Frumkin Gallery, Inc.
Allison, Ann: 1964-1976 (2 letters)
American Art and Antiquities: 1978 (1 letter)
American Iris Society: 1988 (1 letter)
American Journal of Archaeology: 1970 (1 letter)
American National Red Cross: 1947 (1 letter)
American Turkish Society: 1973 (1 invitation)
Ames, Arthur: 1938 (1 letter)
AOI Construction, Inc.: 1986 (1 letter)
Archaeological Institute of America, New York Society: 1979 (5 letters)
Archaeometry: 1979 (1 letter)
Archives of American Art: 1976-1991 (5 letters)
Archives of the New York School: 1989 (1 letter)
Art Dealers Association of America, Inc.: 1979 (1 letter)
Art Edifices Enterprises: 1976-1979 (2 letters)
Art for Mexico: 1986 (1 letter)
Art in America: undated (1 letter)
Artists for CORE: 1965 (1 letter)
Artists for SEDF
(Scholarship, Education and Defense Fund for Racial Equality, Inc.): 1967-1968 (3 letters)
Arts Commission of San Francisco: 1988 (1 letter)
Aruz, Joanna: 1972-1986 (4 letters)
Ashford: 1 undated photograph of children
Ashton, Dore and Matti: undated (1 illustrated postcard to Jenny Lee)
Atasoy, Sumer: undated and 1970-1972 (3 letters)
Auerbach, Dorthy: 1989-1990 (2 letters)
Australian National Gallery: see Graham, Lanier
Axe, Martin: undated and 1985-1987 (3 letters)
B., F.: 1964 (1 postcard)
Barger, Illia: 1989 (1 letter including a photograph of an art work)
Barnes Foundation: 1985 (1 letter)
Barnett: David Barnett Gallery: 1971-1973 (4 letters, including a photograph of art work by Kadish)
Barnoya, Miguel Benedict: 1982 (1 letter)
Baskin, David: 1991 (1 letter with illustrated envelope and 6 picture postcards)
Beckmann, Hannes: 1969 (1 letter)
Beeblitz, Patricia: 1972 (1 letter)
Bell, Leland: see Parsons School of Design
Benson, Elaine M.. (Benson Gallery): 1975 (1 letter and 1 postcard)
Kadish, Reuben, to Bromberg, Prof. (State University College, New Paltz, N.Y.): 1968 (1 letter)
Kadish, Reuben, to Constan, Eugene: undated (1 letter)
Kadish, Reuben, to Goldman, Shifra: undated (1 letter)
Kadish, Reuben, to Guggenheim, John: 1986-1987 (3 letters)
Kadish, Reuben, to Kadish family: 1990 (1 letter)
Kadish, Reuben, to Kadish, Ruth and Moishe: 1984 (1 letter)
Kadish, Reuben, to Kyle, Mr.: 1967 (2 letters)
Kadish, Reuben, to Lee, Jenny: 1987-1992 (66 letters)
Kadish, Reuben, to Mayer, Musa (Ingie): [1988] (1 letter)
Kadish, Reuben, to Mitchel, Julio: 1988 (1 postcard)
Kadish, Reuben, to Page, Lee: 1981 (1 letter)
Kadish, Reuben, to Pound, Brandy: undated (2 letters)
Kadish, Reuben, to Reed, Susan: 1992 (1 letter)
Kadish, Reuben, to Rodriguez family: undated and 1989 (2 letters)
Kadish, Reuben, to Spring, Bob: 1992 (1 letter)
Kaufman, B. John: undated (5 photographs of art work)
Kean College of New Jersey: 1981 (1 letter)
Kenkeleba House, Inc.: 1987 (2 letters and an exhibition announcement)
Kettenbach, Friedel: 1985 (1 Christmas card)
Klayman, Toby Judith: 1981 (1 letter)
Klinger, Randy: 1988 (1 letter)
Kohn, Gabe: 1959-1962 (6 letters)
Krafft, Jo: undated (1 letter)
Kroeplin, Jim: 1974 (1 letter)
Kupferman, Lawrence: 1943-1944 (6 letters)
Kyle, Thomas: see Kadish, Reuben; see Museum of Contemporary Crafts
L., Howard: 1980 (1 letter)
