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Claire Falkenstein papers

Creator:
Falkenstein, Claire, 1908-1997  Search this
Names:
Coos Art Museum  Search this
Fresno Art Museum  Search this
Galerie Anderson-Mayer  Search this
Galerie Stadler  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Los Angeles Museum of Art  Search this
Malvina Miller  Search this
Martha Jackson Gallery  Search this
Merging One Gallery  Search this
Mills College -- Faculty  Search this
Pond Farm Workshop  Search this
San Francisco Museum of Art  Search this
University of California, San Francisco. School of Fine Arts -- Faculty  Search this
Green, Ray, 1908-1997  Search this
Guggenheim, Peggy, 1898-1979  Search this
Kuh, Katharine  Search this
O'Donnell, May, 1906-2004  Search this
Sawyer, Kenneth B.  Search this
Still, Clyfford, 1904-  Search this
Still, Patricia  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Wildenhain, Frans, 1905-1980  Search this
Extent:
42.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Diaries
Scrapbooks
Interviews
Date:
circa 1914-1997
bulk 1940-1990
Summary:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Scope and Content Note:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.

Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.

Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.

Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.

Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.

Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.

Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.

Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.

There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.

Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.

Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)

Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)

Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)

Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)

Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)

Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)

Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)

Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)

Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)

Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)
Biographical Note:
Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.

Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.

During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.

In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.

In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.

During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.

Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.

Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.

Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.

Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.

Falkenstein died in 1997 at the age of 89.
Related Material:
The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.
Provenance:
The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.
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.
Occupation:
Sculptors -- California  Search this
Painters -- California  Search this
Jewelers -- California  Search this
Educators -- California  Search this
Authors -- California  Search this
Topic:
Art patronage  Search this
Artists' studios  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Sketchbooks
Diaries
Scrapbooks
Interviews
Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.falkclai
See more items in:
Claire Falkenstein papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9911c74ff-413b-4b54-9280-89c8b0480495
EDAN-URL:
ead_collection:sova-aaa-falkclai
Online Media:

Associated American Artists records

Creator:
Associated American Artists  Search this
Names:
Lewenthal, Reeves, 1909-1987  Search this
Liederman, Maurice J.  Search this
Wood, Grant, 1891-1942  Search this
Extent:
55 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1934-1983
Summary:
The records of the Associated American Artists measure 55 linear feet and date from circa 1934 through 1983. The organization was founded in 1934 to stimulate interest in prints throughout the United States by promoting the sale of prints through department stores and other venues. Later, other genres of works of art were added and the department store abandoned in favor of a New York headquarters. The records contain voluminous files on artists; dealers, galleries, and museums; and clients. Also found is business correspondence, financial records, sales and exhibition catalogs, thirteen dismantled scrapbooks, and posters.
Scope and Content Note:
The records of the Associated American Artists measure 55 linear feet and date from circa 1934 through 1983. They document the organization's work producing and selling limited-edition prints by American artists. The records contain voluminous files on artists; dealers, galleries, and museums; and clients. Also found is business correspondence, financial records, sales and exhibition catalogs, thirteen dismantled scrapbooks, and posters.

The dates of the records include the portion that was loaned to the Archives in 1965-1966 and microfilmed on reels D254-D256.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Artist Files,1951-1983 (Box 1-19; 18.5 linear feet)

Series 2: Dealers, Galleries and Museums, circa 1958-1980 (Box 19-29; 10.5 linear feet)

Series 3: Client Files, circa 1958-1980 (Box 29-48; 19 linear feet)

Series 4: Business Correspondence, 1959-1980 (Box 48-49; 2 linear feet)

Series 5: Financial Records, 1960-1981 (Box 50-51; 1 linear feet)

Series 6: Sales Catalogs, 1955-1979 (Box 51-53; 2 linear feet)

Series 7: Exhibition Catalogs, 1950-1978 (Box 54; 1 linear foot)

Series 8: Scrapbooks, 1958-1980 (Box 55-57; 0.9 linear feet)

Series 9: Posters, circa 1960s-1970s
Historical Note:
The Associated American Artists was created in 1934 with the mission of bridging the gap between artists and their audiences by making fine art affordable, accessible, and attractive for the general American public. The A.A.A. offered new editions of prints to collectors at very reasonable prices. This was accomplished by publishing limited-edition prints of etchings and lithographs by American artists that sold for as little as five dollars each. The organization commissioned original graphic art from many notable American artists, whose art often reflected or commented on the social ideas of the era. All lithographs and etchings were produced in editions ranging from 125 to 250 impressions. Between 1934 and 1945, the organization published more than 600 limited-edition prints. An early collaboration allowed the prints to be displayed and sold in fifty department stores nationwide. Later, the department stores were abandoned in favor of a headquarters in a gallery in New York City. By the 1950s, the organization began to design fabrics as well.

The organization was also notable for its innovative use of modern merchandising and advertising techniques to sell and introduce high-quality artwork to a broad audience. New products were introduced in newspaper articles and magazines that targeted both the public and professional trade audiences. Prints were also advertised on the back of periodicals, which introduced the art to an even wider audience across the country.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels D254-D256 and 3176. Reels D254-D256 include material related to the Associated American Artists' records that were returned to the lender. Reel 3176 contains photocopies of correspondence between Grant Wood, Reeves Lewnthal, and Maurice Liederman and that were discarded after microfilming. This material is not described in the collection container inventory.
Provenance:
Sylvan Cole and Adolf Dehn loaned the Archives of American Art related Associated American Artists' records for microfilming on reels D254-D256 in 1965-1966. Mrs. Allan Kine gave photocopies of correspondence on reel 3176 to the Archives in 1974. The Associated American Artists donated all other material begining in the late 1970s through 1988.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C., facility.
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 -- United States  Search this
Art -- Marketing  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Arts organizations -- New York (State)
Genre/Form:
Scrapbooks
Photographs
Citation:
Associated American Artists records, circa 1934-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.assoamea
See more items in:
Associated American Artists records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97a2161a3-0634-4c1b-b588-cac7a0eba4e7
EDAN-URL:
ead_collection:sova-aaa-assoamea
Online Media:

