Search Results

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2020-12-15T02:35:48.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_QQ6jfUm83hA

Creator:

Poor, Henry Varnum, 1887-1970  Search this

Names:

Montross Gallery  Search this

Skowhegan School of Painting and Sculpture  Search this

Benton, William, 1900-1973  Search this

Biddle, George, 1885-1973  Search this

Billing, Jules  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Caniff, Milton Arthur, 1907-1988  Search this

Ciardi, John, 1916-  Search this

Czebotar, Theodore  Search this

Deming, MacDonald  Search this

Dickson, Harold E., 1900-  Search this

Dorn, Marion, 1896-1964  Search this

Duchamp, Marcel, 1887-1968  Search this

Esherick, Wharton  Search this

Evergood, Philip, 1901-1973  Search this

Garrett, Alice Warder  Search this

Houseman, John, 1902-1988  Search this

Marston, Muktuk  Search this

Meredith, Burgess, 1907-1997  Search this

Mumford, Lewis, 1895-1990  Search this

Padro, Isabel  Search this

Poor, Anne, 1918-  Search this

Poor, Bessie Breuer  Search this

Poor, Eva  Search this

Poor, Josephine Graham  Search this

Poor, Josephine Lydia  Search this

Poor, Peter  Search this

Sargent, Elizabeth S.  Search this

Smith, David, 1906-1965  Search this

Steinbeck, John, 1902-1968  Search this

Watson, Ernest William, 1884-1969  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Date:

1873-2001

bulk 1904-1970

Summary:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Scope and Content Note:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)

Biographical Note:

Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.

Related Material:

An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.

Provenance:

Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.

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. Use of audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

War artists  Search this

Educators -- New York (State) -- New York  Search this

Ceramicists -- New York (State) -- New York  Search this

Muralists -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Designers -- New York (State) -- New York  Search this

Topic:

Architects -- New York (State) -- New York  Search this

World War, 1914-1918  Search this

Pottery -- New York (State) -- New York  Search this

Genre/Form:

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Citation:

Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.poorhenr

See more items in:

Henry Varnum Poor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516

EDAN-URL:

ead_collection:sova-aaa-poorhenr

Creator:

Stocksdale, Bob, 1913-2003  Search this

Names:

Central Utah Relocation Center  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Tanforan Assembly Center (San Bruno, Calif.)  Search this

War Relocation Authority  Search this

Anderson, Norman  Search this

Collingwood, Peter, 1922-2008  Search this

Larsen, Jack Lenor  Search this

Maloof, Alfreda Ward  Search this

Maloof, Sam  Search this

Merrill, Forrest L.  Search this

Okubo, Miné, 1912-2001  Search this

Shawcroft, Barbara  Search this

Stocksdale, Bob, 1913-2003  Search this

Stocksdale, Kay Sekimachi  Search this

Turner, Tran  Search this

Uchida, Yoshiko  Search this

Former owner:

Stocksdale, Kay Sekimachi  Search this

Extent:

19.5 Linear feet

0.125 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Sound recordings

Scrapbooks

Date:

circa 1900-2015

Summary:

The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.

Scope and Contents:

The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.

The bulk of biographical materials are from Kay Sekimachi with some originating from her time spent in forced internment at Topaz and Tanforan camps. These records include identification cards, War Relocation Authority printed materials, and school records. Also found are awards, resumes, and blank stationery. Some materials are from Stocksdale's 85th birthday and memorial service.

Letters and extensive greeting cards are from friends, family, and professional acquaintances. Correspondents include Norman Anderson, Peter Collingwood, Jack Lenor Larsen, Sam and Alfreda Maloof, Forrest L. Merrill, Miné Okubo, Barbara Shawcroft, and others.

Writings and notes are scattered and include two interviews with Kay Sekimachi, hanging instructions, and notes. Writings by others are by Jack Lenor Larsen, Tran Turner, and Yoshiko Uchida.

Sekimachi's and Stocksdale's professional activities are documented through files relating to their participation at conferences, awards ceremonies, and lectures. Also found are fiber samples, order forms for materials and equipment, and notes on techniques and design by Kay Sekimachi. Exhibition records include extensive documentation on Marriage in Form, In the Realm of Nature, and Loom and Lathe as well as files for various solo and group exhibitions for both Sekimachi and Stocksdale. Gallery and institution files include material on multiple or unnamed exhibitions. Exhibiton documentation may include correspondence, writings, proposals, printed material, financial and loan records, condition reports, and photographs. Project files contain material for proposed book projects, a retrospective, and portfolio, by and about Sekimachi and Stocksdale. Also found are three commissions files for works by Sekimachi. A proposed retrospective on the work of Bob Stocksdale by Kay Sekimachi includes a digital sound recording of recollections.