Lacy, Bill: see Lee, Jenny
Landmark Gallery, Inc.: 1977-1978 (2 letters)
Langsner, Jules: undated and 1937-1963 (36 letters, including a photograph of a railroad yard, and 9 photographs of Delhi, India)
Lebt?, Bill: 1967 (1 letter)
Lee, Jenny: undated and 1985-1992 (61 letters, including clippings, exhibition announcements, 2 books -- Dreams: Visions of the Night -- by David Coxhead and Susan Hiller, and -- Italian Renaissance Sculpture -- by John Pope-Hennessy, and 8 photographs of the Watts Towers; 7 letters are illustrated); see Kadish, Reuben. Letters to: Fox, George: 1987 (1 letter); Lacy, Bill: 1987 (1 letter); McNamara, Mary: 1987 (1 letter); Miller, Lee Ann (Cooper Union): 1987 (1 letter)
Leggist?, Gihuan: 1937 (1 letter)
Lehman: Herbert H. Lehman College: 1976 (1 letter)
Leong, Jim: 1990 (1 letter, including a resume)
Lesher, Derek: 1992 (1 letter)
Levine, Marsha: undated and 1973-1986 (12 letters)
Metropolitan Museum of Art: 1975- 1986 (2 letters)
Mexican Muralists in the United States: Their Work and Influence (NEH research project): 1980-1982 (7 letters)
Michigan State University: 1966 (1 letter)
Millburn Corporation: 1988 (1 announcement for New York Aegean Bronze Age Colloquium)
Miller, Lee Ann (Cooper Union): see Lee, Jenny
Mills, J. D.: 1984-1986 (3 Christmas cards)
Ministero per i Beni Culturali e Ambientali: 1989 (2 letters in Spanish)
Minneapolis Institute of Arts: 1959 (2 letters)
Mirski, Boris: 1945 (1 letter)
Mitchel, Julio: see Kadish, Reuben
Montgomery family: 1973-1986 (14 letters, including 19 photographs of family members and sculpture)
Moore, Lucile and Jim Al: 1985-1986 (2 Christmas cards)
Morgan, Dane D.: 1963 (1 letter)
Moss, Tobey C.: 1986 (1 letter)
Museu de Arte Moderna de Sao Paulo: 1959 (1 letter)
Museum of Contemporary Crafts: 1967 (1 letter)
Museum of Modern Art: 1963 (1 letter)
Mythic Arts Africa: 1987 (1 letter from Jenny Lee)
National Academy of Design: undated (1 letter)
National Gallery of Art: 1975 (1 letter)
National Geographic Society: undated (1 form letter)
National Museum of American Art: 1986-1990 (7 letters)
National Social Welfare Assembly, Inc.: 1967 (1 letter)
NBC News: undated (1 letter)
Neininger, Urban and Jean: undated and 1937-1989 (28 letters)
Nemanic, Todd: 1981 (1 exhibition announcement)
Newark Museum: 1968 (1 letter)
Newark Public School of Fine and Industrial Art: undated and 1956-1960 (4 letters)
Newbill, Al: 1976-1987 (4 letters)
New Jersey State Council on the Arts: 1989 (1 letter)
New Jersey State Museum: 1976-1991 (10 letters)
New York Civil Liberties Union: 1972 (1 postcard)
New York Studio School: 1971-1977 (5 letters)
New York University: 1963 (1 letter)
North Jersey Cultural Council: 1970-1974 (2 letters)
O'Connell, Hilda: undated and 1963-1990 (18 letters); see Kadish, Barbara
Odate, Gerlinde: 1966-1974 (2 letters, including one with an illustration)
O'Keeffe, Georgia: see Stark, Leonard
Oles, James: 1991 (1 postcard)
Oord, A. and B.: 1984 (1 postcard)
Oregon: University of Oregon: 1973-1976 (4 letters)
Pace, Stephen: 1976-1987 (1 letter and an exhibition announcement)
Page, Lee: see Kadish, Reuben