Charles City County -- Upper Weyanoke

Provenance:
Tuckahoe Garden Club of Westhampton  Search this
Former owner:
Minge family  Search this
Orgain, Martha A.  Search this
Douthat, Fielding Louis  Search this
Douthat, Mary Willis Marshall  Search this
Garnett, Alexander Yelverton Peyton  Search this
Bahnsen, Henry Lawrence  Search this
Moon, Louise  Search this
Moon, John  Search this
Gray, Sarah Moon  Search this
Owner:
Gray, Lawrence Lewis  Search this
Gardener:
Edwards, Norman  Search this
Edwards, Wesley  Search this
Landscape architect:
Callaway, Chip  Search this
Landscape designer:
Wharton, Abbie  Search this
Thompson, Sue  Search this
Tosh, Terry  Search this
Arborist:
Girardi, Peter  Search this
Landscaper:
Carter, Ike  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
39 Digital images (color, JPEG file.)
1 Slides (photographs) (color, slide., 35 mm.)
Type:
Archival materials
Digital images
Slides (photographs)
Place:
United States of America -- Virginia -- Charles City County -- Charles City
Upper Weyanoke (Charles City, Virginia)
Scope and Contents:
2 folders, 39 digital images (2019), and 1 35mm slide (reproduction of a 1931 plan).
Varying Form:
Weyanoke
General:
That the 360-foot long garden path was cultivated in the mid-19th century when the two-story Greek Revival brick house was built is undisputed. Less certain is whether there was an earlier version of the garden in colonial times when Upper Weyanoke was settled as a James River plantation. Transport to this location during the colonial period would have been via the river and the owners would have provided a gracious entry. Moreover, there are trees along the garden path that predate 1850, even a live oak not usually grown in this climate. Axial lines and symmetry were features of colonial gardens, and the walk leads directly from the living quarters to the river. The 19th century Colonial Revival garden path may well have been on the site of the original 17th and garden path overlooking terraces. There was a 17th century brick garrison built on the property to defend against native attacks; the second existing house, a 1-1/2 story brick cottage with later additions cited in official documents, was originally built in the first quarter of the 19th century.

Since 2010 the current owners have devoted eight years to restoring and replanting the garden path, a linear grass walkway bordered on each side by southern and saucer magnolia, fig, boxwood, crape myrtle, camellia, vitex, spirea and huge sweet olive that have grown beyond their usual dimensions. After clearing dead vegetation and weeds from the borders they planted 1500 heirloom narcissus, dug a new well and installed a sprinkler system. In 2011 Hurricane Irene toppled 30 trees in this garden and stalled the restoration. With more sunshine reaching the borders previously hidden perennials started blooming again, including peonies, iris, red spider lilies and narcissus. Hundreds of bulbs, shrubs and trees were added to the garden path, especially native varieties favored by pollinators. Weather conditions include strong winds off the James River so non-symmetrical drifts of certain plants have been more successful than trying to sustain matching borders.

The 53-acre property has been inhabited nearly continuously since the 1600's and the word Weyanoke translates to Land of Sassafras in the native language. The sassafras growing at the river end of the garden path is more than 60 feet tall, now at cliff's end due to erosion. The plantation was commandeered by Union troops under Generals Grant and Sheridan during the Civil War; ornamental gardens including terraces would have been trampled. Also, author Mary Johnston used Upper Weyanoke as the setting for To Have and To Hold written in 1900. The property was listed in the Virginia Landmarks Register and the National Register of Historic Places in 1980.

Persons associated with the garden include: the Minge family (former owners, mid-1700's-1840's); Martha A. Orgain (former owner, c. 1842-1854); Fielding Lewis Douthat and Mary Willis Marshall Douthat and family (former owners, 1854-1930's); Dr. and Mrs. Alexander Yelverton Peyton Garnett (former owners, 1930's-1942); Mr. and Mrs. Henry Lawrence Bahnsen (former owners, 1942-1974); Mrs. Louise Moon (former owner, 1974-1997); Mr. and Mrs. John Moon and Sarah Moon Gray (former owners, 1997-2010); Mr. and Mrs. Lawrence Lewis Gray (owners, 2010- ); Norman Edwards and Wesley Edwards (gardeners, 2010- ); Chip Callaway (landscape architect, 2010-2014); Abbie Wharton, Sue Thompson and Terry Tosh (landscape designers, 2011- ); Peter Girardi (arborist, 2010- ); Ike Carter (landscaping, 2010- ).
Additional images of Garden Path before and during restoration and after Hurricane Irene (2011); historic images from the Arthur A. and Sidney Shurcliff collections.
Related Materials:
See the Archives of American Gardens' Eleanor Weller Reade Collection and the Hollerith Family Slide Collection for additional images. Measured drawing (1931) by Arthur Shurcliff located at the Colonial Wiliamsburg Foundation Library.

Related materials found at the Francis Loeb Library, Harvard Graduate School of Design, Cambridge, Massachusetts; Special Collections, John D. Rockefeller, Jr. Library, The Colonial Williamsburg Foundation, Williamsburg, Virginia state.
Collection Restrictions:
Access to original archival materials 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:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Virginia -- Charles City  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File VA234
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Virginia
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb699d81bd1-6870-4854-a6f3-71a53e2c0a4e
EDAN-URL:
ead_component:sova-aag-gca-ref32528

MS 4325 Report to the Superintendent of the United States Coast Survey upon Ancient Tumuli in East Florida

Creator:
Harrison, A. M. (Alexander Medina), 1829-1881  Search this
Extent:
1 Volume
49 Pages
20 Photographs
5 Items (diagrams )
Type:
Collection descriptions
Archival materials
Volumes
Pages
Photographs
Place:
Florida -- Archeology -- Mounds
Date:
1875
Local Numbers:
NAA MS 4325
Citation:
Manuscript 4325, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS4325
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw333c83d58-531c-4808-b055-53fe9f1ff035
EDAN-URL:
ead_collection:sova-naa-ms4325
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View MS 4325 Report to the Superintendent of the United States Coast Survey upon Ancient Tumuli in East Florida digital asset number 1
Online Media:

MS 4419 Copy and Fragment of John Colton Sumner Journal

Creator:
Sumner, John Colton  Search this
Stanton, Robert Brewster, 1846-1922  Search this
Addressee:
Holmes, William Henry, 1846-1933  Search this
Type:
Collection descriptions
Archival materials
Journals (accounts)
Date:
1869
Scope and Contents:
August 17-27 [1869]. 3 pages. Found in J. W. Powell's 1869 journal (Manuscript 1795a). Written in pencil on 3 torn-out leaves similar to those in the notebooks used by Powell for his journal. Believed to be a fragment of Sumner's original notes. July 5- August 31, 1869. 22 leaves and pages. Typed copy made from handwritten copy believed to have been made by Sumner from his original notes. Stanton, Robert Brewster to William H. Holmes, Washington, D. C. New York City, March 23, 1907. 1 page Typed letter signed. Acknowledges receipt of copy of Sumner's journal, which he recognises as being in Sumner's hand and signed by him. [No previous correspondence in Smithsonian Institution files, June, 1954.]
Local Numbers:
NAA MS 4419
Genre/Form:
Journals (accounts)
Citation:
Manuscript 4419, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS4419
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw34d05112b-5284-4f82-9b77-2c5da425bf0a
EDAN-URL:
ead_collection:sova-naa-ms4419
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View MS 4419 Copy and Fragment of John Colton Sumner Journal digital asset number 1
Online Media:

