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Oral history interview with Edith Gregor Halpert

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Names:
C.W. Kraushaar Art Galleries  Search this
Daniel Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
Ferargil Galleries  Search this
Grand Central Art Galleries  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
New Gallery (New York, N.Y.)  Search this
Bacon, Peggy, 1895-1987  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Barrie, Erwin S., 1886-1983  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brackman, Robert, 1898-  Search this
Bridgman, George Brant, 1864-1943  Search this
Brixey, Richard de Wolfe  Search this
Cahill, Holger, 1887-1960  Search this
Calder, Alexander, 1898-1976  Search this
Cary, Elisabeth Luther, 1867-1936  Search this
Chase, William Merritt, 1849-1916  Search this
Coleman, Glenn O., 1887-1932  Search this
Crowninshield, Frank, 1872-1947  Search this
Daniel, Charles, 1878-1971  Search this
Davis, Stuart, 1892-1964  Search this
Demuth, Charles, 1883-1935  Search this
Deskey, Donald, 1894-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Fergusson, John Duncan, 1874-1961  Search this
Field, Hamilton Easter  Search this
Force, Juliana, 1876-1948  Search this
Ford, Ford Madox, 1873-1939  Search this
Frost, Robert, 1874-1963  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Goodyear, A. Conger (Anson Conger), 1877-1964  Search this
Greenberg, Clement, 1909-1994  Search this
Halpert, Samuel, 1884-1930  Search this
Hartley, Marsden, 1877-1943  Search this
Hirsch, Stefan, 1899-1964  Search this
Hopkinson, Charles, 1869-1962  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930-  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Kroll, Leon, 1884-1974  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Levine, Jack, 1915-2010  Search this
Levy, Julien  Search this
Locke, Charles, 1899-  Search this
Luks, George Benjamin, 1867-1933  Search this
Léger, Fernand, 1881-1955  Search this
Marin, John, Jr., 1915?-1988  Search this
McBride, Henry, 1867-1962  Search this
Mellon, Paul  Search this
Mercer, Henry Chapman  Search this
Montross, N. E. (Newman E), 1849-1932  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pascin, Jules, 1885-1930  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956  Search this
Pound, Ezra, 1885-1972  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Edward G., 1893-1973  Search this
Rockefeller, Abby Aldrich  Search this
Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this
Saklatwalla, Beram K.  Search this
Sandburg, Carl, 1878-1967  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Siporin, Mitchell, 1910-1976  Search this
Soutine, Chaim, 1893-1943  Search this
Steichen, Edward, 1879-1973  Search this
Stein, Gertrude, 1874-1946  Search this
Stella, Frank  Search this
Stern, Louis E., 1886-1962  Search this
Stieglitz, Alfred, 1864-1946  Search this
Tannahill, Robert Hudson  Search this
Vollard, Ambroise, 1867-1939  Search this
Weber, Max, 1881-1961  Search this
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Williams, William Carlos, 1883-1963  Search this
Wittenberg, Philip, 1895-1987  Search this
Zerbe, Karl, 1903-1972  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
436 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Date:
1962-1963
Scope and Contents:
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. The transcript was microfilmed in 1996.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Topic:
Art -- Economic aspects  Search this
Camouflage  Search this
Folk art -- Collectors and collecting  Search this
Women art dealers  Search this
Identifier:
AAA.halper62
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b057b9a-c3f9-4586-8d44-ee2d58857127
EDAN-URL:
ead_collection:sova-aaa-halper62
Online Media:

Isabella Howland papers

Creator:
Howland, Isabella, 1895-1974  Search this
Names:
Bacon, Peggy, 1895-1987  Search this
Bywaters, Jerry  Search this
Dehn, Adolf, 1895-1968  Search this
Force, Juliana, 1876-1948  Search this
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Greenbaum, Dorothea S.  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Strater, Henry, 1896-  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Sketches
Photographs
Date:
1899-1979
Summary:
The papers of artist Isabella Howland measure 1.2 linear feet and date from 1899-1979. The collection documents her career through biographical material, correspondence, personal business records, writings, printed material, artwork, and photographs.
Scope and Contents:
The papers of painter, sculptor, caricaturist, and portraitist Isabella Howland measure 1.2 linear feet and date from 1899-1979. Correspondence makes up about a third of the collection, with the remainder comprised of biographical material, writings, printed material, photographs, and artworks.

Correspondence is found between Isabella Howland and other artists or dealers. Among these are Eugenie Gershoy, Henry Strater, Edith Halpert, Peggy Bacon, Forbes Watson, Jerry Bywaters, Adolph Dehn and Dorothea Greenbaum. Letters from Juliana Force, the first director of the Whitney Museum of American Art, are present. Many invitations to exhibit are included. The collection includes a small number of letters with Howland's family. She maintained written communication with several individuals over decades.

The biographical material contains Isabella Howland's handwritten notes and typed documents about her life. Some legal documents and financial records are present. The writing series includes her story 'Willy Nilly' with accompanying illustrations of animals, in addition to some other writings. The artwork series includes sketches and sketchbooks from childhood into adulthood. Photographs include images of Howland as well as her paintings and portraits.
Arrangement:
Missing Title

Series 1: Biographical Material, 1901-1972 (4 folders; Box 1)

Series 2: Correspondence, 1917-1973 (22 folders; Box 1)

Series 3, Writings, 1935-1964 (8 folders; Box 1)

Series 4: Printed Material, 1928-1976 (5 folders; Box 1)

Series 5: Photographs, circa 1900-1979 (4 folders; Box 1, OV 2)

Series 6: Artwork, 1899-circa 1940s (8 folders; Box 1, OV 2)
Biographical / Historical:
Isabella Howland (1895-1974) lived and worked in New York City. She drew portraits, painted on canvas, sketched on paper, and sculpted caricature busts of people in the art world. She wrote that she could do anything with her hands.

Howland was born in Brookline, Massachusetts. From her youth she knew she wanted to be an artist. She had her earliest artistic training at age 16. Her art education included time at the Boston Museum School and the Art Students League in New York City. She completed her secondary education in France and Germany, moved back to the United States afterwards, and in 1920 travelled again to Europe. In 1922 she settled in Greenwich Village and spent summers in Woodstock to paint landscapes and still-lifes. She actively painted in the 1920s, and had three shows in 1927, 1929, and 1931. During the Depression she worked for the Public Works of Art Project and the Works Progress Administration. In 1934 she married Armando Zegri, and they divorced in 1937. While they were married they owned a club in the West Village named The Café Latino. She began teaching at a private school in the early 1940s while dealing with some personal difficulties. She found religion which comforted her as she dealt with her mother's declining health and her sister's waning mental state.