Panero, Lorenza (Laurie): 1989-1991 (1 letter enclosing a typescript "The Three Masters of Mexican Muralism and Their Impact on the Development of American Art", and 1 exhibition announcement in Spanish)
Parsons School of Design: 1991 (1 announcement for memorial for Leland Bell)
Pekarsky, Mel: 1992 (7 letters)
Perrone, Francis S., M.D.: 1972 (1 invoice)
Phillips, Bill and Helen: 1947-1981 (2 letters and a press release)
Pollock: see McCoy, Sande
Pollock, Charles and Sylvia: undated and 1972-1990 (18 letters)
Pollock, Jackson: 1944-1947 (5 letters)
Pollock-Krasner Foundation: 1988-1992 (6 letters)
Polyn, Winifred: 1989 (1 postcard)
Port Authority of N.Y. & N.J.: 1979 (1 letter)
Potter, Jeffrey: 1990-1991 (2 letters, including a typescript "A Note on Joseph Meert")
Pound, Brandy: 1976 (1 letter); see Kadish, Reuben
Preston, Joanna: 1969-1989 (11 letters)
Printmaking Workshop: 1976-1980 (4 letters)
Pritchard, Norman: 1976 (1 Christmas card)
Provost, Larry: 1990 (1 letter)
Pye, Elizabeth: 1970 (1 letter)
Queens College: 1969 (2 letter)
Racz, David: undated (1 postcard)
Rantz, Clark T.: 1979 (1 letter)
Rapee, George and Jody: 1992 (1 letter)
Reddy, Krishna: 1974-1980 (1 letter and 9 letters from other concerning Reddy, including one letter from Stanley William Hayter)
Reed, Susan: see Kadish, Reuben
Reim, Johannes and Lois Borgenicht: 1987 (1 birth announcement)
Renfro, Claudia: undated and 1988-1992 (7 letters, including an illustrated Christmas card)
Resika, Paul: 1989 (1 postcard)
Richards: 1990 (2 photographs of a man with a child)
Richardson, Louise and Joe: undated and 1985-1986 (1 letter and 3 Christmas cards)
Ringwood Manor Association of Arts: 1975 (1 letter)
Ripton, June and James: 1984-1986 (3 Christmas cards)
Rodriguez, Melinda and Nickolas: 1989-1991 (4 letters, including a photograph of Nickolas); see Kadish, Reuben
Roecker and Gnazzo: 1986 (1 postcard)
Root, William Pitt: see Masini, Donna
Ross, Tim: 1985 (illustrated New Year's announcement)
Ru, Ridley: see San, Tamar
Ruben, Richards: 1991 (1 wedding announcement)
Rubenfeld, Florence: 1989 (2 letters)
Rubinson, Karen S.: 1987 (1 letter)
Sacartoff, Elizabeth: 1946 (3 letters)
San, Tamar, and Ridley Ru: undated (1 letter)
San Francisco Friends of the Urban Forest: 1993 (1 certificate for memorial trees for Reuben and Barbara Kadish)
Spanish Bay Galleries: 1991 (1 illustrated letter)
Spring, Bob: see Kadish, Reuben
Stable Gallery: 1958 (1 letter)
Stanzl, Gouter: 1970 (1 letter)
Stark, Leonard: undated and 1937-1966 (73 letters, including one with illustrations, one enclosing a cut-out silhouette portrait, one enclosing a photograph of a boy with a raccoon and one, dated 1947, enclosing a photograph of a film shoot with Georgia O'Keeffe)
Stewart, Jack: 1972 (1 postcard)
Stony Brook: 1990-1992 (6 letters)
Sun, Carol: 1990 (2 letters, including an exhibition announcement and clippings)
University of Oregon: see Oregon: University of Oregon
Unver, Huseyin: 1968 (2 letters)
Vergette, Helen: 1978 (1 postcard)
Vidal, Francine: 1986 (1 letter)
Vulliemoz, Yvonne: 1987-1995 (1 postcard and 1 Christmas card)
Waxman, Wendy: 1989 (1 letter)
Wayne, June: see Tamarind Lithography Workshop, Inc.