Guild Art Gallery records, circa 1933-1937

Creator:
Guild Art Gallery  Search this
Subject:
Walinska, Anna  Search this
Ney, Lloyd Raymond  Search this
Lefranc, Margaret  Search this
Gorky, Arshile  Search this
Menkes, Sigmund  Search this
Type:
Scrapbooks
Citation:
Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.
Topic:
Women art dealers  Search this
Jewish artists  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)8280
(DSI-AAA_SIRISBib)210451
AAA_collcode_guilart
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210451
Online Media:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, circa 1961-2018

Creator:
Park Place Gallery Art Research, Inc.  Search this
Paula Cooper Gallery  Search this
Subject:
Smith, Tony  Search this
Thompson, Bob  Search this
Valledor, Leo  Search this
Campus, Peter  Search this
Cooper, Paula  Search this
Bartlett, Jennifer  Search this
Grosvenor, Robert  Search this
Forakis, Peter  Search this
Fleming, Dean  Search this
Di Suvero, Mark  Search this
Murray, Elizabeth  Search this
Melcher, Tamara  Search this
Magar, Anthony  Search this
Leonard, Zoe  Search this
Novros, David  Search this
Myers, Forrest Warden  Search this
Shields, Alan  Search this
Ruda, Edwin  Search this
Paula Johnson Gallery  Search this
Type:
Interviews
Transcripts
Citation:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, circa 1961-2018. Archives of American Art, Smithsonian Institution.
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)13392
(DSI-AAA_SIRISBib)264503
AAA_collcode_parkplag
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_264503
Online Media:

Jack Stewart papers, 1926-2010

Creator:
Stewart, Jack Thomas, 1926-2005  Search this
Subject:
Thomas, Steffen  Search this
Kahn, Wolf  Search this
Townsend, Rodman  Search this
Romano, Clare  Search this
Toney, Anthony  Search this
Egan, Charles  Search this
Weiner, Sam  Search this
Baxter, Violet  Search this
Walker, Herbert Brooks  Search this
Goulet, Lorrie  Search this
Gold, Nancy  Search this
New York City Transit Authority  Search this
World Trade Center (New York, N.Y.)  Search this
Yale University  Search this
Type:
Drawings
Sound recordings
Paintings
Sketchbooks
Interviews
Transcripts
Video recordings
Citation:
Jack Stewart papers, 1926-2010. Archives of American Art, Smithsonian Institution.
Topic:
Street art  Search this
Muralists -- New York (State) -- New York  Search this
Mail art  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Graffiti art  Search this
Designers -- New York (State) -- New York  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)15863
(DSI-AAA_SIRISBib)294349
AAA_collcode_stewjack
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_294349
Online Media:

New Bedford Whaleship Crew List

Physical Description:
paper (overall material)
Measurements:
overall: 11 5/8 in x 18 in; 29.5275 cm x 45.72 cm
Object Name:
crew list
Crew list recorded:
United States: Massachusetts, New Bedford
Date made:
1876-05
Related event:
The Development of the Industrial United States  Search this
Related Publication:
On the Water online exhibition
Related Web Publication:
http://americanhistory.si.edu/onthewater
Credit Line:
Gift of J. T. Brown
ID Number:
TR.103009.03
Catalog number:
103009.03
Accession number:
12006
See more items in:
Work and Industry: Maritime
Cultures & Communities
Work
Industry & Manufacturing
Natural Resources
Transportation
On the Water exhibit
Exhibition:
On the Water
Exhibition Location:
National Museum of American History
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-2c44-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1343175
Online Media:

Foot Pedal, used by Buddy Rich

User:
Rich, Bernard "Buddy"  Search this
Maker:
Rogers  Search this
Physical Description:
metal (overall material)
wood (overall material)
Measurements:
overall: 5 1/2 in x 13 1/2 in x 10 in; 13.97 cm x 34.29 cm x 25.4 cm
Object Name:
foot pedal
Place made:
United States: Ohio, Covington
Date made:
1962-1970
Credit Line:
Gift of Cathy and Marie Rich
ID Number:
1988.0665.24
Accession number:
1988.0665
Catalog number:
1988.0665.24
See more items in:
Culture and the Arts: Musical Instruments
Music & Musical Instruments
Percussion
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746aa-4b35-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_607077
Online Media:

Memory Moog, used by Herbie Hancock

User:
Hancock, Herbie  Search this
Manufacturer:
Memory Moog  Search this
Physical Description:
wood (overall material)
metal (overall material)
plastic (overall material)
Measurements:
synthesizer: 6 in x 40 in x 17 3/8 in; 15.24 cm x 101.6 cm x 44.1325 cm
pedal: 2 5/8 in x 19 5/8 in x 6 in; 6.6675 cm x 49.8475 cm x 15.24 cm
Object Name:
synthesizer
Date made:
ca 1983
Related Publication:
Herbie Hancock and the Rockit Band
Credit Line:
Gift of Herbie Hancock
ID Number:
2004.0055.01
Accession number:
2004.0055
Catalog number:
2004.0055.01
See more items in:
Culture and the Arts: Musical Instruments
Music & Musical Instruments
Electronic Musical Instruments
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-6007-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1255577
Online Media:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records

Creator:
Park Place Gallery Art Research, Inc.  Search this
Paula Cooper Gallery  Search this
Names:
Paula Johnson Gallery  Search this
Bartlett, Jennifer, 1941-  Search this
Campus, Peter, 1937-  Search this
Cooper, Paula, 1938-  Search this
Di Suvero, Mark, 1933-  Search this
Fleming, Dean  Search this
Forakis, Peter  Search this
Grosvenor, Robert, 1937-  Search this
Leonard, Zoe  Search this
Magar, Anthony, 1936-  Search this
Melcher, Tamara  Search this
Murray, Elizabeth, 1940-  Search this
Myers, Forrest Warden, 1941-  Search this
Novros, David, 1941-  Search this
Ruda, Edwin  Search this
Shields, Alan, 1944-  Search this
Smith, Tony, 1912-1980  Search this
Thompson, Bob, 1937-1966  Search this
Valledor, Leo, 1936-1989  Search this
Extent:
135.3 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Transcripts
Date:
circa 1961-2018
Summary:
The records of the New York artist-cooperative Park Place, the Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery. There is an 85.5 linear foot unprocessed addition to this collection donated in 2023 that includes artist files, exhibition files, correspondence, audiovisual material, archtectural plans and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Scope and Content Note:
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.

