Search Results

Creator:

Schipper, Merle  Search this

Names:

Anderson, John S., 1928-  Search this

Card, Greg S., 1945-  Search this

Cutler-Shaw, Joyce, 1932-  Search this

DeLap, Tony, 1927-2019  Search this

Graham, Robert, 1938-  Search this

Hammersley, Frederick, 1919-2009  Search this

Harden, Marvin, 1935-  Search this

Kauffman, Craig, 1932-2010  Search this

Kent, Claude, 1945-  Search this

Kessler, Charles, 1943-  Search this

Kipper, Harry  Search this

Onslow-Ford, Gordon  Search this

Pashgian, Helen, 1934-  Search this

Phillips, Jay, 1954-1987  Search this

Seliger, Charles, 1926-2009  Search this

Shelton, Peter, 1951-  Search this

Simonian, Judith, 1945-  Search this

Trowbridge, David, 1945-  Search this

Valentine, DeWain, 1936-  Search this

Van Hamersveld, John  Search this

Wight, Frederick Stallknecht, 1902-  Search this

Yokoi, Rita, 1938-  Search this

Extent:

21 Sound cassettes (Sound recording)

Type:

Collection descriptions

Archival materials

Sound cassettes

Date:

1978-1987

Scope and Contents:

A lecture and interviews of twenty-two Southern California painters and sculptors, conducted and recorded by Los Angeles art critic Merle Schipper.

Interview tapes and Schipper's fragmentary notes are available for Greg S. Card, Tony Delap, Robert Graham, Frederick Hammersley, Marvin Harden, Craig Kauffman, Claude Kent, Charles Kessler, Harry Kipper, Jay Phillips, Charles Seliger, Peter T. Shelton, Judith Simonian, David Trowbridge, and John Van Hamersveld.

Only tapes are available for John Anderson, Joyce Cutler-Shaw, Gordon Onslow-Ford, Helen Pashgian, Frederick Stallknecht Wight and Rita Yokoi. Only Schipper's fragmentary notes are available for the DeWain Valentine interview. A tape of Craig Kauffman's May 9, 1979 lecture at the Los Angeles County Museum of Art is also included.

Arrangement:

John Anderson interview is on the Gordon Onslow-Ford tape.

John Van Hamersveld interview is on the Harry Kipper tape.

Frederick Stallknecht Wight interview is on the Joyce Cutler-Shaw tape.

Rita Yokoi interview is on the Helen Pashgian tape.

Biographical / Historical:

California art critic and curator of the Fine Arts Gallery, California State University; b. in 1922.

Provenance:

Donated 1988 by Merle Schipper.

Restrictions:

Untranscribed interviews; use requires an appointment and is limited to AAA's Washington, D.C. office.

Occupation:

Conceptual artists -- California -- Interviews  Search this

Topic:

Art, Modern -- California  Search this

Painters -- California -- Interviews  Search this

Sculptors -- California -- Interviews  Search this

Identifier:

AAA.schimerl2

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95ec6a57c-5584-428e-b534-e1f33f11d56b

EDAN-URL:

ead_collection:sova-aaa-schimerl2

Creator:

Santa Barbara Museum of Art  Search this

Names:

Benjamin, Karl  Search this

Ehrlich, Susan, 1942-  Search this

Engel, Jules  Search this

Hammersley, Frederick, 1919-2009  Search this

Karlstrom, Paul J.  Search this

Mullican, Lee, 1919-1998  Search this

Wayne, June, 1918-2011  Search this

Extent:

2 Items (sound cassettes)

Type:

Collection descriptions

Archival materials

Sound recordings

Date:

1990

Scope and Contents:

A recording on two audio cassettes of "An Evening with the Los Angeles Modernists," November 7, 1990, held in conjunction with the exhibit "Turning the Tide: Early Los Angeles Moderns 1920-1950," organized by the Santa Barbara Museum of Art, Santa Barbara, California. Speakers include Susan Ehrlich, Paul Karlstrom, and artists Karl Benjamin, Jules Engel, Frederick Hammersley, June Wayne, and Lee Mullican.

Biographical / Historical:

Santa Barbara Museum of Art (established 1941) is an art museum in Santa Barbara, California.

Provenance:

Provenance unknown.

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:

Artists -- California -- Los Angeles  Search this

Topic:

Art, Modern -- 20th century -- California -- Los Angeles  Search this

Genre/Form:

Sound recordings

Identifier:

AAA.santbarm

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b8d8078-9794-406c-9a90-8987db78971d

EDAN-URL:

ead_collection:sova-aaa-santbarm

Creator:

Benjamin, Karl  Search this

Names:

Hammersley, Frederick, 1919-2009  Search this

Extent:

13 Items

Type:

Collection descriptions

Archival materials

Date:

1958-1980

Summary:

The papers of painter and educator Karl Benjamin consist of thirteen items dating from 1958-1980 and include correspondence and clippings relating to Benjamin's career as a painter and teacher, and one photograph.