Weatherspoon Art Gallery: 1973 (1 letter)
Weeks, Leigh K.: 1974-1987 (2 letters)
Welles, Halsted (Hal): undated and 1962-1966 (3 postcards and a calling card)
Wibroe-Sanders, Suzi: 1989-1990 (2 letters)
Williams, Govaine: 1986 (1 letter)
Williams, Julian and Le: undated and 1977-1990 (1 letter, 1 wedding invitation, and 3 Christmas cards [2 with photos of microbes and a forest])
Wines, Gul and Suzan: 1986 (1 Christmas card)
Witkin, Joy: 1990 (1 letter)
Wong, Jimmy, and Songsri Chang: 1985 (1 Christmas card)
Wood, Betty: 1975 (1 letter and a postcard)
Woodward/White, Inc.: 1983 (1 letter)
Works Progress Administration - California: 1937 (1 letter)
Wu, Nancy: 1987 (6 letters)
Zogbaum, Wilfrid: 1960-1962 (2 letters)
Collection Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
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:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
An interview of Manuel Neri conducted 2008 May 6, by art historian Lynn Robert Matteson, for the Archives of American Art, at the artist's home and studio, in Benecia, Calif.
Biographical / Historical:
Manuel Neri (1930- ) is a sculptor and educator living and working in Benecia, Calif. Neri taught at the California School of Fine Arts from 1959-1965 and at the University of California, Davis from 1965-1999. Neri is best known for his life size figurative sculptures.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 36 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
An interview of Duane Hanson conducted 1989 August 23-24, by Liza Kirwin, for the Archives of American Art.
Hanson speaks of his years growing up in rural Minnesota; his Swedish ancestry; the influence of his wives and family on his art; his teaching career spanning sixteen to twenty years; his experiences at Cranbook; discussions of his place in the art world as a Realist, Hyperrealist, or New Realist; influence of contemporary sculptors of the time on his work; the importance of American art being able to break into the Russian art scene; his process and the pitfalls and advantages of different types of materials, including bronze and polyester resin; the schedule he follows when working and how the pace of his schedule and deadlines affect his art; whether the materials he employs contributed to his cancer; the discussion of his disease, subsequent treatment, and how it impacted his art; the change in focus from his earlier pieces centered around war or social upheaval to his newer, satirical work such as "Jogger" or "Sunbather with Black Bikini," which featured more athletic or trendy characterizations of people; his thought process in choosing what to sculpt; discussions of his exhibition at the Whitney Museum and various galleries in the United States, Germany, Japan, New Zealand, and Australia, among others; and his ecological concerns. Duane Hanson also recalls Andy Warhol, John DeAndrea, Carl Milles, John Rood, Julius Schmidt, William McVey, Rodin, Robert Rauschenberg, Roy Lichtenstein, Claes Oldenburg, and others.
Biographical / Historical:
Duane Hanson (1925-1996) was a sculptor from Davie, Florida. Hanson was best known for his life-size figures, often dressed in real clothes.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview provided by the Lannan Foundation.