Howland had many friends in the art world and regularly received requests to exhibit at museums. She became known as an accomplished portrait artist, and she was commissioned many times to execute drawings or sculptures. She dabbled in writing and illustrating stories, and produced a set of 33 Christmas cards featuring two monks.
Provenance:
Donated between 1975-1976 by Mrs. Martha Craig and Barbara Summer. Three photographs of works of art were donated by Eugenie Gershoy in 1979.
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:
Painters -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Caricaturists -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sketchbooks
Sketches
Photographs
Citation:
Isabella Howland papers, 1899-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howlisab
See more items in:
Isabella Howland papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97b9408e8-8951-4a76-9505-e11f14ea5721
EDAN-URL:
ead_collection:sova-aaa-howlisab

Oral history interview with Lloyd Goodrich

Creator:
Goodrich, Lloyd, 1897-1987  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
National Academy of Design (U.S.)  Search this
Public Works of Art Project  Search this
Whitney Museum of American Art  Search this
Eakins, Thomas, 1844-1916  Search this
Field, Hamilton Easter  Search this
Force, Juliana, 1876-1948  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Stieglitz, Alfred, 1864-1946  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
225 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1962 June 13-1963 March 25
Scope and Contents:
An interview of Lloyd Goodrich conducted 1962 June 13-1963 March 25, by Harlan Phillips, for the Archives of American Art. Goodrich speaks of his youth in Nutley, New Jersey; his family background; his father's influence; his friendship with Reginald Marsh; studying at the Art Students League under Kenneth Hayes Miller; attending the National Academy of Design; his interest in music and poetry; deciding upon a career in art; working as a writer, editor, and critic for "The Arts"; his travels for "The Arts"; critics he knew; his book on Thomas Eakins; his work with the Public Works of Art Project; political problems with government support of the arts in the 1930s through the 1950s; working as a curator at the Whitney Museum of American Art; the problem of forgeries; the Whitney's relationship with other museums; and politics at the Whitney. He recalls Juliana Force, Forbes Watson, Alfred Stieglitz and Hamilton Easter Field.
Biographical / Historical:
Lloyd Goodrich (1897-1987) was a museum director and art historian living in New York, New York.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Art historians -- New York (State) -- New York -- Interviews  Search this
Topic:
Art and state  Search this
Art -- Forgeries  Search this
Museum directors -- New York (State) -- New York -- Interviews  Search this
Function:
Art museums -- New York (State) -- New York
Genre/Form:
Interviews
Identifier:
AAA.goodri62
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eb332c1e-f482-4b6c-8f48-05fdcdbac176
EDAN-URL:
ead_collection:sova-aaa-goodri62
Online Media:

Oral history interview with Inslee Hopper

Creator:
Hopper, Inslee  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Bruce, Edward, 1879-1943  Search this
Force, Juliana, 1876-1948  Search this
Shahn, Ben, 1898-1969  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
1 Sound tape reel (Sound recording, 5 in.)
44 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1981 July 28
Scope and Contents:
An interview of Inslee Hopper conducted 1981 July 28, by Robert Brown, for the Archives of American Art.
Hopper speaks of his education in art history at Princeton University; his work as editor of THE ARTS under Forbes Watson, 1933-1934; a survey of sculptors for Juliana Force of the Whitney Museum of American Art, 1934-1935; his involvement in the Painting and Sculpture section of the Treasury Department under Edward Bruce, 1935-1938; supervising the decoration for the Federal Building at the World's Fair, 1938-1939; his work with Ben Shahn on the documentation of a resettlement project in West Virginia; the Smithsonian Gallery of Art project, 1938-1940; and his work as Edward Bruce's aide.
Biographical / Historical:
Inslee Hopperis an art administrator and preservationist.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- Interviews  Search this
Topic:
Art and state  Search this
Preservationists -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hopper81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f78d7a86-5d09-4d2a-8513-0441342309ac
EDAN-URL:
ead_collection:sova-aaa-hopper81
Online Media:

Oral history interview with Audrey McMahon

Interviewee:
McMahon, Audrey, 1900?-1981  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (New York, N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
United States. Works Progress Administration  Search this
Bruce, Edward, 1879-1943  Search this
Cahill, Holger, 1887-1960  Search this
Force, Juliana, 1876-1948  Search this
Extent:
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Nov. 18
Scope and Contents:
An interview of Audrey McMahon conducted 1964 Nov. 18, by Harlan Phillips, for the Archives of American Art.
McMahon speaks of her pre-Federal Art Project experiences; her early involvement with the WPA; how it functioned; and political problems with the WPA. She recalls Juliana Force, Edward Bruce, Holger Cahill.
Biographical / Historical:
Audry McMahon (1900?-1981) served under Holger Cahill as Regional Director of the WPA Federal Art Project for New York and New Jersey from 1935-1939.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hrs., 21 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Topic:
Federal aid to the arts  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mcmaho64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9864ed5b9-a17e-4270-8f11-238311a58054
EDAN-URL:
ead_collection:sova-aaa-mcmaho64

Selections from the Philadelphia Museum of Art's Archives of American Art collection

Creator:
Philadelphia Museum of Art  Search this
Names:
Milch Galleries  Search this
Abbe, Robert  Search this
Arms, John Taylor, 1887-1953  Search this
Bartlett, Paul, 1881-1965  Search this
Beal, Gifford, 1879-1956  Search this
Beaux, Cecilia, 1855-1942  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Cadmus, Paul, 1904-1999  Search this
Chagall, Marc, 1887-1985  Search this
Cortissoz, Royal, 1869-1948  Search this
Cox, Kenyon, 1856-1919  Search this
Curran, Charles C. (Charles Courtney), 1861-1942  Search this
De Creeft, José, 1884-1982  Search this
Dehn, Adolf, 1895-1968  Search this
Dewing, Thomas Wilmer, 1851-1938  Search this
Eakins, Susan Macdowell  Search this
Eakins, Thomas, 1844-1916  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Evergood, Philip, 1901-1973  Search this
Force, Juliana, 1876-1948  Search this
Graham, John, 1887-1961  Search this
Haskell, Ernest, 1876-1925  Search this
Hassam, Childe, 1859-1935  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marsh, Reginald, 1898-1954  Search this
McCarter, Henry, 1866-1942  Search this
Mechlin, Leila, 1874-1949  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Mullikin, Mary Augusta, 1874-1964  Search this
Pennell, Joseph, 1857-1926  Search this
Roberts, George B., Mrs  Search this
Sartain, William, 1843-1924  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sloan, John, 1871-1951  Search this
Valentin, Curt, 1902-1954  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
4 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Place:
China -- Description and Travel
Date:
1866-1968
Scope and Contents:
Correspondence, printed material, writings, and other personal papers collected by Carl Zigrosser and Leila Mechlin and later added to by others, all relating to American art.
REELS P10-P11 and P14: Letters to Leila Mechlin, Henry Schnakenberg and Hudson Walker. Correspondents include Robert Abbe, John Taylor Arms, Cecelia Beaux, Paul Bartlett, Gifford Beal, Paul Cadmus, Charles Curran, Royal Cortissoz, Kenyon Cox, Philip Evergood, John David Graham, Reginald Marsh, Joseph Pennell, John Sloan and many others. Some letters include printed material and photographs. Mechlin material includes writings, photographs and letters from Mary Augusta Mullikin describing her life and travels in China, 1933. Also included are letters from Adolph Dehn and Jose de Creeft to Juliana Force; from Ernest Haskell and Kenneth Hayes Miller to Carl Zigrosser; miscellaneous letters from Marc Chagall, Thomas Wilmer Dewing, Louis Eilshemius and Childe Hassam; an autobiography of William Sartain; and material on Thomas Eakins, including letters, a list of expenses, 1867, and motion study material,including writings, sketches and photographs taken with a camera invented by Eakins.
REEL 4547: Charles Burchfield letters; Susan and Thomas Eakins material; Jacques Lipchitz correspondence; Henry McCarter letters; and Carl Zigrosser correspondence. The Burchfield letters consist of 41 items, 1929-1947, from Burchfield regarding exhibitions, sales, and his paintings. The Eakins material includes letters from Susan Eakins to the Milch Galleries, 1933-1935, regarding the sale of Thomas Eakins' work, receipts from the Milch Galleries, Thomas' expense book, ca. 1866, for daily living in Paris and Switzerland and an autographed account of expenses while at school in Paris, April 12, 1867, a photograph of Susan Eakins by Carl van Vechten, a photograph of Eakins, and 71 engraved portraits from the collection of Thomas Eakins.
The Lipchitz correspondence is with R. Sturgis Ingersoll regarding Lipchitz's commission for the sculpture "Prometheus." Also included are 8 letters from Curt Valentin to Ingersoll regarding Lipchitz. The McCarter material includes 66 letters, 1933-1942, some containing sketches, from McCarter to Mrs. George B. Roberts regarding paintings, frames, exhibitions, and offering painting advice. The Zigrosser correspondence is regarding the purchase of prints from the regional projects of the WPA for the Philadelphia Museum of Art, and later included in the exhibition "Between Two Wars" at the Whitney Museum of American Art. Included are invoices and inventories of the prints from the various offices.
Provenance:
Material on reels P10-P11 and P14 lent for microfilming, 1954, by the Philadelphia Museum of Art. Additional material on reel 4547 was microfilmed in 1991 as part of AAA's Philadelphia Arts Documentation Project. The idea for the archives originated with Carl Zigrosser, who donated material, solicited it from others (mainly Henry Schnakenberg, Leila Mechlin and Hudson Walker), or pulled it from the files of the Philadelphia Museum of Art. The Museum continues to add to the collection. It is not connected to the Archives of American Art at the Smithsonian Institution.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from Philadelphia Museum of Art Archives. 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.
Occupation:
Artists -- United States  Search this
Topic:
Art, American  Search this
Artists' writings  Search this
Motion study -- Photographs  Search this
Identifier:
AAA.philmuss
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a2730a20-b93d-4840-8872-6bd20fe24b55
EDAN-URL:
ead_collection:sova-aaa-philmuss