The collection is divided in three series, one series for each gallery represented in this collection. The records in each series are not comprehensive and do not represent the full scope of operations at each gallery. Due to the original arrangement of materials, some records related to Park Place Gallery are found in Series 3, and scattered records related to Paula Cooper Gallery are found in Series 2. Researchers are encouraged to reference both series.

Series 1, Paula Johnson Gallery records, contains six folders and includes an artist file for Bob Thompson; two ledger pages of accounts receivables; scattered exhibition announcements and flyers; two photographs of artwork by Vernon Lobb; tax records, and a handful of legal organizational records.

Park Place, The Gallery of Art Research, Inc. records are filed in Series 2 and is arranged in five subseries: correspondence, business files, artists' files, financial records, and printed materials. The correspondence is between gallery employees and clients, museums, and other galleries regarding artwork inquiries, sales and exhibitions. Business files are limited in scope and include documents related to the founding of the gallery, a guest book, and one folder of legal and financial records. Artists' Files for eight of the ten Park Place Gallery artists are found: Dean Fleming, Peter Forakis, Tony Magar, Tamara Melcher, Forrest Myers, David Novros, Edwin Ruda, and Leo Valledor. Not present in this collection are files for Mark di Suvero and Robert Grosvenor. Artists' Files contain a variety of materials including artists' statements, bibliographies, biographies, correspondence, exhibition flyers, interview transcripts, clippings and other printed materials, and photographic materials. Financial Records include check ledgers, a general ledger, paid bill receipts, sales invoices, tax forms, and other miscellaneous financial and banking records. Printed Materials include newspaper clippings, gallery announcements, an interview transcript, a handwritten gallery floor plan, and a poster for the 1964 Park Place Invitational Show drawn by Mark di Suvero with artists' names handwritten by Robert Grosvenor.

The bulk of the collection is the records of Paula Cooper Gallery, Series 3. This series contains similar materials as Series 2 and is arranged in the same five subseries. Correspondence includes responses to appraisal requests (1968-1997) and copies of outgoing gallery correspondence from 1985-1999. Business Files contain documentation related to advertising and renovations to the gallery, as well as an artwork inventory book from the early years of the gallery's operation. The bulk of this series is comprised of Artists' Files which contain varied materials such as correspondence with artists, museums, and galleries regarding installations, artwork fabrication, and other business; biographies and bibliographies; exhibition files; printed materials; and photographic materials of artwork and installations. There is considerable documentation for artists Jennifer Bartlett, Peter Campus, Zoe Leonard, Elizabeth Murray, Alan Shields and the estate of Tony Smith. Sales invoices, consignment records, payment ledgers, cancelled checks and other financial materials are found in Financial Records. Printed Materials are comprised of some newspaper and magazine clippings, an interview transcript, and a copy of a manuscript.

There is an 85.5 linear foot unprocessed addition to this collection donated in 2022 that includes artist files, exhibition files, correspondence, audiovisual material, architectural plans, and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.
Arrangement:
The collection is arranged as 4 series:

Series 1: Paula Johnson Gallery, 1963-1967 (Box 1; 6 folders)

Series 2: Park Place, The Gallery of Art Research, Inc., 1961-1973, 1989 (Boxes 1-4, 50-51, OV 52; 4.1 linear feet)

Series 3: Paula Cooper Gallery, 1962-2006 (Boxes 4-49, 51; 45.7 linear feet, ER01; 0.001 GB)

Series 4: Unprocessed Addition, circa 1970-2018 (Boxes 53-138, OV 139-146; 85.5 linear feet)
Historical Note:
The artists' cooperative Park Place, The Gallery of Art Research, Inc. opened in November 1965 at 542 West Broadway, showing the work of ten young contemporary artists. The cooperative did not represent an art movement, but frequently exhibited large-scale, non-figurative, geometric paintings and sculptures.

Many of the gallery's artists had attended art school in California and shared similar ideas about art, community, and collaboration. Since 1962, they had been informally exhibiting together at 79 Park Place and other various New York City locations under the name Park Place Gallery. With the successes of their informal exhibitions, and the loss of their lease at 79 Park Place, the group formalized their cooperative under the umbrella non-profit, Art Research, Inc. in 1965.

The cooperative was comprised of five sculptors, five painters, and five collectors. Members included sculptors Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, and Forrest Myers; painters Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor; and collectors Virginia Dwan, Allen and Betty Guiberson, J. Patrick Lannan, Vera List, and John and Lupe Murchison. The collectors each donated an artwork by one of the artists for sale in the gallery, as well as financed the gallery's annual operating budget. As compensation, each collector was given one major work of art by each artist every year.

Paula Cooper (nee. Johnson) joined Park Place Gallery in 1966 and she became director in late 1966-early 1967. Previously, from 1964-1966, she ran Paula Johnson Gallery, showing artwork by Bob Thompson and other young artists.

Park Place, The Gallery of Art Research, Inc. had its first group show in February 1966. In addition to showing art, the gallery occasionally held jazz sessions and other art-related gatherings. The gallery physically closed at the end of July 1967. However, Paula Cooper continued managing the sale of artwork and organized exhibitions at various locations. The final exhibition of Park Place Gallery artists was held at M.I.T. in late spring of 1968.

Paula Cooper opened Paula Cooper Gallery in Soho at 96 Prince Street in 1968. Her gallery is often credited as being the first gallery in Soho and thus paved the way for the migration of uptown galleries to the neighborhood. From the beginning, the gallery showed primarily conceptual and minimalist art and she continued representing some of the Park Place artists. Artists represented by Paula Cooper Gallery and found in this collection include Jennifer Bartlett, Dara Birnbaum, Peter Campus, Michael Hurson, Zoe Leonard, Robert Mangold, Elizabeth Murray, Cady Noland, Adrian Piper, Ulrich R├╝ckriem, Edwin Ruda, Alan Shields, the estate of Tony Smith, Joseph White, Chris Wilmarth, Kes Zapkus, and many others. The gallery continues to operate in Chelsea on West 21st Street.