Biographical data; awards and citations; personal and business correspondence with: Inslee Hopper, consultant to the Chief of the Section of Fine Arts; Richard T. Feller, Clerk of Works for the Washington Cathedral; and Kennedy, Kennedy, Keefe and Carney (formerly Maginnis and Walsh and Kennedy), architects for the National Shrine of the Immaculate Conception in Washington, D.C. and the Cathedral of the Assumption of the Blessed Virgin Mary in Baltimore, Md. concerning his work at those churches; correspondence regarding his work at the Cathedral of St. John the Divine and the St. Thomas' Church, NYC, and others; sketches, drawings, etchings and studies for reliefs and sculpture; clippings; and photographs of Barbarossa and his sculpture.
ADDITION: Biographical data; awards and citations; military records; correspondence, mostly business but including a few letters from friends and fellow sculptors such as Richard Barthe, Walker Hancock, Thomas Lo Medico, and Heinz Warneke; writings; sketches, drawings, and etchings by Barbarossa and others; studies for relief and figural sculpture; photographs and slides of Barbarossa, others, and of his sculpture, notably of his commissioned sculpture for the New York World's Fair (1939), for several Treasury Dept. art projects in the 1930s, and for his post-WWII commissions for churches, primarily in Baltimore, Md., Washington, D.C. and NYC, and Catholic schools in Tarrytown and Yonkers, NY.
Biographical / Historical:
Sculptor; Belmont, Mass. Died 1992.
Provenance:
Donated 1980 by Theodore Barbarossa. Addition donated 1996 by Susan Gray Barbarossa, Barbarossa's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
An interview of Isabel Bishop conducted 1987 November 12-December 11, by Cynthia Nadelman, for the Archives of American Art.
Bishop discusses her family background; moving to New York; her studio in Union Square; "Reality" magazine; and her figurative sculpture and portraiture. She recalls Reginald Marsh, Kenneth Hayes Miller, Raphael Soyer, Alan Gruskin, Guy Pène du Bois, James Johnson Sweeney, and others.
Biographical / Historical:
Isabel Bishop (1902-1988) was a painter from New York, New York.
General:
Originally recorded 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 56 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Women painters -- New York (State) -- New York -- Interviews Search this
Painters -- New York (State) -- New York -- Interviews Search this
Edited drafts and master galley for Howlett's book, The Sculpture of Donald De Lue: Gods, Prophets, and Heroes (Boston: David Goodine, 1990); a draft for an article, "American Figurative Sculpture of the Thirties: A Rebirth in Bronze"; and a 2-page typescript by Alastair Duncan, "Jose de Creeft: A Master of Direct Carving," with corrections by Howlett.
Biographical / Historical:
Art dealer, author; Boston, Mass. President of Childs Gallery, Boston, Mass. and New York, N.Y.
Provenance:
Donated 1990 by D. Roger Howlett. The published book, The Sculpture of Donald De Lue was transferred to the Library of the National Museum of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Collection primarily documents American folk art collected by Frederick Fried (1908-1994) and his wife Mary McKensie Hill Fried (1914-1988). It includes photographic materials, newspaper clippings, magazine articles, research files, lecture notes, unpublished manuscripts, brochures, drawings, printed advertisements, blueprints, books, patents, correspondence, trade literature, sheet music, auction catalogs, oral history interviews, and commercially recorded music. Of particular interest is the material relating to carousels. There is a substantial amount of material relating to New York architecture, wood carvings, show figures, weathervanes, mechanical and coin operated machines, amusement parks, the circus, tattoos and lesser-known folk arts. The collection is arranged by subject or genre in the order maintained by Frederick and Mary Fried.