Personal business records include sales books, purchase records for works of art by others, appraisals, contracts, consignment receipts, and insurance records.

Published books, clippings, exhibition announcements and catalogs, magazines, and newsletters are found within printed materials. Of note is a publication by the San Francisco Chronicle entitled "This World" which features illustrations by Miné Okubo.

Four scrapbooks compiled by Kay Sekimachi date from 1937 to 1944. Most of the scrapbooks contain printed material from magazines and other sources with images such as children, valentines, food, birds, clothing, and may include scattered sketches and notes by Sekimachi. One scrapbook dates from the end of Sekimachi's internment at Topaz and relocation to Cincinnati, Ohio. This scrapbook includes sketches and printed materials concerning local and global events. Loose material found in this series was likely meant to be pasted into a new or the forth scrapbook. These materials include relocation information, Japanese-American publications, maps, clippings, sketches, and printed programs.

The bulk of photographic materials consist of slides of various vacation locations and homes and date from the 1960s to the 1980s. Also found are scattered portraits of Kay Sekimachi and Bob Stocksdale, as well as a photo of Miné Okubo with Roy Leeper and Cecil Thompson. Artworks are largely by Kay Sekimachi and include watercolor and pencil sketches as well as designs for fabrics and a weaving portfolio. Watercolor and pencil sketches are of Tanforan Assembly Center and date from circa 1942.

Arrangement:

The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1920-2003 (1.5 linear feet; Box 1-2)

Series 2: Correspondence, 1943-2014 (7.6 linear feet; Box 2-10)

Series 3: Writings and Notes, 1960s-2008 (0.2 linear feet; Box 10)

Series 4: Professional Files, 1950s-2011 (1.1 linear feet; Box 10-11, 22)

Series 5: Exhibition Files, 1951-2015 (2.9 linear feet; Box 11-14, ER01; 0.125 GB)

Series 6: Project Files, circa 1900-2004 (0.3 linear feet; Box 14)

Series 7: Personal Business Records, 1970s-2010 (0.7 linear feet; Box 14-15)

Series 8: Printed Material, 1943-2011 (2.3 linear feet; Box 15-17, 22)

Series 9: Scrapbooks, 1937-1946 (0.9 linear feet; Box 17, 21)

Series 10: Photographic Material, circa 1950-2001 (0.9 linear feet; Box 18)

Series 11: Artwork, 1942-circa 1970 (1.1 linear feet; Box 18-20, 22-23)

Biographical / Historical:

Bob Stocksdale (1913-2003) was a woodturner active in California. He was known for bowls he formed from rare types of wood. Kay Sekimachi (1926- ) is a Japanese-American fiber artist and educator also active in California. She began her career in weaving on and off the loom and was part of the New Basketry movement.

Born in Indiana, Bob Stocksdale began his interest in carving by whittling with a pocket knife. Later, he created his own lathe with a washing machine motor and turned items such as baseball bats. During World War II, he was a conscientious objector and worked at various camps performing forestry work. It was in one of the camps that he turned his first bowl on a lathe.

After the war, Stocksdale settled in the Bay Area of California where he established his own woodturning shop in his basement. He concentrated on making bowls out of rare woods. His work has been recognized throughout the world and in 1998, he received the American Association of Woodturners Lifetime Achievement Award. In 2003, he received the James Renwick Alliance Masters of the Medium Award.

Kay Sekimachi was born in San Francisco, California in 1926. As a high school student, she was forcibly interned through Executive Order 9066 issued by President Franklin D. Roosevelt which incarcerated approximately 120,000 Japanese and Japanese-American citizens during World War II. Along with her mother and siblings, Kay lived at Tanforan Assembly Center and later moved to Topaz War Relocation Center in Utah. She continued her schooling at Topaz and after 1944, was resettled in Cincinnati, Ohio.

After graduating from high school, Kay Sekimachi enrolled at the California College of Arts and Crafts and the Haystack Mountain School of Crafts where she learned the craft of weaving under Trude Guermonprez and Jack Lenor Larsen. Her early works were tapestries and garments. She later used her weaving techniques as part of the New Basketry movement to create baskets and boxes out of fibers. Also an educator, Kay taught weaving at San Francisco Community College. She received the American Craft Council Gold Medal for Consummate Craftsmanship in 2002.

After the dissolution of his first marriage through which he had two children, son Kim and daughter Joy Stocksdale, Bob married Kay Sekimachi in 1972. The two had been acquainted for many years as they were both craft artists living in the Bay Area. Although they married later in life, Kay and Bob travelled the world and exhibited their art together in many exhibitions including Marriage in Form and Loom and Lathe.

Bob Stocksdale died in Oakland, California in 2003. Kay Sekimachi continues to exhibit her work and lives in Berkeley, California.