Ben Benn papers

Creator:
Benn, Ben, 1884-  Search this
Names:
Artists' Gallery (New York, N.Y)  Search this
Harry Salpeter Gallery  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Walker Art Center  Search this
Whitney Museum of American Art  Search this
Benn, Velida  Search this
Bluemner, Oscar, 1867-1938  Search this
Force, Juliana, 1876-1948  Search this
Geist, Sidney  Search this
Van Dine, S. S.  Search this
Extent:
6.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Illustrated letters
Sketches
Scrapbooks
Sketchbooks
Date:
1905-1993
Summary:
The papers of modernist painter Ben Benn measure 6.3 linear feet and date from 1906 through 1977, with the bulk of the papers dating from circa 1920 - circa 1970. The collection includes correspondence between Benn and his wife Velida Benn and letters from Oscar Bluemner, Max Weber, Joseph Stella, and other artists. Also found are sketches, sketchbooks, diaries, scrapbooks, personal business records, clippings, photographs, exhibition catalogs, art journals, and auction catalogs. Some of the printed material is quite rare.
Scope and Content Note:
The papers of modernist painter Ben Benn measure 6.3 linear feet and date from 1906 through 1977, with the bulk of the papers dating from circa 1920 - circa 1970. The collection includes correspondence between Benn and his wife Velida de Benn and letters from Oscar Bluemner, Max Weber, Joseph Stella, and other artists. Also found are biographical materials, sketches, sketchbooks, diaries, scrapbooks, personal business records, clippings, photographs, exhibition catalogs, art journals, and auction catalogs. Some of the printed material is quite rare.

The bulk of the collection consists of correspondence files dating from 1906 through 1993, and includes personal, professional, and family correspondence of Ben Benn and wife Velida Benn, as well as personal correspondence between the Benn's. Much of the professional correspondence relates to exhibitions and other projects and is with museums, galleries, and art associations, including the Whitney Museum of American Art, The Artists' Gallery, and the College Art Association. Additional correspondence contains letters from friends and colleagues including Alfred Barr, Oscar Bluemner, Rita Benton, Holger Cahill, Juliana Force, Sidney Geist, Kaj Klitgaard, Audrey McMahon, Julio Osma, Harry Salpeter, Hugh Stix, Hudson D. Walker, and Marguerite Zorach, among others. Letters exchanged between Ben Benn and Velida Benn primarily relate to Benn's activities in Woodstock, N.Y., Gloucester, Ma., and St. Augustine, Fla., places he visited during the early part of his career. Many of Benn's letters are illustrated. Velida Benn's correspondence includes letters from her brother Bernard Lopez, William M. Fisher (Metropolitan Museum of Art), Bessie Beatty, Rita Benton, Sidney Geist, and Julio Osma. Also found are brief notes from Joseph Stella, Max Weber, and Marsden Hartley.

Diaries (1943-1977) contain entries by Velida Benn and reflect her activities and personal observations; also found are numerous references to Benn's exhibitions and projects. Three scrapbooks (1915-1972) document Benn's exhibitions and include copies of correspondence, announcements, checklists, price lists, and clippings; many of the items are annotated. Artwork (1937-1974) consists of sketchbooks and various loose sketches of portraits, figures, and still lifes; also included are fashion sketches by Velida Benn.

Printed material (1905-1991, bulk 1930s-1970s) includes exhibition announcements and catalogs, newspaper and magazine clippings, printed programs, reproductions, and monographs. Of particular interest are Artists' and Writers' Chap Books (1933-1935) that include the work of Ben and Velida Benn. Photographs (1920-1969) contain images of works of art, of Ben Benn, individually and with Velida, and exhibition installation shots.
Arrangement:
The collection is arranged into seven series based primarily on type of material. Material within each series is arranged chronologically.

Missing Title

Series 1: Biographical Material, 1983, undated (Box 1; 2 folders)

Series 2: Correspondence, 1906-1993, undated (Boxes 1-4; 4.0 linear ft.)

Series 3: Diaries, Notebooks, and Scrapbooks, 1915-1977, undated (Boxes 4-5; 11 folders)

Series 4: Personal Business Records, circa 1910-1979, undated (Box 5; 9 folders)

Series 5: Artwork, 1924-1974, undated (Box 5,7; 6 folders, 6 oversized items)

Series 6: Printed Material, 1911-1991, undated (Boxes 5-6; 2.0 linear ft.)

Series 7: Photographs and Negatives, 1920-1969, undated (Box 6; 6 folders)
Biographical Note:
New York painter Ben Benn was born in Russia in 1884 as Benjamin Rosenberg and died in 1983. Benn studied drawing and painting at the National Academy of Design from 1904-1908 and had his first exhibition, "Oils by Eight American Artists," at the Artists' Gallery in 1907. In 1916, Benn participated in the "Forum Exhibition of Modern American Painters" at the Anderson Galleries, along with artists Thomas Hart Benton, Oscar Bluemner, Arthur Dove, Marsden Hartley, John Marin, Man Ray, Abraham Walkowitz, and others. The exhibition was important in advancing the cause of modern art in American, particularly the American avant-garde and was recreated by the Whitney in 1983.

Best known as a modern painter who assimilated in his early style the influences of Matisse, Picasso, and Kandinsky, Benn's first one-man show was held at the J. B. Neumann Gallery in 1925. Portraits, still-lifes, and landscapes formed the core of Benn's subject themes and he often shifted between abstract and figurative images. He is known for his strong joyful colors, thick brush strokes and energetic paintings.

Benn was featured in over twenty one-man exhibitions and countless group shows. Major exhibitions included Abstract Painting in America (Whitney Museum, 1935), American Painting Today (Metropolitan Museum of Art, 1950), and Ben Benn, Painter (The Jewish Museum, 1965). The Smithsonian's Hirshhorn Museum in Washington, D.C. honored Benn with a one-man show on his ninetieth birthday (1974). His work is in permanent museum collections in both the U.S. and abroad including the Albany Institute of Art, the Smithsonian Institution's Hirshhorn Museum, the Knoxville Art Center, Metropolitan Museum of Art, Newark Museum, Whitney Museum of American Art, as well as the Museum of Arts, Ein-Harod in Israel and the Kröller-Müller Museum in Holland.