Scope and Contents:

The papers of painter and educator Karl Benjamin consist of thirteen items dating from 1958-1980 and include correspondence and clippings relating to Benjamin's career as a painter and teacher, and one photograph.

Nine letters, seven of which are written by Benjamin and four of which are photocopies, are to a variety of people and relate to the beginning of Benjamin's career as a painter, his feelings about teaching, and his exhibitions, including the origins of the 1959 show Four Abstract Classicists. Included are a resignation letter to the Chino school district in 1977, and an exchange with a former student who recalls Benjamin as an art teacher.

Three clippings include a newspaper article from the Chino Champion regarding a beautification project Benjamin was involved in at Gird Elementary in Chino, California and a printed letter written and submitted by Benjamin to the Los Angeles Times in August, 1978 regarding Proposition 13. Also found is a 1977 photograph of Benjamin's baby granddaughter.

Arrangement:

Due to the small size of the collection, the papers are arranged as one series.

Biographical / Historical:

Karl Benjamin (1925- 2012) was a painter and educator in Claremont, California, known for his Hard Edge geometric and vibrantly colored abstract paintings.

After serving in the United States Navy in World War II, Benjamin graduated from Southern California's University of Redlands in 1949 with a BA degree in English literature, history and philosophy. He relocated to Claremont, where he taught in public schools and subsequently at Pomona College, and began painting and exhibiting his work. Following the 1959 exhibition Four Abstract Classicists: Karl Benjamin, Lorser Feitelson, Frederick Hammersley and John McLaughlin at the Los Angeles County Museum of Art, Benjamin became known as one of the region's leading Hard Edge painters.

Benjamin received the National Endowment for the Arts Grant for Visual Arts in 1983 and 1989. His work has been featured in numerous exhibitions and can be found in the collections of the Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, Israel, Oakland Museum, San Francisco Museum of Modern Art, Seattle Art Museum, and the Whitney Museum of American Art, among others.

Provenance:

Donated 1980 by Karl Benjamin.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Painters -- California -- Claremont  Search this

Educators -- California -- Claremont  Search this

Topic:

Hard-edge  Search this

Citation:

Karl Benjamin papers, 1958-1980.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Frederick Hammersley Foundation.

Identifier:

AAA.benjkarl

See more items in:

Karl Benjamin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91462fdcf-e1e7-4690-92dc-2cc7ce59d4ed

EDAN-URL:

ead_collection:sova-aaa-benjkarl

Creator:

Feitelson, Lorser, 1898-1978  Search this

Names:

Federal Art Project (Calif.)  Search this

Benjamin, Karl  Search this

Butterfield, Jan  Search this

Hammersley, Frederick, 1919-2009  Search this

Kadish, Reuben, 1913-1992  Search this

Langsner, Jules, 1911-1967  Search this

Longstreet, Stephen, 1907-  Search this

Lundeberg, Helen, 1908-1999  Search this

McCoy, Esther  Search this

McLaughlin, John, 1898-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Moran, Diane De Gasis  Search this

Rattner, Abraham  Search this

Seldis, Henry  Search this

Sheets, Millard, 1907-1989  Search this

Extent:

15.6 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Poetry

Writings

Drawings

Sound recordings

Photographs

Date:

circa 1890s-2002

Summary:

The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.

Scope and Content Note:

The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.

Biographical documentation is found for both artists. Lundeberg's early life is documented by school notebooks, yearbooks, diplomas, calendars, awards, and a "memory book." Feitelson's biographical materials include family certificates and documents compiled by Lundeberg regarding Feitelson's funeral. Also found are curriculum vitae and biographical sketches for both artists.

Correspondence is extensive and includes both personal and professional correspondence for both Feitelson and Lundeberg. Materials consist of letters with critics, museums, artists, and friends, including Karl Benjamin, Frederick Hammersley, Reuben Kadish, John McLauglin, Diane Moran, and Abraham Rattner. Of special interest is Feitelson and Lundeberg's correspondence with Museum of Modern Art curator Dorothy Canning Miller.

A small amount of exhibition materials, mostly loan agreements and checklists, are found in the papers documenting exhibitions and loans of their artwork to exhibitions. Personal business records concern the management of their artwork and personal collections. Found here are lists of artwork, price lists, appraisal reports, sales invoices, purchase receipts, tax documents, and a set of index cards for their artwork. There are a few scattered legal documents as well. In addition to personal business records, there is a series of records of the Lorser Feitelson and Helen Lundeberg Foundation, established by Lundeberg in 1978.