Sources consulted include "Reimaging Space: the Park Place Gallery Group in 1960s New York" by Linda Dalrymple Henderson, published by Blanton Museum of Art, 2008; and, "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," by Liza Kirwin, 2007 (http://www.aaa.si.edu/exhibitions/paula-cooper).
Related Material:
Related collections found among the holdings of the Archives of America include a sound recording of a lecture given by Paula Cooper (Museum of Fine Arts, Boston sound recordings, May 18, 1983-February 8, 1984); audio tapes which include Paula Cooper (Bruce D. Kurtz video and audio recordings and papers, 1966-1995); and two silent 16mm films by Kenny Schneider (Park Place Gallery artists films, 1967.)
Provenance:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records were donated by Paula Cooper, director of the galleries, in thre accessions in 2006, 2009 and 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. 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.
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Transcripts
Citation:
Park Place, the Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parkplag
See more items in:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw926d9e348-f361-4c9a-bec4-7cb8f9c08556
EDAN-URL:
ead_collection:sova-aaa-parkplag

Guild Art Gallery records

Creator:
Guild Art Gallery  Search this
Names:
Gorky, Arshile, 1904-1948  Search this
Lefranc, Margaret  Search this
Menkes, Sigmund, 1896-1986  Search this
Ney, Lloyd Raymond, 1893-1964 or 5  Search this
Walinska, Anna  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
circa 1933-1937
Summary:
The records of New York's Guild Art Gallery measure 1.0 linear feet and date from circa 1933-1937. Records document the operation of the gallery for the duration of its existence from August 1935-1937, through correspondence, including some with artists, exhibition files, business and financial records, printed material, a scrapbook, a sketch by Anna Walinska, and photographs of artwork and the gallery.
Scope and Contents:
The records of New York's Guild Art Gallery measure 1.0 linear feet and date from circa 1933-1937. Records document the operation of the gallery for the duration of its existence from August 1935-1937, through correspondence, including some with artists, exhibition files, business and financial records, printed material, a scrapbook, a sketch by Anna Walinska, and photographs of artwork and the gallery.

Correspondence is with artists, business associates, and museums, and in particular records the gallery's efforts to build a client base, establish financial security, and foster the market for modern art. Of note is more detailed documentation of the gallery's representation of painter Lloyd Ney, and records documenting Walinska's attempt to promote the work of Sigmund Menkes which are indicative of the extent to which the gallery was concerned with the development and promotion of art by Jewish artists.

Exhibition files including announcements, catalogs, and price lists, printed material including press clippings, and a dismantled scrapbook of printed material, primarily document the exhibition history of the gallery and provide details of its focus on modern art and the extent of the publicity the gallery received.

Business and financial records provide a variety of ways to examine the gallery's day-to-day operations and accounts. In addition to artist account ledgers and agreements, this series records balances, charges, deposits, and receipts and includes two notebooks with handwritten accounts of activities at the gallery for 1937.

Additionally, there is a pen and ink sketch by Anna Walinska, black and white copy prints of artwork by gallery artists, and a few original photos of the gallery's interior and exhibitions.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Correspondence, 1935-1937 (10 folders; Box 1)

Series 2: Exhibition Files, 1935-1937 (5 folders; Box 1)

Series 3: Business and Financial Records, 1935-1937 (13 folders; Box 1)

Series 4: Printed Material, 1935-1937 (7 folders, Box 1)

Series 5: Scrapbook, 1935-1937 (4 folders; Box 1)

Series 6: Sketch and Photographs, circa 1933-1937 (4 folders; Box 1)
Biographical / Historical:
Founded by painter Anna Walinska (1906-1997) and painter and illustrator Margaret Lefranc (1907-1998), the Guild Art Gallery opened in August 1935 at 37 West 57th Street in New York. Walinska and Lefranc were known for their promotion of modern art and their gallery was the venue for Arshile Gorky's first solo exhibition in the city. The gallery was also committed to promoting Jewish artists during a time of growing antisemitism at home and abroad.

In 1935 Walinska and Lefranc were quoted in Art Digest as stating that their plans for the new gallery were to "exhibit, without charge, the work of contemporary artists, whether known or unknown; to develop, through a receptive audience, a better understanding of the creative expression and the problems of creative expression and the problems of contemporary society; and to illustrate the relationship of painting with the other arts." The gallery's opening exhibition featured work by both Walinska and Lefranc, as well as by Boris Aronson, Don Forbes, Henry Major, Rosa Newman, Philip Reisman, Ben-Shmuel, Ary Stillman, and, notably, Arshile Gorky. Gorky's first solo exhibition in New York was subsequently held at the gallery in December 1935.

Walinska's interest in promoting Jewish artists is evidenced in records of a 1936 letter writing campaign to seek prospective Jewish clients for the work of School of Paris painter Sigmund Menkes and, in particular, his painting The Torah. Walinska wrote in her letters "It seems to me in view of the fact that a renewed interest in Jewish culture has been awakened by recent world events, that effort should be made towards a development and conservation of Jewish Art." Jewish artists were represented in three-quarters of the gallery's inaugural exhibition season, and consistently thereafter.

Walinska and Lefranc initially sponsored lectures on modern art to generate income but outgoing 1936 letters indicate the gallery was struggling financially and Walinska and Lefranc sought support from prominent and wealthy figures in the art and business worlds such as Winslow Ames, George Gershwin, Juliana Force, A. Conger Goodyear, William Randolph Hearst, Albert C. Barnes, and Alfred H. Barr.

After almost two years in operation, the Guild Art Gallery closed in 1937.
Related Materials:
Also found among the holdings of the Archives of American Art are the Anna Walinska papers, 1927-2002.
Provenance:
Margaret Lefranc, co-founder of the Guild Art Gallery, donated the records to the Archives of American Art in 1981.
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.
Topic:
Women art dealers  Search this
Jewish artists  Search this
Function:
Art galleries, Commercial -- New York (State)
Artist-run galleries -- New York (State)
Genre/Form:
Scrapbooks
Citation:
Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.guilart
See more items in:
Guild Art Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aa27159d-d543-4e12-867f-754051dc0989
EDAN-URL:
ead_collection:sova-aaa-guilart
Online Media:

Clouded Leopard Cubs Born

Creator:
National Zoo  Search this
Type:
YouTube Videos
Uploaded:
2010-05-07T18:23:18.000Z
YouTube Category:
Pets & Animals  Search this
Topic:
Zoology;Animals;Veterinary medicine;Animal health  Search this
See more by:
SmithsonianNZP
Data Source:
National Zoo
YouTube Channel:
SmithsonianNZP
EDAN-URL:
edanmdm:yt_rcdGbUSChXs

Jack Stewart papers

Creator:
Stewart, Jack, 1926-2005  Search this
Names:
New York City Transit Authority  Search this
World Trade Center (New York, N.Y.)  Search this
Yale University -- Students  Search this
Baxter, Violet  Search this
Egan, Charles, 1911-  Search this
Gold, Nancy  Search this
Goulet, Lorrie, 1925-  Search this
Kahn, Wolf, 1927-  Search this
Romano, Clare  Search this
Thomas, Steffen, 1906-  Search this
Toney, Anthony  Search this
Townsend, Rodman  Search this
Walker, Herbert Brooks, 1927-  Search this
Weiner, Sam  Search this
Extent:
9.9 Linear feet
7.31 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sound recordings
Paintings
Sketchbooks
Interviews
Transcripts
Video recordings
Date:
1926-2010
Summary:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.
Scope and Content Note:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.