Ben Benn was a recipient of several awards for his achievement in painting. The Pennsylvania Academy of the Fine Arts honored Benn with the Henry Schiedt award (1952) and the Carol Beck Gold Medal (1965); Benn was also the recipient of the Knoxville Art Center Purchase Prize in 1961. In 1970 Benn was a beneficiary of the Childe Hassam Fund awarded through the American Academy of Arts and Letters.

Benn's work is in permanent museum collections in both the U.S. and abroad including the Albany Institute of Art, the Smithsonian Institution's Hirshhorn Museum, the Knoxville Art Center, Metropolitan Museum of Art, Newark Museum, Whitney Museum of American Art, as well as the Museum of Arts, Ein-Harod in Israel and the Kröller-Müller Museum in Holland.
Provenance:
The Ben Benn papers were donated by Benn's nephew Peter Rosenberg to the Archives of American Art in 1988.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research 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:
Painters -- New York (State) -- New York  Search this
Painting, American -- Economic aspects  Search this
Painting, American -- 20th century  Search this
Genre/Form:
Photographs
Illustrated letters
Sketches
Scrapbooks
Sketchbooks
Citation:
Ben Benn papers, 1905-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bennben
See more items in:
Ben Benn papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw928843ebf-2403-418a-a333-69b5b8d63fc4
EDAN-URL:
ead_collection:sova-aaa-bennben

Oral history interview with Arnold Blanch

Interviewee:
Blanch, Arnold, 1896-1968  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
American Artists' Congress  Search this
Bellows, George, 1882-1925  Search this
Force, Juliana, 1876-1948  Search this
Gorky, Arshile, 1904-1948  Search this
Hague, Raoul, 1905-1993  Search this
Henri, Robert, 1865-1929  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Orozco, José Clemente, 1883-1949  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Boardman, 1876-1952  Search this
Siqueiros, David Alfaro  Search this
Sloan, John, 1871-1951  Search this
Extent:
37 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963 June 13-August 3
Scope and Contents:
An interview of Arnold Blanch conducted by Dorothy Seckler (31 pages) on 1963 June 13 for the Archives of American Art, and a lecture by Blanch recorded by Seckler (6 pages), August 1, 1963.
In the interview, Blanch speaks of his childhood in Minnesota; his hostility toward formal education; his art education; moving to New York; the influence of Cezanne and Renoir on his work; the Woodstock art circle; travels in Paris; his association with New York galleries; his involvement with WPA projects; the American Artists Congress; the American art scene in the 1930s; his opinions of government aid to the arts; changes in his style; and his opinions on the contemporary art scene. He recalls Boardman Robinson, Juliana Force, George Bellows, Robert Henri, John Sloan, Kenneth Hayes Miller, Arshile Gorky, Diego Rivera, Jose Clemente Orozco, David Siqueiros, and Raoul Hague. The lecture,"Art Tradition," was delivered by Blanch to the Woodstock Art Association, Woodstock, New York, August 1, 1963.
Biographical / Historical:
Arnold Blanch (1896-1968) was a mural painter in Woodstock, New York.
General:
Originally recorded 5 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 12 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Art, American  Search this
Muralists -- New York -- Woodstock -- Interviews  Search this
Painters -- New York (State) -- Woodstock -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.blanch63
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90ce9ffe3-ba4d-4131-b160-99f0588088aa
EDAN-URL:
ead_collection:sova-aaa-blanch63
Online Media:

Oral history interview with Alexander Brook

Interviewee:
Brook, Alexander, 1898-1980  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Whitney Studio Club  Search this
Bacon, Peggy, 1895-1987  Search this
Calder, Alexander, 1898-1976  Search this
Fisher, William Murrell  Search this
Force, Juliana, 1876-1948  Search this
Goodrich, Lloyd, 1897-1987  Search this
Hopper, Edward, 1882-1967  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Nakian, Reuben, 1897-1986  Search this
Romanowsky, Dimitri  Search this
Extent:
91 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1977 July 7-8
Scope and Contents:
An interview of Alexander Brook conducted 1977 July 7-8, by Paul Cummings, for the Archives of American Art. Brook speaks of his childhood and family; his early interest in painting; studying at the Art Students League with Dmitri Romanowsky and Kenneth Hayes Miller; women at the Art Students League; his first wife, Peggy Bacon; his travels in Europe; the Penguin Club; the Whitney Studio Club; working as a "talent scout" for Juliana Reiser Force; sharing a studio with Alexander Calder and Reuben Nakian; art sales in the 1930s; women as subjects; his portraits of Katharine Hepburn; and his painting technique. He recalls William Murrell Fisher, Lloyd Goodrich, Edward Hopper, Yasuo Kuniyoshi, and others.
Biographical / Historical:
Alexander Brook (1898-1980) was a painter from Sag Harbor, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 11 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Painting, Modern -- 20th century  Search this
Painters -- New York (State) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.brook77
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw913ef31b3-d328-4bf2-bb60-0f0c1d61520d
EDAN-URL:
ead_collection:sova-aaa-brook77
Online Media:

Ogden M. Pleissner papers

Creator:
Pleissner, Ogden M.  Search this
Names:
Cady, Harrison, 1877-1970  Search this
Force, Juliana, 1876-1948  Search this
Vezin, Charles, 1858-1942  Search this
Wengenroth, Stow, 1906-  Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
1928-1976
Summary:
The papers of painter Ogden M. Pleissner measure 3.2 linear feet and date from 1928-1976. Found within the papers are biographical material, scattered letters, artwork, nine scrapbooks, over one foot of printed material, and photographs.
Scope and Content Note:
The papers of painter Ogden M. Pleissner measure 3.2 linear feet and date from 1928-1976. Found within the papers are biographical material, scattered letters, artwork, eight scrapbooks, printed material, and photographs.

Biographical material includes Pleissner's U. S. Army Certificate of Service, an autobiographical essay, and miscellaneous notes. Scattered letters dating from 1942-1976 primarily concern Pleissner's service in the U. S. Army. There are also letters from colleagues and friends including artists Harrison Cady and Stow Wengenroth.

Nine scrapbooks contain clippings, exhibition announcements and catalogs, and scattered letters from art organizations and colleagues including Juliana Force, Charles Vezin, and Stow Wengenroth. An additional 1.2 linear feet of printed material consists primarily of clippings, and exhibition catalogs and announcements. Also found within the papers is one etching, and photographs of Pleissner, his colleagues, exhibitions and artwork.
Arrangement:
The collection is arranged into 6 series. All series are arranged chronologically.

Missing Title

Series 1: Biographical Material, 1943-1971 (Box 1; 2 folders)

Series 2: Letters, 1942-1976 (Box 1; 13 folders)

Series 3: Art Work, undated (Box 1; 1 folder)

Series 4: Scrapbooks, 1930-1953 (Boxes 1-2; 29 folders)

Series 5: Printed Material, 1928-1975 (Box 2; 1.2 linear feet)

Series 6: Photographs, 1958-1974 (Boxes 3-4; 31 folders)
Biographical Note:
Ogden Minton Pleissner was born on April 29, 1905 in Brooklyn, New York, son of George W. and Christine Minton Pleissner. He began his education at the Brooklyn Friends School. One summer while a teenager, he was sent to Charlie Moore's ranch in Dubois, Wyoming, in order to improve his health. During pack trips, camping, and trout fishing in Yellowstone Park and the Buffalo Forks country, Pleissner became devoted to the outdoor life, developing his skills as a hunter and fisherman. He began drawing images of horses, cowboys, Native Americans, and scenery and realized that his interest in art was strong enough to pursue it in school.