Related Materials:

Also found in the Archives of American Art are an oral history interview of Bob Stocksdale conducted February 16-March 21, 2001, by Signe Mayfield and an oral history interview of Kay Sekimachi [Stocksdale] conducted July 26-August 6, 2001, by Suzanne Baizerman. Both interviews were conducted in Berkeley, California, during the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Provenance:

The Bob Stocksdale and Kay Sekimachi papers were donated in 2003, 2004, and 2015 by Kay Sekimachi Stocksdale as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

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. Use of original audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

Fiber artists -- California  Search this

Topic:

Textile design  Search this

Women artists  Search this

Fiberwork -- Technique  Search this

Asian American art  Search this

Asian American artists  Search this

Japanese American art  Search this

Japanese American artists  Search this

Asian American fiber artists  Search this

Asian American educators  Search this

Japanese Americans -- Forced removal and internment, 1942-1945  Search this

Woodwork  Search this

Textile crafts  Search this

Genre/Form:

Interviews

Sound recordings

Scrapbooks

Citation:

Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Asian Pacific American Initiatives Pool

Identifier:

AAA.stockbob

See more items in:

Bob Stocksdale and Kay Sekimachi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d7db1c3a-95bc-44e4-92d5-382fb539e654

EDAN-URL:

ead_collection:sova-aaa-stockbob

Author:

Elliott, Patrick 1962-  Search this

Gowrley, Freya  Search this

Etgar, Yuval  Search this

Publisher:

Scottish National Gallery of Modern Art  Search this

Physical description:

184 pages colour illustrations 27 cm

Type:

Exhibitions

Essays

Exhibition catalogs

History

Place:

Kleben

Date:

2019

Topic:

Collage--History  Search this

Art and Design  Search this

Collage  Search this

Kunst  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1154841

Collection Creator:

McChesney, Robert, 1913-2008  Search this

Extent:

1 Linear foot (Boxes 1-2)

Type:

Archival materials

Date:

1936-2006

Scope and Contents:

The bulk of this series is professional correspondence with galleries and museums about exhibitions, sales, consignments, and loans of artwork. There is limited personal correspondence with friends and family aside from correspondence with various people about Robert McChesney's mother Ruby whom he cared for toward the end of her life. There are a few New Year's greeting cards designed by Mary Fuller and Robert McChesney.

Arrangement:

Personal correspondence with and about family is grouped together at the beginning of the series. Professional correspondence, which constitutes the bulk of the series, is arranged alphabetically after the family correspondence.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Collection Rights:

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

Collection Citation:

Robert McChesney papers, 1913-2006. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.mcchrobe, Series 2

See more items in:

Robert McChesney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a8254554-4fd2-49e2-b044-711279f199a9

EDAN-URL:

ead_component:sova-aaa-mcchrobe-ref38

Collection Creator:

McChesney, Robert, 1913-2008  Search this

Container:

Box 1, Folder 20

Type:

Archival materials

Date:

1988-2006

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Collection Rights:

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

Collection Citation:

Robert McChesney papers, 1913-2006. Archives of American Art, Smithsonian Institution.

See more items in:

Robert McChesney papers

Robert McChesney papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ba07a219-2bdc-42a9-a9d5-9b7dd20b1b5b

EDAN-URL:

ead_component:sova-aaa-mcchrobe-ref44

Creator:

Goodman, Wally, 1922-2008  Search this

Picher, William Stanton, d. 1981  Search this

Names:

Butterfield & Butterfield  Search this

Christo, 1935-  Search this

Garver, Thomas H.  Search this

Martin, Fred, 1927-  Search this

Nicholson, Natasha, 1945-  Search this

Oliveira, Nathan, 1928-2010  Search this

Paris, Harold, 1925-1979  Search this

Pasquini, Philip L.  Search this

Raffael, Joseph, 1933-  Search this

Ramos, Mel, 1935-2018  Search this

Wiley, William T., 1937-2021  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1940-1982

Scope and Contents:

The papers of Wally Goodman and William Stanton Picher measure 1.2 linear feet and date from 1940-1982. Included are correspondence, printed material, subject file concerning Christo's "Running Fence" project, business records, art works, notes, and photographs.

Correspondence (1966-1981) concerns Goodman's and Picher's collecting activities and friendships with artists, including letters from Fred Martin, Nathan Oliveira, Joseph Raffael, Mel Ramos, and William T. Wiley and a greeting card decorated with an Oliveira print (1940). The "Running Fence" file contains correspondence, including 2 letters from Christo, summaries of the project, receipts, clippings, and photographs.

Business records include loan requests from museums (1966-1981), bills of sale (1950-1982), insurance and appraisal lists of works and their values (1967-1981), conservation reports (1970-1976), and files concerning the "Mexican Masters Suite", Christo print documentation (1970-1972), and appraisers Butterfield and Butterfield (1979-1981).