Biographical materials include a "Video Archive" in digital format, consisting mainly of Jack Stewart being interviewed on several occasions by Nancy Gold for her television show, "What It Takes." In addition to discussions about Stewart's career, the shows include examples of his paintings and murals along with views of him at work.

Correspondence mostly documents Stewart's artistic career and work as an educator and administrator; there is some personal correspondence, as well. Of particular note are letters to Rodman Townsend who commissioned a mural about the human brain; they discuss the details of the project and its evolution, brain research, and subsequent exhibitions of related paintings. Illustrated letters and greeting cards with original artwork are from Violet Baxter, Lorrie Goulet, Wolf Kahn, Clare Romano, Anthony Toney, and Sam Weiner. Herbert Brooks Walker sent several pieces of mail art and, while in Italy, collected graffiti information for Stewart. Letters Stewart wrote to his mother span decades; the best represented periods are the years he served in the U.S. Army and studied at Yale University.

Writings and notes consist of Stewart's dissertation ("Subway Graffiti: An Aesthetic Study of Graffiti on the Subway"), miscellaneous writings and notes, and art and architecture notebooks. Dissertation documentation includes the manuscript, drafts, and related records. Among the miscellaneous writings and notes - published and unpublished - are shorter pieces, articles, student papers, and teaching notes. Of particular interest are notes/instructions for a performance piece titled "Endless Subway," "Memories of Steffan Thomas" and "My Recollection of Charles Egan." Also found are minutes of Cooper Union adjunct faculty meetings (1965-1966), and reports written when provost of the Rhode Island School of Design. Art and architecture notebooks (5 volumes) were compiled while at Yale University.

Research files on graffiti contain many sound recordings and some transcripts of interviews with graffiti writers, voluminous lists of graffiti writers' names/tags, correspondence, notes, photographs, and a wide variety of printed material. Some of the material is in digital format. Stewart began collecting these materials as his interest in graffiti developed. They were used for his dissertation and material continued to be added after the dissertation was completed.

Printed material mentioning Stewart or containing reproductions of his work includes exhibition catalogs, posters, and newsletters.

Artwork by Jack Stewart consists of drawings, paintings, and one etching; also found are designs and plans for tables, murals, and other projects. Drawings include figure studies, heads, and landscapes; most are in pencil and some in ink. The small number of paintings are oil on canvas (removed from stretchers), and gouache on paper and board. Sketchbooks (44 volumes) contain mostly pencil drawings and sketches, and a few studies for paintings and murals. Two volumes include writings about travels and events; of particular interest are "Notes on Kline's funeral May 1962," "Visit to Roman Bronze Art Foundry," and "Notes on My Development."

Photographic materials consist mainly photographs, but also include digital images and 35-mm color slides. Images of Stewart include views of him with paintings and working in his studio. Identified individuals with whom he appears are: Regina Stewart (wife), Brandon Stewart (son), Lil Stewart (mother), Ninalee Craig, Irving Sandler, and students in Urbino, Italy. Photographs of artwork document murals such as Raw Material (composed of shirt labels), and Versailles Hotel in Miami Beach; among the paintings documented are State of the Union, Icons of Western Art and Revelation XVI-16 (both with keys to individuals portrayed). Exhibition openings and installations are shown in photographs, color slides, and video recordings. Also found are photographs of the World Trade Center site taken by Stewart in December 2001.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1926-circa 2009 (Boxes 1,11; 0.6 linear foot, ER01-ER02, 3.92 GB)

Series 2: Correspondence, 1944-2009 (Boxes 1-2; 0.7 linear foot)

Series 3: Writings and Notes, circa 1947-2003 (Boxes 2-5; 3.1 linear foot)

Series 4: Research Files on Graffiti, 1972-2010 (Boxes 5-7,11; 2.8 linear foot, ER03-ER05, 3.18 GB)

Series 5: Printed Material, circa 1945-2002 (Boxes 8, 11, OV 13; 0.7 linear foot)

Series 6: Scrapbooks, circa 1990-2003 (Box 8; 0.2 linear foot)

Series 7: Artwork, 1946-2000 (Boxes 8, 11, OV 12; 0.3 linear foot)

Series 8: Sketchbooks, 1951-2004 (Boxes 8-9; 1.3 linear foot)

Series 9: Photographic Materials, circa 1950s-2010 (Boxes 10-11; 0.4 linear foot, ER06-ER07, 0.208 GB)
Biographical Note:
Jack Stewart (1926-2005) was a painter, muralist, designer, educator and administrator in New York City. After developing an interest in graffiti in the 1970s, Stewart eventually wrote a dissertation on the subject, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989) and was recognized as an expert on mass transit art.

Jack Stewart began studying art at the High Museum School in his hometown of Atlanta when he was 10 years old. At age 14, he began a 4 year apprenticeship with painter and sculptor Steffen Thomas. After serving in World War II, he enrolled at Yale University (B.F.A. 1951) as a sculpture student, but soon switched to the painting department where he studied with Josef Albers and Willem de Kooning. After graduation, Stewart began receiving mural commissions and enrolled in classes at Columbia University School of Architecture (1951-1953). His interest in architecture was tied to understanding how to work effectively with architects on mural projects. Later, Stewart developed an interest in graffiti which he pursued through graduate study at New York University (M.A., 1975 and Ph.D., 1989).

Stewart created murals in ceramic tile, mixed media and stained glass. In addition to mosaic murals, he designed tables with mosaic tops. As an outgrowth of his mosaic work, Stewart developed a technique for laminating stained glass onto plate glass that, by eliminating the need for lead, opened new design possibilities. Mural commissions included work for Hamilton Hotel in Chicago, Versailles Hotel in Miami Beach, Public School 28 in New York City, and several ocean liners. The most unusual mural, Raw Material commissioned by Cluett Peabody and Company, was composed of shirt labels embedded in acrylic.

Beginning in 1950 Stewart participated regularly in group shows and enjoyed solo exhibitions mainly in the New York City area. He also showed in Philadelphia, Georgia, Rhode Island, Mexico and Italy, and was included in exhibitions circulated by the American Federation of Arts.

Stewart taught at the college level for nearly thirty years, including: The New School (art and architecture, 1953-1958); Pratt Institute (interior architectural design, 1955-1960); The Cooper Union for the Advancement of Science and Art (painting, drawing, human anatomy, art history, 1960-1976; Art Department Chairman, 1971-1976); International Center of Mythymna, American Division, Lesbos, Greece (summer school, 1962-1965); Columbia University (M.F.A. program instructor, 1966-1976); and New York University (drawing, 1967-1975). In 1976 he was appointed Vice President and Provost of the Rhode Island School of Design.