From 1924 to 1927 Pleissner attended the Art Students League in New York, studying under George Bridgman and Frank V. DuMond. Pleissner continued his studies with DuMond in Cape Breton, where he also met Mary Corbett whom he married in 1929. In the following year, Pleissner held his first solo exhibition at the Macbeth Gallery in New York. Although he maintained a studio in New York City, Pleissner and his wife spent many summers in Wyoming, later expanding their travel to Europe.

In 1940 Pleissner was elected a National Academician. Two years later, he was commissioned by the U.S. Office of Emergency Management on the advice of the Section of Fine Arts to visit various war industries to make a group of 10 paintings depicting the work in these plants.

In 1943, Pleissner was commissioned as Captain in the Army Air Forces to work as an artist with the Historical Division, painting a record of the Air Force activities. After training, he was deployed to Anchorage, Alaska, and from there he visited many of the Aleutian Islands. Due to lack of funding, his original mission was changed, and he was put on inactive duty in November 1943, in order to continue his work as a War Art Correspondent for Life magazine. This allowed him to complete his paintings of the Aleutian Islands. In the spring of 1944, he flew to headquarters in London, England, later following the Normandy invasion through northern France, he painted scenes from the critical battle at St. Lo. In the summer of 1945, Life magazine sent him on a tour of Europe to make a series of paintings of the most significant battle sites, including Omaha Beach, Remagen, and Anzio.

During his post-war career, Pleissner participated in many organizations, including his service as vice-president of the National Academy of Design, director of the Louis Comfort Tiffany Foundation, and trustee at the Shelburne Museum in Vermont. He was also a member of the Salmagundi Club, the National Arts Club, and the Brooklyn Society of Artists. His work is in the collections of the Metropolitan Museum of Art, the Brooklyn Museum, and the Philadelphia Museum.

In the 1970s Pleissner traveled extensively in Europe and spent summers at his studio in Pawlet, Vermont.

Ogden M. Pleissner died of a heart attack on October 24, 1983 in London, England.
Provenance:
Ogden M. Pleissner donated his papers to the Archives in 1972 and 1976.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art and war  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Ogden M. Pleissner papers, 1928-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pleiogde
See more items in:
Ogden M. Pleissner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91f51e776-8d6f-4f92-8e70-be23ab922f2b
EDAN-URL:
ead_collection:sova-aaa-pleiogde

Wendell Jones papers

Creator:
Jones, Wendell, 1899-1956  Search this
Names:
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Bruce, Edward, 1879-1943  Search this
Burlin, Paul, 1886-1969  Search this
Cherry, Herman  Search this
Force, Juliana, 1876-1948  Search this
Greenwood, Marion, 1909-1970  Search this
Guston, Philip, 1913-1980  Search this
Hague, Raoul, 1905-1993  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Martin, Fletcher, 1904-1979  Search this
Rowan, Edward Beatty, 1898-1946  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
0.5 Linear feet ((200 items))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1933-1969
Scope and Contents:
Letters, undated and 1937-1961, mostly dealing with Jones' mural in the Rome, N.Y. Post Office, done for the Section of Fine Arts; correspondence with Edward Bruce, Forbes Watson, Juliana Force, Edward Rowan, and Eugene Speicher; photographs of Jones, his family, his paintings, and of other Woodstock area artists including Philip Guston, Yasuo Kuniyoshi, Harry Burlin, Herman Cherry, Marion Greenwood, Raoul Hague, Fletcher Martin, and Dorothy Varian; a contract, 1940, for a the Post Office mural; and other business records including check stubs, vouchers and receipts.
Also included are a manuscript by Jones entitled "Article of Faith" for MAGAZINE OF ART, October, 1940; a scrapbook of clippings; and exhibition catalogs, 1957-1969, a press release, 1938, and several clippings, 1933-1948.
Biographical / Historical:
Painter and muralist; Woodstock, N.Y.; b. 1899; d. 1956.
Provenance:
Donated 1982 and 1983 by Jane Jones widow of Wendell Jones.
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.
Occupation:
Muralists -- New York -- Woodstock  Search this
Painters -- New York (State) -- Woodstock  Search this
Topic:
Artists -- New York State -- Woodstock -- Photographs  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.jonewend
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92e0994ee-887c-45bb-b5d9-cbefdbc30b78
EDAN-URL:
ead_collection:sova-aaa-jonewend

Herman Trunk papers

Creator:
Trunk, Herman, 1894-1963  Search this
Names:
Hirschl & Adler Galleries  Search this
Force, Juliana, 1876-1948  Search this
McFarlane, Arthur E.  Search this
Morrow, B. F.  Search this
Simpson, Charles J.  Search this
Smith, Joseph G.  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Scrapbooks
Date:
circa 1926-1950
Scope and Contents:
Letters, writings, photographs, printed material, and a DVD videorecording relating to Trunk's career as a modernist painter. Letters are from Juliana Force, Arthur E. McFarlane, Henry McFee, author B.F. Morrow, and Charles J. Simpson, secretary of the American Veterans Society of Artists, Harry C. Richardson, Gertrude Herdle Moore, Holger Cahill, Audrey F. McMahon, Hugo C.M. Wendel, Kimon Nicolaides, Zoltan Hecht, and Marion M. Grant, among others. Writings include consignment forms and reports from the Dudensing Gallery, New York City, an artist statement, one notebook labeled Egyptian, Assyrian, Greek, Etruscan, and Greco-Roman, one notebook on fresco painting, and two notebooks listing information on art works by Trunk. Photographs are of Trunk, his wife, and others. Printed material consists of scrapbook pages, newspaper clippings, exhibition catalogs and pamphlets mostly concerning Trunk's exhibitions at Dudensing Gallery, New York. The DVD documents the 1989 Trunk exhibition at Hirschl & Adler Galleries, New York, filmed by the donor, Joseph Smith.
Biographical / Historical:
Born in Brooklyn, N.Y., Herman Trunk (1894-1963) was a modernist painter who worked in a variety of media, and is well known for his watercolor paintings produced in the early 20th century.
Provenance:
Donated in 2008 by Joseph G. Smith, Herman Trunk's nephew.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Modernism (Art)  Search this
Genre/Form:
Video recordings
Scrapbooks
Identifier:
AAA.trunherm
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91040d8ba-0463-4213-888a-8a237d9ced19
EDAN-URL:
ead_collection:sova-aaa-trunherm