Original art work includes rubber stamp designs by Phil Pasquini, a booklet made by Lout Sue, an illustrated booklet by William T. Wiley (1975) and 2 collages by Harold Paris (1976). Among the printed material are reproductions of works collected, clippings (1966-1981), and exhibition catalogs (1967-1981). Photographs are of the wedding of Tom Garver and Natasha Nicholson at Goodman and Picher's home.

Also included are records documenting Goodman's and Picher's Asian Collection, consisting of a few letters (1964-1971), bills of sale (1948-1978), receipts and photographs of works, loan forms (1969-1979), 2 appraisal forms (1971), "non-American" receipts, miscellaneous financial material, and notes (1946-1971), clippings (1969-1979), and photographs and slides of works.

Biographical / Historical:

Wally Goodman (1922-2008) and William Stanton Picher were art collectors in San Francisco, California.

Related Materials:

The Archives of American Art also holds the papers of Patrick Duffy and Wally Goodman.

Provenance:

Donated 1983 by Wally Goodman.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Topic:

Art -- Collectors and collecting  Search this

Art, Asian -- Collectors and collecting  Search this

Rubber stamps  Search this

Identifier:

AAA.goodwalt

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ded90411-6073-42e5-bd71-f96a9ea46369

EDAN-URL:

ead_collection:sova-aaa-goodwalt

Creator:

Battese, Stanley  Search this

Collection Creator:

Blue Eagle, Acee, 1907-1959  Search this

Extent:

1 Item (leaf)

Container:

Map-case Artwork

Culture:

Diné (Navajo)  Search this

Indians of North America -- Southwest, New  Search this

Type:

Archival materials

Graphic Materials

Works of art

Date:

undated

Scope and Contents note:

silkscreen; Scenic Design

Scope and Contents:

Scenic Design

Local Numbers:

NAA INV.08784902

Local Note:

silkscreen

Collection Restrictions:

There are no restrictions on access.

Collection Rights:

Literary property rights to unpublished material in the collection in the National Anthropological Archives has been given to the public.

Topic:

Navaho  Search this

Genre/Form:

Works of art

Collection Citation:

Acee Blue Eagle Papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1973-51, File INV_08784902

See more items in:

Acee Blue Eagle papers

Acee Blue Eagle papers / Series 3: Artwork / 3.2: Other

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3cc6f208f-64b2-4d62-9446-3c80e5d3c8ef

EDAN-URL:

ead_component:sova-naa-1973-51-ref1611

Creator:

Battese, Stanley  Search this

Collection Creator:

Blue Eagle, Acee, 1907-1959  Search this

Extent:

1 Item (leaf)

Container:

Map-case Artwork

Culture:

Diné (Navajo)  Search this

Indians of North America -- Southwest, New  Search this

Type:

Archival materials

Graphic Materials

Works of art

Date:

undated

Scope and Contents note:

silkscreen; Scenic Design

Scope and Contents:

Scenic Design

Local Numbers:

NAA INV.08784901

Local Note:

silkscreen

Collection Restrictions:

There are no restrictions on access.

Collection Rights:

Literary property rights to unpublished material in the collection in the National Anthropological Archives has been given to the public.

Topic:

Navaho  Search this

Genre/Form:

Works of art

Collection Citation:

Acee Blue Eagle Papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1973-51, File INV_08784901

See more items in:

Acee Blue Eagle papers

Acee Blue Eagle papers / Series 3: Artwork / 3.2: Other

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3f9050144-8674-4044-a44d-2b52269e6256

EDAN-URL:

ead_component:sova-naa-1973-51-ref1613

Creator:

Beaver, Fred  Search this

Collection Creator:

Blue Eagle, Acee, 1907-1959  Search this

Extent:

1 Item (leaf)

Container:

Map-case Artwork

Culture:

Muskogee (Creek)  Search this

Indians of North America -- Southern States  Search this

Type:

Archival materials

Graphic Materials

Works of art

Date:

undated

Scope and Contents note:

painting; Bird Design

Scope and Contents:

Bird Design

Local Numbers:

NAA INV.08785600

Local Note:

painting

Collection Restrictions:

There are no restrictions on access.

Collection Rights:

Literary property rights to unpublished material in the collection in the National Anthropological Archives has been given to the public.