Arrangement:
Series 1, Professional Materials, 1930-1995, undated
Subseries 1.1, Lectures, 1968-1989, undated
Subseries 1.2, Research Notes, 1962-1975, undated
Subseries 1.3, Published and Unpublished Materials, 1960-1990, undated
Subseries 1.4, Exhibitions, 1966-1985, undated
Subseries 1.5, Correspondence, 1945-1995, undated
Subseries 1.6, Office Files, 1930-1991, undated
Series 2, Sculptors and Ship Carvers, 1855-1987, undated
Series 3, Ship Carving Reference Files, 1875-1990, undated
Subseries 16.2.1, Lectures and Performances, 1969-1973, undated
Subseries 16.2.2, Interviews, 1940-1976, undated
Subseries 16.2.3, Conferences and Meetings, 1973-1977
Subseries 16.2.4, Music, 1956, undated
Subseries 16.2.5, Other, undated
Subseries 16.3, Videotapes, 1982-1991, undated
Biographical / Historical:
Frederick P. Fried was born December 11, 1908 in Brooklyn, New York. He grew up in the Williamsburg section of Brooklyn where his father owned a clock business across the street from Charles Carmel, a carousel carver. Fried acquired a fine-arts education in the 1930s with an emphasis on sculpture. He served with the Air Force during the Second World War. After a successful military career, Fried worked as art director in several fashion agencies. He met Mary McKenzie Hill, an academically trained artist in one of the studios.
Mary McKenzie Hill was born in 1914 in Baltimore, Maryland. She graduated from the Maryland Institute of Fine Arts. After graduation, she spent a year abroad studying before she returned to the United States to work as a fashion illustrator in Baltimore and New York. During World War Two Hill was a draftsman for a firm of architects.
Fried and Mary Hill married in 1949. The couple had two children Robert Hazen and Rachel. Around 1953 Fried began to collect architectural ornaments in New York. Fried served as the art director for Bonwit Teller in New York City from 1955-1962. He left the fashion world in 1962 to pursue his passion for collecting and writing full time. Fried published his first book, Pictorial History of Carousels in 1964. In 1967, Fred and Mary Fried purchased a forty-acre farm in Bristol, Vermont where the family spent their summers.
In 1968, Fried led a national campaign to preserve the Titanic Memorial Lighthouse (Seamen's Church Institute at South Street). He also became active in politics and served as the campaign manager for a New York State senator. His interest in Indian cigar store figures resulted in his publication Artists in Wood: American Carvers of Cigar Store Indians, Show Figures and Circus published in 1970. The focus of the book was Samuel Anderson Robb a New York wood carver. Fried co-founded the National Carousel Association in 1973. In 1978, Fried wrote America's Forgotten Folk Art with his wife Mary. This publication covered subjects such as carousels, banner painting, scarecrows, beach sand sculpture, tattoos, cast iron toys, amusement park architecture and trade signs.
Fried's collecting goal was to first preserve artifacts and to then make them available through his writings and exhibitions. His most treasured relics were the items he salvaged from the ruins of Coney Island. Fried referred to such artifacts as the uncelebrated arts. He became one of the founders of the Anonymous Arts Recovery Society a group of individuals who saved architectural ornaments from the wreckers' balls. In addition, he was one of the founders of the National Carousel Round Table which was created to preserve hand-carved merry-go-rounds. As a result of his collecting, research and writing Fried became recognized as the authority on carousels, coin-operated machines, and cigar store figures. He served as a consultant to many Museums; in particular as chief consultant on American Folk Art for the Smithsonian Institution.
Frederick and Mary Hill worked together in many ways to document, collect, preserve and increase the awareness about primarily the folk arts. Mary McKenzie Hill Fried passed away in 1988 at the age of seventy-four. Frederick P. Fried died July 1994 at the age of eighty-six.
Related Materials:
Materials in the Archives Center, National Museum of American History
E. Howard Clock Company Records (NMAH.AC.00776)
M. Francis Misklea Carousel Collection (NMAH.AC.0665)
Archives Center Carousel Collection (NMAH.AC.0675)
Messmore and Damon, Incorporated Company Records (NMAH.AC.0846)
Anthony W. Pendergast Collection (NMAH.AC.0882)
Frank Paulin Photoprints (NMAH.AC.1373)
Wurlitzer Company Records (NMAH.AC.0469)
Provenance:
Collection a bequest of the Frederick Fried Estate.
Rights:
Reproduction restricted due to copyright or trademark. Fees for commercial reproduction.