Marchal Landgren Papers

Creator:
Landgren, Marchal E.  Search this
Names:
American Abstract Artists  Search this
Art Students League (New York, N.Y.)  Search this
Artists Equity Association  Search this
Contemporary Arts (Gallery)  Search this
Joseph Mitchell Gallery  Search this
Municipal Art Committee (New York, N.Y.)  Search this
Old Print Shop (New York, N.Y.)  Search this
University of Maryland at College Park  Search this
Washington, D.C.. Public Library  Search this
Abbott, Berenice, 1898-1991  Search this
Albers, Josef  Search this
Avery, Milton, 1885-1965  Search this
Beaton, Cecil Walter Hardy, Sir, 1904-  Search this
Constant, George  Search this
Cox, George Collins, 1851-1902  Search this
De Laittre, Eleanor, 1911-1998  Search this
Fitch, Clyde, 1865-1909  Search this
Force, Juliana, 1876-1948  Search this
Fruhauf, Aline, 1909-1978  Search this
Gallatin, A. E. (Albert Eugene), 1881-1952  Search this
Geist, Sidney  Search this
Gershwin, George, 1898-1937  Search this
Glackens, Ira, 1907-1990  Search this
Greene, Balcomb, 1904-1990  Search this
Harari, Hananiah, 1912-2000  Search this
Higgins, Eugene, 1874-1958  Search this
Holtzman, Harry  Search this
Hunt, William Morris, 1824-1879  Search this
Janauschek, Francesca Romana Magdalena, 1830-1904  Search this
Kane, John, 1860-1934  Search this
Kipling, Rudyard, 1865-1936  Search this
Laufman, Sidney, 1891-  Search this
Logasa, Charles, 1883-1936  Search this
Mitchell, Donald Grant, 1822-1908  Search this
Newman, Robert Loftin, 1827-1912  Search this
Orr, Elliot, 1904-1997  Search this
Portinari, Cândido, 1903-1962  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sprinchorn, Carl, 1887-1971  Search this
Extent:
15.3 Linear feet
Type:
Collection descriptions
Archival materials
Christmas cards
Photographs
Scrapbooks
Sketches
Drawings
Date:
1881-circa 1982
bulk 1930-1975
Summary:
The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.
Scope and Contents:
The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

Biographical material includes address cards, an appointment book, curriculum vitaes, genealogical materials, and military records. Correspondence is with artists, clients, colleagues, museums, and universities, and is predominantly professional in nature. Correspondents include Albert E. Gallatin, George Gershwin, Ira Glackens, Sidney Laufman, Elliot Orr, Candido Portinari, and Carl Sprinchorn, among others.

Writings include miscellaneous published and unpublished writings and drafts by Marchal Landgren primarily those not associated with his major research projects. These include various articles written for magazines and journals, manuscript drafts, research notes, and notebooks. There is also a file of writings by others that includes the John Mitchell Gallery Notes.

Professional and organizational files document Landgren's positions and work for educational institutions and arts organizations, including the American Abstract Artists Group, Art Students League of New York, Association of Artists Equity of Washington D. C., Contemporary Arts, D. C. Public Library, Library Journal, New York City Municipal Art Committee, Old Print Shop, Inc., and the University of Maryland, among others. These files also contain correspondence, perhaps the most notable found in the file on the American Abstract Artists Group which includes letters from Josef Albers, Eleanor de Laittre, Sidney Geist, Balcomb Greene, Hananiah Harari, and Harry Holtzman.

Well over one-half of the collection consists of files for Landgren's ongoing research projects on numerous artists and photographers, Latin American art, as well as his bibliographic reference projects. The bulk of the files cover his research, writing, and curatorial work on Robert Loftin Newman. Files are also found for Berenice Abbott, Milton Avery, George Constant, George Collins Cox, Aline Fruhauf, Eugene Higgins, William Morris Hunt, John Kane, Charles Logasa, Elliot Orr, and Albert Pinkham Ryder, among many others.

Personal business records include personal and general expense documentation and scattered exhibition price lists. Printed materials include clippings, exhibition catalogs, and miscellaneous published articles and essays. There are two scrapbooks of clippings.

There are photographs, slides, and negatives of images of Landgren, other artists and notable figures in the art world, and of artwork. Of note is a portrait photograph of Juliana Force by Cecil Beaton, one photograph by Berenice Abbott, "Barclay Street Ferry", and 14 taken by George C. Cox of Rudyard Kipling, Clyde Fitch, Augustus Saint-Gaudens, Madame Fanny Janauschek, Donald G. Mitchell, and others.

The papers also include scattered artwork, including holiday cards illustrated by artists, and sketches and drawings by other artists.
Arrangement:
This collection is arranged as 10 series.

Missing Title

Series 1: Biographical Materials, circa 1890-circa 1981 (0.2 linear feet; Box 1)

Series 2: Correspondence, circa 1930-circa 1982 (0.6 linear feet; Box 1)

Series 3: Writings and Notes, circa 1932-circa 1982 (1.2 linear feet; Boxes 1-3)

Series 4: Professional and Organizational Files, circa 1910-circa 1977 (3.4 linear feet; Boxes 3-6)

Series 5: Research Projects' Files, 1881-circa 1982 (6.9 linear feet; Boxes 6-13, 15)

Series 6: Personal Business Records, circa 1934-circa 1982 (0.4 linear feet; Box 13)

Series 7: Printed Material, circa 1927-circa 1981 (1.0 linear feet; Boxes 13-14)

Series 8: Scrapbooks, circa 1931-circa 1979 (0.2 linear feet; Boxes 14-15)

Series 9: Photographic Materials, circa 1930s-circa 1978 (0.2 linear feet; Boxes 14-15)

Series 10: Artwork, circa 1930s-circa 1940s (0.2 linear feet; Boxes 14-15)
Biographical / Historical:
Marchal E. Landgren (1907-1983) was an art historian, librarian, educator, author, and art consultant, active in New York and Washington, D. C.

As associate director and board member of Contemporary Arts, Inc. in New York, Landgren established a program for providing artists with their first solo exhibition in New York, including those of John Kane and Mark Tobey. In 1932, he directed the exhibition schedule at the New School for Social Research; and in 1935, Landgren served as the director of art activities for the New York City Municipal Art Committee where he facilitated many exhibitions over the course of five years, including Recent Paintings by Boris Aronson at Babcock Galleries in 1938.

Working as a freelance art consultant, researcher, and author, Landgren organized numerous exhibitions between 1932 and 1950 of the work of Milton Avery, George C. Cox, Elliot Orr, Robert Loftin Newman, and Albert Pinkham Ryder. He also edited several arts publications, including the Old Print Shop Portfolio, John Mitchell Gallery Notes, and arts manuscripts for Oxford University Press.

In 1939, Landgren was selected by the New York World's Fair Commision to prepare historical notes on Latin American art for the exhibition catalogs of the Latin American art exhibition. After the Fair, he continued his research on this topic and wrote several articles, as well as lecturing on Latin American painting at the Art Students League of New York, the Newark Art Club, and the National Education Association at the Boston Museum.

After serving in the U. S. Army Air Force during World War II, Landgren moved to Washington, D. C. in 1950 and began work as the arts division readers' advisor for the D. C. Public Library. For seventeen years, he built up the library's general collection of art books and created extensive files of art exhibition catalogs.

In 1967, he took a position as a bibliographic consultant for the fine arts department at the University of Maryland. He became director of the University's art gallery and of the art department museum training program. During his tenure at the University of Maryland, Landgren conducted graduate seminars in art history, edited and published exhibition catalogs, and organized exhibitions, including The Late Landscapes of William Morris Hunt in 1976.

Landgren was a visiting scholar at the Smithsonian Institution's National Collection of Fine Arts and curated an exhibition of paintings by Robert Loftin Newman held there from 1973 to 1974 and at the Tennessee Fine Arts Center in 1974.