Topic:

Creek (Muskogee)  Search this

Genre/Form:

Works of art

Collection Citation:

Acee Blue Eagle Papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1973-51, File INV_08785600

See more items in:

Acee Blue Eagle papers

Acee Blue Eagle papers / Series 3: Artwork / 3.2: Other

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw35c7308e2-16ea-4c1b-bd75-ec5774ccb592

EDAN-URL:

ead_component:sova-naa-1973-51-ref1639

Creator:

Chavez, Manuel "Bob"  Search this

Collection Creator:

Blue Eagle, Acee, 1907-1959  Search this

Extent:

1 Item (leaf)

Container:

Map-case Artwork

Culture:

Cochiti Pueblo  Search this

Indians of North America -- Southwest, New  Search this

Type:

Archival materials

Graphic Materials

Works of art

Date:

undated

Scope and Contents note:

print; Signed Ow-U-Te-Wa

Scope and Contents:

Figure and Design; Signed Ow-U-Te-Wa

Local Numbers:

NAA INV.08801800

Local Note:

print

Collection Restrictions:

There are no restrictions on access.

Collection Rights:

Literary property rights to unpublished material in the collection in the National Anthropological Archives has been given to the public.

Topic:

Pueblo  Search this

Genre/Form:

Works of art

Collection Citation:

Acee Blue Eagle Papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1973-51, File INV_08801800; Figure and Design

See more items in:

Acee Blue Eagle papers

Acee Blue Eagle papers / Series 3: Artwork / 3.2: Other

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw38e0152ac-1a2b-4ee0-92ad-51ab1f8992ea

EDAN-URL:

ead_component:sova-naa-1973-51-ref1731

Creator:

Velarde, Pablita, 1918-2006  Search this

Collection Creator:

Blue Eagle, Acee, 1907-1959  Search this

Extent:

1 Item (leaf)

Container:

Map-case Artwork

Type:

Archival materials

Graphic Materials

Works of art

Place:

Santa Clara

Date:

undated

Scope and Contents note:

photomechanical; Bird and Plant Design

Scope and Contents:

Bird and Plant Design

Local Numbers:

NAA INV.08809200

Local Note:

photomechanical

Collection Restrictions:

There are no restrictions on access.

Collection Rights:

Literary property rights to unpublished material in the collection in the National Anthropological Archives has been given to the public.

Genre/Form:

Works of art

Collection Citation:

Acee Blue Eagle Papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1973-51, File INV_08809200

See more items in:

Acee Blue Eagle papers

Acee Blue Eagle papers / Series 3: Artwork / 3.2: Other

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw334db653c-9a90-4ac5-9ff2-0f07d5e95358

EDAN-URL:

ead_component:sova-naa-1973-51-ref2291

Collection Creator:

Blue Eagle, Acee, 1907-1959  Search this

Container:

Oversize 5

Type:

Archival materials

Scope and Contents note:

Contains "Indian Floral Design" [leather] inv # 087831.00 and "Rooster, Hen and Chicks" [ink and watercolor] inv # 088168.00

Collection Restrictions:

There are no restrictions on access.

Collection Rights:

Literary property rights to unpublished material in the collection in the National Anthropological Archives has been given to the public.

Collection Citation:

Acee Blue Eagle Papers, National Anthropological Archives, Smithsonian Institution

See more items in:

Acee Blue Eagle papers

Acee Blue Eagle papers / Series 3: Artwork / 3.1: Acee Blue Eagle / Commercial Calendars & Greeting Cards, and Other

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3a2251f75-a0fa-4d6d-92c7-580903204b76

EDAN-URL:

ead_component:sova-naa-1973-51-ref2401

Creator:

Kiesler, Lillian, 1910?-2001  Search this

Names:

Anthology Film Archives  Search this

Hans Hofmann School of Fine Arts  Search this

John Simon Guggenheim Memorial Foundation  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

University of Iowa, Museum of Art  Search this

Whitney Museum of American Art  Search this

Adnan, Etel  Search this

Andres, Jo  Search this

Arnaud, Leopold, 1895-1984  Search this

Bartos, Armand P., 1910-  Search this

Bultman, Fritz, 1919-1985  Search this

Buscemi, Steve, 1958-  Search this

Castelli, Leo  Search this

Copley, Alfred L.  Search this

Diller, Burgoyne, 1906-1965  Search this

Dlugoszewski, Lucia, 1931-2000  Search this

Dorazio, Piero, 1927-  Search this

Dorazio, Virginia Dortch  Search this

Dreier, Katherine Sophie, 1877-1952  Search this

Dubuffet, Jean, 1901-  Search this

Duchamp, Marcel, 1887-1968  Search this

Hawkins, Erick  Search this

Hodges, Alice  Search this

Hofmann, Hans, 1880-1966  Search this

Holtzman, Harry  Search this

Howe, George, 1886-1955  Search this

Kamler, Richard  Search this

Kiesler, Frederick  Search this

MacIver, Loren, 1909-  Search this

Meredith, Burgess, 1907-1997  Search this

Milius, Tom  Search this

Miller, Henry, 1891-  Search this

Mondrian, Piet, 1872-1944  Search this

Montgomery, Chandler  Search this

Owen, Jane Blaffer, 1915-2010  Search this

Purdy, James  Search this

Takaezu, Toshiko  Search this

Tawney, Lenore  Search this

Zogbaum, Wilfrid, 1915-1965  Search this

Extent:

49.1 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Scrapbooks

Sound recordings

Diaries

Interviews

Scripts (documents)

Motion pictures (visual works)

Date:

circa 1910s-2003

bulk 1958-2000

Summary:

The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

Scope and Content Note:

The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.