Stewart was active in several professional organizations. He served as New York Artists Equity Association Secretary (1986-1987) and President (1987-1989); President of the National Society of Mural Painters (1996-2000); member of the advisory board of the Steffen Thomas Museum and Archives, Buckhead, GA (1997- 2000s); and President of the Fine Arts Federation of New York (2003-2004). The National Academy of Design elected Jack Stewart an Academician in 1995.

Jack Stewart and Margot Schwarzhaupt, an artist, were married in 1947; they had one son, Brandon. Painter and arts administrator, Regina Serniak, became Jack Stewart's wife in 1976.

Jack Stewart died in New York City in 2005.
Related Materials:
Jack Stewart papers, 1926-2015, are located at Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library.
Provenance:
Donated in 2010 by Regina Stewart, widow of Jack Stewart.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. This collection is copyright restricted.
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:
Arts administrators -- New York (State) -- New York  Search this
Topic:
Street art  Search this
Muralists -- New York (State) -- New York  Search this
Mail art  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Graffiti art  Search this
Designers -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Sound recordings
Paintings
Sketchbooks
Interviews
Transcripts
Video recordings
Citation:
Jack Stewart papers, 1926-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stewjack
See more items in:
Jack Stewart papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99c355e0c-59b2-47e7-ab80-c8ea7d8bf859
EDAN-URL:
ead_collection:sova-aaa-stewjack

Ankrum Gallery records

Creator:
Ankrum Gallery  Search this
Names:
Art Dealers Association of America  Search this
Black Arts Council (Washington, D.C.)  Search this
California Arts Council  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Krannert Art Museum  Search this
Laguna Art Museum (Laguna Beach, Calif.)  Search this
Paramount Pictures  Search this
San Diego Museum of Art  Search this
Staempfli Gallery (New York, N.Y.)  Search this
Storm King Art Center  Search this
Almaraz, Carlos  Search this
Andrews, Benny, 1930-2006  Search this
Ankrum, Joan  Search this
Bauer, Richard, 1944-  Search this
Block, Irving  Search this
Broderson, Morris, 1928-2011  Search this
Caryl, Naomi  Search this
Casey, Bernie  Search this
Duveneck, Frank, 1848-1919  Search this
Feitelson, Lorser, 1898-1978  Search this
Groth, Bruno  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Herschler, David  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirshhorn, Olga  Search this
Homer, Jessie  Search this
Jackson, Suzanne, 1944-  Search this
Johnson, Buffie  Search this
Lundeberg, Helen, 1908-1999  Search this
Mesches, Arnold, 1923-  Search this
Miller, Henry, 1891-  Search this
Palm Springs Desert Museum  Search this
Schuler, Melvin  Search this
Secunda, Arthur  Search this
Shores, Kenneth, 1928-  Search this
Varda, Jean  Search this
Zev  Search this
Extent:
41.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1900-circa 1990s
bulk 1960-1990
Summary:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
Scope and Contents:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.
Arrangement:
This collection is arranged as 12 series.

Missing Title

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)
Biographical / Historical:
The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.
Provenance:
The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Scrapbooks
Photographs
Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ankrgall
See more items in:
Ankrum Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d89bb020-f420-4b01-9a0f-f1d5132866c4
EDAN-URL:
ead_collection:sova-aaa-ankrgall
Online Media:

Stewart Klonis papers, circa 1886-1983

Creator:
Klonis, Stewart, 1901-1989  Search this
Subject:
Klonis, Bernard  Search this
Art Students League (New York, N.Y.)  Search this
Type:
Drawings
Scrapbooks
Citation:
Stewart Klonis papers, circa 1886-1983. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- United States  Search this
Theme:
Patronage  Search this
Record number:
(DSI-AAA_CollID)5674
(DSI-AAA_SIRISBib)208508
AAA_collcode_klonstew
Theme:
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208508

Fred Martin papers, circa 1949-2022

Creator:
Martin, Fred, 1927-  Search this
Type:
Sketchbooks
Drawings
Interviews
Citation:
Fred Martin papers, circa 1949-2022. Archives of American Art, Smithsonian Institution.
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8048
(DSI-AAA_SIRISBib)210219
AAA_collcode_martfred
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210219

Fred Martin papers

Creator:
Martin, Fred, 1927-  Search this
Extent:
10.8 Linear feet
.886 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketchbooks
Drawings
Interviews
Date:
circa 1949-2022
Summary:
The Fred Martin papers measure 10.8 linear feet and 0.886 gigabytes and date from circa 1949-2022. Martin's career as a painter, author, arts administrator, and educator are highlighted in biographical material, correspondence, writings, personal business records, exhibition and gallery files, teaching files, printed material, photographic material, and artwork.
Scope and Contents:
The Fred Martin papers measure 10.8 linear feet and 0.886 gigabytes and date from circa 1949-2022. Martin's career as a painter, author, arts administrator, and educator are highlighted in biographical material, correspondence, writings, personal business records, exhibition and gallery files, teaching files, printed material, photographic material, and artwork.

Biographical material includes school records and transcripts, resumes and membership materials, and personalized astrological charts, as well as signature books related to award ceremonies and birthday celebrations. Correspondence is a combination of personal and professional, and is organized by year. The writings series is comprised of Martin's studio notes, travel journals, and general writings including manuscript drafts and lecture notes. Personal business records include daily planners, employment records with a particular emphasis on the San Francisco Art Institute, itineraries and travel documents, mailing lists, painting lists, conference documentation, and shipping documents.

Exhibition and gallery files include documents related to galleries and museums Martin had exhibited or sold artwork with, as well as files related to select shows from Martin's career. Teaching files includes course outlines and lesson notes as well as curriculum planning documents for the San Francisco Art Institute. Printed material includes exhibition announcements and invitations, exhibition catalogs, and clippings related both to Fred Martin and his Art Week article series, as well as printed copied of select publications by Martin. Photographic material includes photographs of Martin's artwork as well as that of other artists, slides of artwork for certain years, and some photographs of friends and family. Artwork includes works on paper including watercolors created in Rome.
Arrangement:
The collection is arranged as nine series:

Series 1: Biographical Material, circa 1949-2014 (0.3 Linear feet; box 1)

Series 2: Correspondence, circa 1955-2022 (1 Linear foot; boxes 1-2)

Series 3: Writings, circa 1950-2013 (6.2 Linear feet; boxes 2-8; 0.008 Gigabytes: ER0001)

Series 4: Personal Business Records (1 Linear foot; Boxes 8-9)

Series 5: Exhibition and Gallery Files, circa 1958-2012 (0.5 Linear feet; Boxes 9-10; 0.53 Gigabytes: ER0002-ER0006)

Series 6: Teaching Files, circa 1967-2011 (0.7 Linear feet; Box 10; 0.348 Gigabytes: ER0007)

Series 7: Printed Material, circa 1951-2016 (0.5 Linear feet; Boxes 10-11)

Series 8: Photographic Material , circa 1950s-2000s (0.2 Linear feet; Box 12)

Series 9: Artwork, circa 1960s-1990s (0.2 Linear feet; Box 12)
Biographical / Historical:
Fred Martin (1927-2022) was a painter, author, arts administrator, and educator in San Francisco, California.