Marchal Landgren authored two books: Years of Art: The Story of the Art Students League of New York (Robert M. McBride and Company, 1940), and Robert Loftin Newman (Smithsonian Institution Press, 1974). He was a regular reviewer of art books for the Library Journal from 1958 to 1972, and contributed reviews to Trend, Magazine of Art, and other journals. He was awarded a research grant by the American Council of Learned Societies in 1963 for his study of George C. Cox and did a great deal of research in American art and American art institutions for an unfinished manuscript. He also worked on a bibliography of art literature which he never completed.
Provenance:
The Marchal Landgren papers were donated by Landgren in 1974, and by the Landgren estate via David Huddle in 1983.
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.
Occupation:
Librarians -- Washington (D.C.)  Search this
Educators -- Washington (D.C.)  Search this
Authors -- Washington (D.C.)  Search this
Art historians -- Washington (D.C.)  Search this
Art consultants -- Washington (D.C.)  Search this
Topic:
Art, American  Search this
Art, Modern -- 20th century -- United States  Search this
Genre/Form:
Christmas cards
Photographs
Scrapbooks
Sketches
Drawings
Citation:
Marchal Landgren papers, 1881-circa 1982, bulk 1930-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.landmarc
See more items in:
Marchal Landgren Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw946a644a0-83cc-46a7-8c56-e9c63db0e1b4
EDAN-URL:
ead_collection:sova-aaa-landmarc

American Art Research Council records

Creator:
American Art Research Council  Search this
Names:
Whitney Museum of American Art  Search this
Force, Juliana, 1876-1948  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1935-1956
bulk 1942-1947
Summary:
The records of the American Art Research Council, a cooperative research group headquartered at the Whitney Museum of American Art in New York, measure 3 linear feet and date from 1935 to 1956. The records include Chairman Juliana Force's correspondence, administrative correspondence, advisory committee files, miscellaneous administrative files, scattered financial records, and printed materials.
Scope and Contents:
The records of the American Art Research Council, a cooperative research group headquartered at the Whitney Museum of American Art in New York, measure 3 linear feet and date from 1935 to 1956. The records include Chairman Juliana Force's correspondence, administrative correspondence, advisory committee files, miscellaneous administrative files, scattered financial records, and printed materials.

Correspondence consists of Chairman Juliana Force's correspondence with museums, curators, and others, in addition to general AARC correspondence on various subjects. The Advisory Committee series consists of correspondence, lists, reports, and meeting minutes.

Administrative records include assorted material such as reports on paintings owned by private individuals and art centers, correspondence and drafts on a special issue of Art in America, a bibliography, and surveys. Survey files consist of survey responses and indexes of results for several surveys conducted by the AARC.

Financial records consist of assorted material such as contribution records, ledgers, bank statements, and cancelled checks. Printed materials include clippings, academic journals, bulletins, and press releases.
Arrangement:
The collection is arranged as 5 series.

Series 1: Correspondence, 1942-1947 (1 linear feet; Box 1)

Series 2: Advisory Committee, 1942-1947 (0.2 linear feet; Box 2)

Series 3: Administrative Records, 1935-1950 (0.9 linear feet; Boxes 2-3)

Series 4: Financial Records, 1942-1956 (0.7 linear feet; Boxes 3-4)

Series 5: Printed Material, 1942-1947 (0.2 linear feet; Box 5)
Biographical / Historical:
The American Art Research Council (AARC) was founded in 1942 when the Whitney Museum of American Art in New York City proposed that museums across the country establish a collaborative centralized organization for American art research. In April 1942, directors and representatives of 15 prominent museums met and founded the AARC.

Headquartered in and administered by the Whitney Museum, the AARC broadened its scope to include staff from over 30 museums and universities across the country. The organization formed a Committee on Research consisting of experts and scholars of American art that authenticated art, shared research records about artists, and conducted multiple surveys on various subjects. The AARC also facilitated researchers by sharing their information in catalogs and publications.
Provenance:
The American Art Research Council records were donated by the Whitney Museum of American Art in 1978 as part of a larger donation of museum records.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research 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:
Art -- Study and teaching  Search this
Citation:
American Art Research Council records, 1935-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.amerartr
See more items in:
American Art Research Council records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9981d5c2f-180b-457a-a4af-a468139bdb59
EDAN-URL:
ead_collection:sova-aaa-amerartr
Online Media:

Lee Woodward Zeigler papers

Creator:
Zeigler, Lee Woodward, 1868-1952  Search this
Names:
Enoch Pratt Free Library  Search this
Federal Art Project (U.S.)  Search this
Public Works of Art Project  Search this
United States. Works Progress Administration  Search this
Bruce, Edward, 1879-1943  Search this
Cram, Ralph Adams, 1863-1942  Search this
Force, Juliana, 1876-1948  Search this
Grainger, Percy, 1882-1961  Search this
Leiber, Fritz, 1882-1949  Search this
Murray, Oscar H., 1882-1957  Search this
Osgood, Charles Grosvenor, 1871-1964  Search this
Wheeler, Joseph Lewis, 1884-  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1911-1968
Scope and Contents:
Biographical material, correspondence files, writings, photographs, and printed material.
Biographical material includes Zeigler's Works Progress Administration identification card, 1936, obituaries, 1952, a biographical sketch, pages from an engagement book, 1914-1917, and an address book.
Correspondence, 1920-1941, relates to Zeigler's freelance painting, mural designs for Tiffany Studios, mural commissions for churches and other public and private commissions, including the Chapel of the Transfiguration Glendale, Oh. (1927-1928), St. Michael's Church, N.Y.C. (1929); Calvary Church, Cincinnati, Oh. (1936-1937), the "Faerie Queene" murals in the Enoch Pratt Free Library, Baltimore, Md. (1933-1941); WPA-FAP projects in New York State (1933-1937), including murals for Washington Hall, West Point Military Academy, the Stony Point Battlefield Museum, Stony Point-on-the Hudson, and the Newburgh Free Academy, Newburgh. Among the correspondents are architects responsible for the designs of the buildings, such as Ralph Adams Cram and O.H. Murray, individuals associated with the execution of the projects, including Charles Osgood and Joseph L. Wheeler; and WPA adminstrators Edward Bruce and Juliana Force.
Printed material includes clippings, ca. 1910-1948, regarding Zeigler's works of art and his involvement in the war effort and local politics; exhibition catalogs and programs, ca. 1925, 1940-1968; and reproductions of Zeigler's illustrations for bookplates, Christmas cards, magazines, including Gunter's Magazine, Harper's Weekly, and Life, ca.1890-1900, and for limited edition books by such authors as Jane Austen, Honore' de Balzac, Amelia E. Barr, Theophile Gautier, Charles Kingsley, and William Stearns Davis, ca.1890-1915.
Photographs consist of three portraits of Zeigler, ca. 1930-1940, and photographs of works by him, ca.1900, 1915, 1993, and by others ca. 1900-1913. Also included are portrait of actor Fritz Leiber, ca. 1900, a snapshot of Percy and Ella Grainger, 1929.
Also included are copyrights for Zeigler's art work, 1911, 1944, 1945, 1979; an unpublished typescript of a short story by Zeigler, "Story of the Son of Roland"; a sketch of a suit of armor created by Zeigler, ca. 1945; a project file regarding a statue of "Ushabti," created by Zeigler, 1923-1924; and a guestbook from an exhibition at the Vanderbilt Galleries, 1941.
Biographical / Historical:
Illustrator, muralist; Baltimore, Md. Studied at the Maryland Institute of Art and was founding member of the Charcoal Club of Baltimore. He began his career as an illustrator and later specialized in mural painting.
Provenance:
Donated 1979 and 1994 by Audrey Z. Archer-Shee; Zeigler's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Architects  Search this
Illustrators  Search this
Muralists -- Maryland -- Baltimore  Search this
Topic:
Mural painting and decoration -- 20th century -- United States  Search this
Mural painting and decoration -- 20th century -- Maryland -- Baltimore  Search this
Mural painting and decoration, American  Search this
Church decoration and ornament -- United States  Search this
Identifier:
AAA.zeiglee
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9169e7e38-30b4-46ff-bdda-2fbc155123ec
EDAN-URL:
ead_collection:sova-aaa-zeiglee