Arrangement:

The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-57; 41.1 linear feet, ER01; 0.001 GB)

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)

Biographical Note:

Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.

Related Material:

The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.

Separated Material:

Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.

Provenance:

The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.

Restrictions:

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

Rights:

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

Occupation:

Sculptors -- New York (State) -- New York  Search this

Set designers -- New York (State) -- New York  Search this

Educators -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Performance artists -- New York (State) -- New York  Search this

Art patrons -- New York (State) -- New York  Search this

Topic:

Architects -- New York (State) -- New York  Search this

Exhibition designers  Search this

Women artists  Search this

Women educators  Search this

Women painters  Search this

Women performance artists  Search this

Function:

Art schools -- Massachusetts

Art Schools -- New York (State)

Genre/Form:

Scrapbooks

Sound recordings

Diaries

Interviews

Scripts (documents)

Motion pictures (visual works)

Citation:

Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kieslill

See more items in:

Lillian and Frederick Kiesler papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915

EDAN-URL:

ead_collection:sova-aaa-kieslill

Collection Creator:

Byrd, Charlene Hodges, 1929-2009  Search this

Container:

Box 4b, Folder 1-3

Box 4, Folder 8-11

Type:

Archival materials

Text

Date:

circa 1946-2002

Series Restrictions:

Some items are in fragile condition. Please seek assistance with the following items of correspondence: Byrd, Charlene Hodges: General Correspondence, 1946 May 15; 1946 July.

Cummings, Grace E. Shimm: Cummings, Charles Gilmor, 1907 May 13; 1907 May 20; John W, 1890 July 28.

Shimm, Sarah A: General Correspondence, 1881 May 6.

Other Correspondence: William P. Ryder, 1877.

Collection Rights:

This collection is subject to all copyright laws.

Collection Citation:

Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.

Sponsor:

This project received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Charlene Hodges Byrd collection

Charlene Hodges Byrd collection / Series 2: Correspondence / 2.1: Charlene Hodges Byrd

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io313a8b270-a68a-4fe9-94a8-b45d04492c56

EDAN-URL:

ead_component:sova-nmaahc-a2010-26-ref399

Collection Creator:

Byrd, Charlene Hodges, 1929-2009  Search this

Container:

Box 5, Folder 10-12

Type:

Archival materials

Text

Date:

circa 1990-1998

Series Restrictions:

Some items are in fragile condition. Please seek assistance with the following items of correspondence: Byrd, Charlene Hodges: General Correspondence, 1946 May 15; 1946 July.

Cummings, Grace E. Shimm: Cummings, Charles Gilmor, 1907 May 13; 1907 May 20; John W, 1890 July 28.

Shimm, Sarah A: General Correspondence, 1881 May 6.

Other Correspondence: William P. Ryder, 1877.

Collection Rights:

This collection is subject to all copyright laws.

Collection Citation:

Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.

Sponsor:

This project received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Charlene Hodges Byrd collection

Charlene Hodges Byrd collection / Series 2: Correspondence / 2.4: Elizabeth Dews Hodges

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io35d9f8e69-197c-4e41-9840-e288eb0a7211

EDAN-URL:

ead_component:sova-nmaahc-a2010-26-ref402

Creator:

DeLap, Tony, 1927-2019  Search this

Names:

Janus Gallery (Venice, Los Angeles, Calif.)  Search this

University of California, Irvine -- Faculty  Search this

Conner, Bruce, 1933-2008  Search this

Darrow, Paul, 1921-  Search this

Hafif, Marcia, 1929-  Search this

Kauffman, Craig, 1932-2010  Search this

Landau, Felix, 1924-2003  Search this

McCracken, John, 1934-2011  Search this

McLaughlin, John, 1898-  Search this

Nauman, Bruce, 1941-  Search this

Rhinelander, Clare H.  Search this

Solomon, Alan R., 1920-1970  Search this

Stinton,, Nell  Search this

Thiebaud, Wayne  Search this

Wortz, Melinda  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Greeting cards

Photographs

Postcards

Scrapbooks

Date:

circa 1950-2015

Summary:

The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.

Scope and Contents:

The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.