Born in San Francisco on June 13, 1927, Martin's family relocated to the East Bay when he was a child, and he was raised in Alameda and Oakland primarily. Focusing on art early in his life, Martin received his bachelor's degree in 1949 and master's degree in 1954, both from the University of California at Berkeley. Soon after graduation Martin began working as a registrar at the Oakland Art Museum for four years before joining the San Francisco Art Institute (then known as the California School of Fine Arts) as a gallery director and faculty member. He served as the director of the San Francisco Art Institute from 1965 until 1975, after which he continued teaching and was later named the Emeritus Dean of Academic Affairs.

Martin had his first solo exhibition in 1949 at the Contemporary Gallery in Sausalito, California, and his work was included that same year in a group exhibition of painting and sculpture at the San Francisco Museum of Modern Art. The Oakland Museum of California organized a retrospective exhibition in 2003.

Martin's writing was key to his practice and shaped his artistic and teaching careers. He served as a contributing editor to Artweek from 1976-1992. He also authored a number of artists' books including Beulah Land, published by Crown Point Press in 1966; A Travel Book, published by Arion Press in 1977; and From an Antique Land, published in 1979 by Green Gates Press. His work is represented in the collections of the San Francisco Museum of Modern Art, the Oakland Art Museum, the Richmond Art Center, the Crocker Art Museum, the Fogg Museum at Harvard University, the Museum of Modern Art, and the Whitney Museum of American Art.

Martin continued to teach until his retirement in 2016. He passed away at his home in Berkeley, California on October 8, 2022.
Related Materials:
The Archives of American Art also holds an interview of Fred Martin conducted 1980 Aug. 27-Sept. 19, by Terry St. John, for the Archives of American Art.
Provenance:
A small portion of the collection was donated in 1975 by Fred Martin. The bulk of the collection was donated in 2023 by Demian Martin, Fred Martin's son.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco  Search this
Educators -- California -- San Francisco  Search this
Arts administrators -- California -- San Francisco  Search this
Authors -- California -- Santa Barbara  Search this
Genre/Form:
Sketchbooks
Drawings
Interviews
Citation:
Fred Martin papers, circa 1949-2022. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.martfred
See more items in:
Fred Martin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e6bbd9c8-74ba-46be-b08e-ce6dd647d7fe
EDAN-URL:
ead_collection:sova-aaa-martfred

Stewart Klonis papers

Creator:
Klonis, Stewart, 1901-1989  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Klonis, Bernard, 1906-1957  Search this
Extent:
3.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Date:
circa 1886-1983
Summary:
The Stewart Klonis papers measure 3.1 linear feet and date from circa 1886-1983. They illustrate his career through biographical material, correspondence, writings, personal business records, printed and photographic material, and artwork.
Scope and Contents:
The Stewart Klonis papers measure 3.1 linear feet and date from circa 1886-1983.

Biographical material includes Klonis' resume, various awards and certificates, and a file including materials on Bernard Klonis. Correspondence is with Romare Bearden, Martha Bloom, Peter Blume, Louis Bosa, Homer Boss, Frank Vincent DuMond, George Grosz, Joseph Hirsch, Reginald Marsh, Kenneth Hayes Miller, William Zorach and others, as well as regarding the 1960s proxy vote for the Art Students League. Writings consist of notes, drafts, and typescripts of articles and speeches by Klonis and others. Personal business records contain files on the Art Students League containing a history of the league, correspondence and printed material about the election of the Board of Control, the annual scholarship balls and the testimonial dinner for Klonis, minutes of the Board of Control meetings, reports, and financial data and building modernization plans. Also included are materials relating to multiple other art organizations, artwork appraisals, and exhibition files.

Printed material consists of exhibition announcements and catalogs for the Art Students League and other exhibitions, clippings, and a scrapbook of clippings, exhibition catalogs, and photographs. Photographic material includes photographs of Klonis, his friends and colleagues, and the Art Students League Costume balls. Artwork includes sketches and collages by Homer Boss, Jose de Creeft, Frank Vincent DuMond, Xavier Gonzales, William Zorach, Martha Bloom, Robert B. Hale, Beatrix Sherman, and others.
Arrangement:
This collection consists of seven series.

Series 1: Biographical Material, circa 1934-1977 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1930-1982 (1 Linear foot: Boxes 1-2)

Series 3: Writings, circa 1897-1977 (.2 Linear feet: Box 2)

Series 4: Personal Business Records, circa 1933-1982 (.6 Linear feet: Box 2)

Series 5: Printed Material, circa 1886-1980 (.7 Linear feet: Boxes 2-3, OV 5)

Series 6: Photographic Material, circa 1920-1980 (.2 Linear feet: Box 4, OV 6 and 7)

Series 7: Artwork, circa 1956-1983 (.1 Linear feet: Box 4)
Biographical / Historical:
Stewart Klonis (1901-1989) was a painter and educator who worked primarily in New York.

Stewart Klonis was born on December 24 in Naugatuck, Connecticut and moved to New York City in 1921. He worked for the Guggenheim Brothers Brokerage House and began studying painting at the Art Students League in 1927. In 1934, he joined its twelve-member board. Since he was the only board member with a background in finance, Klonis became the treasurer and managed to balance the books before the league went under. In 1932, Klonis helped found the Washington Square Outdoor Art Exhibition. As a student of the league himself, he was often part of the shows.

In 1937, Klonis was elected president of the league before becoming executive director in 1946. During his time spent at the league he succeeded in widening the range of teaching to include abstract art in order to supplement the school's emphasis on figurative painting. In 1980, Klonis retired from his position as executive director.

Stewart Klonis died at the age of 86 in the Sheepshead Bay section of Brooklyn in 1989.
Related Materials:
The Archives of American Art also holds two oral history interviews conducted 1970 February 3, by Paul Cummings and by Bruce Hooton in 1965.
Provenance:
The Stewart Klonis papers were donated in 1983 by Stewart Klonis.
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:
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New City  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Genre/Form:
Drawings
Scrapbooks
Citation:
Stewart Klonis papers, circa 1886-1983, Archives of American Art, Smithsonian Institution.
Identifier:
AAA.klonstew
See more items in:
Stewart Klonis papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92bb85e3a-6e3c-419b-8ece-b78e3ab92413
EDAN-URL:
ead_collection:sova-aaa-klonstew

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