Oral history interview with Chuzo Tamotzu

Interviewee:
Tamotsu, Chūzō, 1888-1975  Search this
Interviewer:
Loomis, Sylvia Glidden  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
An American Group (Organization)  Search this
Artists Equity Association  Search this
Federal Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Eddy, Stuart  Search this
Force, Juliana, 1876-1948  Search this
Knight, Frederic C., 1898-1979  Search this
Mandelman, Beatrice  Search this
Philipp, Robert, 1895-1981  Search this
Ribak, Louis, 1902-1979  Search this
Rush, Olive, 1873-1966  Search this
Extent:
11 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 September 3
Scope and Contents:
An interview of Chuzo Tamotzu (Tamotsu) conducted 1964 September 3 by Sylvia Loomis for the Archives of American Art.
Tamotzu discusses studying Occidental, Oriental art in Japan; traveling to Korea, Manchuria and China, South Sea Islands, Singapore, then Europe for a year; coming to New York in 1920; his involvement with An American Group; Juliana Force recruiting him for the Federal Art Project; being on the Easel Project and also on the Graphic Art Project; the Works Projects Administration; given "pink-slip" on the Project since he was not a U.S. citizen; stint in the U.S. Army, Office of Strategic Service doing propaganda paintings for psychological war material for the Japanese Army and soldiers; settling in Santa Fe, N.M.; Oriental painting; and Artist Equity Association. Tamotzu mentions Beatrice Mandelman, Louis Ribak, Robert Philip, Stuart Eddy, Frederick Knight, and Olive Rush.
Biographical / Historical:
Chuzo Tamotzu (1888-1975) was a Japanese American painter based in Santa Fe, New Mexico. Tamotzu was born in Japan and came to the United States in 1920. He moved to Santa Fe in 1948.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 40 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Occupation:
Painters -- New Mexico -- Santa Fe  Search this
Topic:
Federal aid to the arts  Search this
Painting, Japanese  Search this
Asian American art  Search this
Asian American artists  Search this
Arts, Japanese -- Western influences  Search this
Painting, Asian  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.tamots64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9606ba830-2b86-4e11-b2ed-09c487270421
EDAN-URL:
ead_collection:sova-aaa-tamots64
Online Media:

Richard Carver Wood photographs of the dedication of To the Morrow

Photographer:
Wood, Richard Carver  Search this
Names:
Force, Juliana, 1876-1948  Search this
La Guardia, Fiorello H. (Fiorello Henry), 1882-1947  Search this
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Extent:
4 Photographs
Type:
Collection descriptions
Archival materials
Photographs
Date:
1939
Scope and Contents:
Four b&w mounted photographs taken by Richard Carver Wood of the dedication of Gertrude Vanderbilt Whitney's sculpture, "To the Morrow," created for the 1939-40 New York World's Fair. Pictured in the photographs with the sculpture are Whitney, Juliana Force, New York City Mayor Fiorello La Guardia, and Grover Whalen, the official World's Fair greeter, among others.
Biographical / Historical:
Richard Carver Wood was a photographer and architect in New York, N.Y. and Cambridge, Mass.
Provenance:
Donated 2010 by Avis Berman, who received the photographs from Carl Rieser, nephew of Julianna Force, first Director of the Whitney Museum of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Identifier:
AAA.woodrich
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91122f453-39f2-4b70-8dd1-fa64ecb8cc87
EDAN-URL:
ead_collection:sova-aaa-woodrich

Carl Rieser papers relating to Juliana Force

Creator:
Rieser, Carl  Search this
Names:
Force, Juliana, 1876-1948  Search this
Goodrich, Lloyd, 1897-1987  Search this
Extent:
0.1 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1844-1977
Scope and Contents:
Rieser's letters concerning the publication of Juliana Force's biography in NOTABLE AMERICAN WOMEN, 1977 (one, to Lloyd Goodrich was inadvertently not microfilmd); copies and photographs of 19th century family documents; articles about Force by Rieser, Avis Berman, and others; and a typescript, "Juliana Rieser Force: A Family Memoir," by Rieser, detailing Force's family life.
Biographical / Historical:
Rieser, an editor and publisher, New York, N.Y. is the nephew of Juliana Force. Force worked with Gertrude Vanderbuilt Whitney and was instrumental in the establishment of the Whitney Museum of American Art.
Provenance:
Donated by Rieser, 1977.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Identifier:
AAA.riescarl
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9986fbe62-29bb-4773-8668-a1404766c073
EDAN-URL:
ead_collection:sova-aaa-riescarl

Oral history interview with F. Wynn Graham

Interviewee:
Graham, F. Wynn  Search this
Interviewer:
Loomis, Sylvia Glidden  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (New York, N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Force, Juliana, 1876-1948  Search this
Extent:
1 Sound tape reel (Sound recordings (1 hour), 7 in.)
25 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 July 22
Scope and Contents:
An interview of F. Wynn Graham conducted 1965 July 22, by Sylvia Loomis, for the Archives of American Art. Graham speaks of her background and her education at the Art Students League; working on lithography at the Harlem Arts Center; joining the WPA Federal Art Project (FAP) in 1935; working on the easel painting project; the Artists' Union; the effects of the FAP on her career and on art; and her post-FAP career. She recalls Juliana Force.
Biographical / Historical:
F. Wynn Graham is a painter and printmaker in Queens, N.Y. She painted for the Federal Art Project.
General:
An unrelated interview of Donald B. Goodall (7/8/65) conducted by S. Loomis is also on this tape.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Printmakers -- New York (State) -- New York  Search this
Painters -- New York (State)  Search this
Topic:
Federal aid to the arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.graham65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98ebf3593-9efd-44ba-8ec0-34e100175f2c
EDAN-URL:
ead_collection:sova-aaa-graham65
Online Media:

Whitney Museum of American Art, Juliana Force papers

Creator:
Force, Juliana, 1876-1948  Search this
Names:
Public Works of Art Project  Search this
Whitney Museum of American Art  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1916-1958
Scope and Contents:
Correspondence; files on the Public Works of Art Project and WPA-FAP; notes; scrapbook; exhibition catalogs; and miscellany.
REEL NWH 4 (frames 318-382): Notes by Force about Whitney Museum of American Art exhibitions, 1916-1920.
REELS NWH 6 (frames 707-766)-NWH 7 (frames 1-63): A scrapbook of clippings, 1933-1934, relating to Force's involvement in the Public Works of Art Program; and a P.W.A.P. exhibition catalog, 1934.
REELS N614-N615: Exhibition catalog, "Juliana Force and American Art," a memorial exhibition at the Whitney Museum, 1949; miscellaneous correspondence and memorabilia; and a file of writings, clippings, and letters about Juliana Force.
REEL 2396: Correspondence; files on P.W.A.P., WPA-FAP, Committee for a New York State Art Program, Saint-Gaudens Memorial Committee, and Force's private art collection and sale at auction.
Biographical / Historical:
Director of the Whitney Museum of Art, 1931-ca. 1947.
Provenance:
Notes on reel NWH 4 lent for microfilming 1964 by the Whitney Museum of American Art. Scrapbook on reels NWH 6-NWH 7 lent for microfilming 1964 and subsequently donated 1981. Material on reels N614-N615 lent for microfilming 1967, however portions of the correspondence were subsequently donated 1981 with additional material, and re-microfilmed on reel 2396.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Museum directors -- New York (State) -- New York  Search this
Identifier:
AAA.forcjuli
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90749b3ba-87d3-4fea-b8e2-ab5b7ac7dfa8
EDAN-URL:
ead_collection:sova-aaa-forcjuli

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