Correspondence includes greeting and holiday cards, postcards, and letters with family, friends, other artists, and museums and other arts institutions. Notable correspondents include Alan Solomon, Melinda Wortz, Marcia Hafif, Bruce Conner, John McCracken, Paul Darrow, Bruce Nauman, Craig Kauffman, Nell Stinton, Felix Landau, Wayne Thiebaud, and John McLaughlin.

Writings include autobiographical notes, DeLap's notes on art and magic, and notes and writings on John McLaughlin. Also included is a paper on DeLap's 1983 exhibition at Janus Gallery by Clare H. Rhinelander.

The professional activities series contains DeLap's resume and bibliography, as well as materials related to his teaching appointments and promotion, including letters of recommendation, course lists, and a graduate trip itinerary.

Printed Material includes exhibition materials including announcements, calendars, and catalogs; newsletters, newspapers, journals, and newspaper clippings. This series makes up the bulk of the collection.

One scrapbook in the collection contains clippings, exhibition announcements, posters, and catalogs, and award ribbons.

Photographic material includes slides of DeLap's work, as well as photographs of DeLap, his studio, exhibitions and installations, snapshots of family, friends, and travel.

Arrangement:

The collection is arranged in six series.

Series 1: Correspondence, circa 1967-2015 (Box 1; 2 folders)

Series 2: Writings, circa 1960-2013 (Box 1; 4 folders)

Series 3: Professional Activities, circa 1964-1983, circa 2015 (Box 1; 2 folders)

Series 4: Printed Material, 1955-2015 (Boxes 1 and 2, OV 3, 0.6 linear feet)

Series 5: Scrapbook, 1955-1967 (Box 2, 0.3 linear feet)

Series 6: Photographic Material, circa 1950-2012 (Box 1, 0.2 linear feet)

Biographical / Historical:

Tony DeLap is an artist and professor emeritus of art in Orange County, California. He is a pioneer of West Coast minimalism with a special interest in visual illusion including performed magic.

DeLap was born in 1927 in Oakland, California and grew up in the Bay Area. He studied art, illustration, and graphic design at colleges in the Bay Area and taught at institutions including the California College of Arts and at the University of California, Davis. In 1965 he was offered a position at the newly founded University of California, Irvine, where he taught until 1991.

DeLap has exhibited widely and his work is held in collections at the Museum of Modern Art, the Whitney Museum of Art, the Solomon R. Guggenheim Museum, the Albright-Knox Gallery in Buffalo, the Los Angeles County Museum of Art, the Tate Gallery in London, and le Musée Cantonal des Beaux-Arts in Lausanne, Switzerland.

Provenance:

The papers were donated by Tony DeLap in 2016.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Topic:

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Greeting cards

Photographs

Postcards

Scrapbooks

Citation:

Tony DeLap papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck.

Identifier:

AAA.delatony

See more items in:

Tony DeLap papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97ab8d47a-5e30-4f56-9510-1abe26874897

EDAN-URL:

ead_collection:sova-aaa-delatony

Type:

Archival materials

Date:

1950-1990

Scope and Contents:

Ron Mace (1941-1998) was a design pioneer and visionary of universal design. This series consists primarily of newspaper clippings, slides, photographs, and a scrapbook. The scrapbook contains greeting cards from the time Ron was hospitalized with polio as a child. See also, Series 4: Universal Design for A Celebration of the Life and Contributions of Ronald L. Mace (Box 22 Folders 4-6 and Box 69).

Series Restrictions:

Collection is open for research.

Series Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Identifier:

NMAH.AC.1319, Series 8

See more items in:

Disability Reference Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e6f228be-2455-42d3-b5ed-ff845a002b47

EDAN-URL:

ead_component:sova-nmah-ac-1319-ref15

Creator:

Simon, Michael, 1947-  Search this

Names:

MacKenzie, Warren, 1924-2018  Search this

Roberts, Susan Stokes  Search this

Extent:

4.3 Linear feet

50.74 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Date:

circa 1965-2020

Summary:

The Michael Simon papers measure 4.3 linear feet and 50.74 gigabytes and date from circa 1965-2020. The collection documents Simon's career as a ceramicist and educator. Included is printed material related to Simon consisting of publications, articles and exhibition ephemera; personal and professional correspondence with colleagues and galleries; letters from Warren MacKenzie; digital video recordings on his friends and mentors Warren Mackenzie and Ron Meyers; teaching files; writings by Simon and others; biographical information; exhibition checklists and forms; slides and photographs of works of art by Simon and others, Simon at work in his studio, friends, family and travel; materials relating to the book Michael Simon: Evolution edited by Susan Stokes Roberts; personal and financial information; lectures, including video and audio recordings; gallery talks and sales; kiln construction and documentation; glaze and clay body notes and recipes; and sketches. A portion of this material is in electronic format.

Scope and Contents:

The Michael Simon papers measure 4.3 linear feet and 50.74 gigabytes and date from circa 1965-2020. The collection documents Simon's career as a ceramicist and educator. Included is biographic material comprised of resumes, Simon's MFA diploma from University of Georgia and and an adapted version of an interview conducted by Mark Shapiro in September 2005 for the Smithsonian Archives of American Art, as well as personal and professional correspondence with some original letters from Simon to others. Also included are wedding invitations, greeting cards and photographs from friends and family. Writings include a manuscript for his book Evolution, artist statements, lecture notes and video recordings, his M.F.A thesis, and notes on Warren Mackenzie. Also found are writings by others such as magazine article drafts and an NPR interview transcript with Warren Mackenzie where Michael Simon is mentioned. An annotated transcript and digital video recording of a University of Minnesota Panel Discussion and an annotated transcript of a Warren Mackenzie lecture and cassette tape recording at the Minnesota Historical Society is also included.

Professional Files document exhibition, publishing, financial and workshop records and recordings. Some documentation of exhibitions, and workshops are in born-digital and audio recorded form. Other materials include studio files regarding the construction and operation of kilns, as well as glaze and slip recipes. Studio files also document Michael Simon's website. Photographic materials make up the bulk of the collection and consist of photographs, including inkjet prints, negatives and slides of Michael Simon, his artwork, workshops, including his 1994 workshop and trip to Chile. Also found are photographs documenting the construction of his salt fire kiln and studio in Georgia, as well as photographs and slides of family, friends, and work by other ceramicists. The papers also include sketches and printed material consisting of magazine features and news clippings on Michael Simon, his book Evolution, and other artists including Warren Mackenzie. Additionally, there are exhibition catalogs, pamphlets, and invitation for both Simon and other ceramicists and reference books and articles on other artists. A portion of this material is in electronic format.

Arrangement:

The collection is arranged as eight series.

Series 1: Biographical Material, circa 1982-2006 (0.1 Linear feet: Box 1; 0.087 Gigabytes: ER0001)

Series 2: Correspondence, circa 1968-2016 (0.4 Linear feet: Box 1)

Series 3: Writings, circa 1965-2020 (0.2 Linear feet: Box 1; 4.37 Gigabytes: ER0002-ER0003)

Series 4: Professional Files, circa 1993-2014 (0.2 Linear feet: Box 1, OV ; 30.5 Gigabytes: ER0004-ER0009)

Series 5: Studio Records, circa 1965-2020 (0.2 Linear feet: Box 1-2)

Series 6: Printed Material, circa 1973-2020 (0.6 Linear feet: Box 2; 8.73 Gigabytes: ER0010-ER0012)

Series 7: Photographic Material, circa 1965-2020 (1.8 Linear feet: Box 2-4; 7.06 Gigabytes: ER0013-ER0018)

Series 8: Artwork, circa 1965-2020 (0.1 Linear feet: Box 4)

Biographical / Historical:

Michael Simon (1947-2021) was a functional ceramicist and educator in Georgia. Originally from Minnesota, Simon earned his B.F.A from the University of Minnesota where he was a student of Warren MacKenzie. After receiving his B.F.A in 1970, Michael moved and set up a studio in Athens, GA, and would go on to receive his M.F.A from University of Georgia in 1980. That same year he built his own kiln and began keeping a pot from each kiln load to document his work's development. Throughout his career, his works were usually fired in salt kilns featuring motifs of nature and animals. His work has been shown in multiple exhibitions including a 2011 retrospective at The Northern Clay Center entitled Michael Simon: A Life in Pots covering 30 years of his pottery. In addition to numerous exhibitions, Simon taught several workshops at schools, galleries and studios across the country including at the Arrowmont school in Tennessee, and the Penland School and Cedar Creek Gallery in North Carolina. As well as abroad in Chile and Italy.

In 2011, Simon published his book Michael Simon: Evolution which was edited, and art directed by Susan Stokes Roberts, an award-winning designer, artist and Michael Simon's wife.

Related Materials:

The Archives of American Art also holds a 2005 September 27-28 oral history interview with Michael Simon.

Provenance:

Donated in 2022 by Susan S. Roberts, Michael Simon's widow.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by 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:

Ceramicists -- Georgia  Search this

Educators -- Georgia  Search this

Topic:

American studio craft movement  Search this

Citation:

Michael Simon papers, circa 1965-2020. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.simomich

See more items in:

Michael Simon papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9708c3f85-c82c-46b0-b615-33ac49b693cb

EDAN-URL:

ead_collection:sova-aaa-simomich

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 73, Folder 1

Type:

Archival materials

Date:

1932-1936

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93fca2913-792d-4854-8708-d405cf38d013

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10730