Scattered research and teaching files are mostly Feitelson's. They document his personal research, teaching activities, and television programs, particularly the program Feitelson on Art. Writings, however, are found for both artists and include artist statements, writings about art and art styles and movements, writings about each artist, and writings about the Federal Arts Program in southern California. Of interest are numerous writings by other contemporary writers and critics, including Jan Butterfield, Jules Langsner, Stephen Longstreet, Esther McCoy, Diane Moran, Henry Seldis, and Millard Sheets.

A small amount of artwork is found within the collection by Feitelson and Lundeberg, mostly sketches and drawings. There is one print by Hans Burkhardt.

Printed materials include newsclippings, exhibition announcements and catalogs, lecture announcements, posters, press releases, and printed reproductions of Feitelson's and Lundeberg's artwork. There are also pamphlets produced by the Works Progress Administration Federal Arts Program and Lundeberg's poetry.

Photographs are extensive and include many of Lorser Feitelson and Helen Lundeberg, as well as of family, friends, and students. There are four photo albums and numerous photographs of Feitelson's and Lundeberg's artwork, including some exhibition installations.

There is one circa 1957 reel-to-reel sound recording of an episode of Feitelson on Art, focusing on Paul Gauguin.

An addition of 0.2 linear feet received in 2014 includes Feitelson's art history and teaching notes, writings by Feitelson, and photographs and contact sheets of Feitelson and works of art.

Arrangement:

The collection is arranged into 11 series:

Missing Title

Series 1: Biographical Materials, 1922-1995 (Boxes 1-2, 19; 1.5 linear feet)

Series 2: Correspondence, 1932-1998 (Boxes 2-4; 2.5 linear feet)

Series 3: Exhibition Records, 1936-1989 (Boxes 4-5; 0.25 linear feet)

Series 4: Personal Business Records, 1943-1998 (Boxes 5-6; 1.0 linear feet)

Series 5: Feitelson and Lundeberg Foundation Records, 1978-1997 (Boxes 6-7, 19; 1.5 linear feet)

Series 6: Research and Teaching Materials, 1940s-1960s (Boxes 7-8; 0.75 linear feet)

Series 7: Writings, 1930-1989 (Boxes 8-9; 1.0 linear feet)

Series 8: Artwork, 1920s-1991 (Boxes 9, 19; 9 folders)

Series 9: Printed Materials, 1923-2002 (Boxes 9-11, 20; 2.0 linear feet)

Series 10: Photographs, circa 1890s-1993 (Boxes 11-14, 16-19, and OV 21-22; 4.3 linear feet)

Series 11: Audio Recording, circa 1957 (Box 15; 1 item)

Series 12: Unprocessed Addition, circa 1919-1978 (Box 23; 0.2 linear feet)

Biographical Note:

Art instructor and painter Lorser Feitelson (1898-1978) lived and worked in Los Angeles with his wife Helen Lundeberg (1908-1999), also one of southern California's leading painters. Together, Feitelson and Lundeberg founded the movement known as Subjective Classicism, or Post-surrealism. Their work had a great influence on southern California art and they formed many relationships with artists and critics of the area.

Lorser Feitelson was born in Savannah, Georgia on February 11, 1898, and grew up in New York City. By the age of twelve, he was painting in oils, and three years later he began to paint in earnest after attending the Armory Show. At the age of eighteen, Feitelson had his own studio in New York City. Over the next few years, he met other artists, including Arthur Davies, Walter Pach, and John Sloan. From 1919 to 1926, Feitelson lived in Paris and traveled to New York to exhibit; he also spent some time in Italy. In 1927, Feitelson moved to Los Angeles, the city that would remain his home for the rest of his life. There he met his wife and artist, Helen Lundeberg, and married in 1933.

Feitelson taught at the Chouinard Art Institute and the Stickney Memorial School of Art, became involved in the operations of the Centaur Gallery, and helped to found the Stanley Rose Gallery and the Hollywood Gallery of Modern Art. Beginning with the first Post-surrealist exhibition 1934, Feitelson and Lundeberg's work was exhibited at the San Francisco Museum of Art, the Brooklyn Museum, and was included in the Museum of Modern Art's Fantastic Art, Dada and Surrealism exhibition of 1937. Feitelson continued to create Post-surrealist paintings until 1942. During this same time, Feitelson also served as the Supervisor of Murals, Painting, and Sculpture for the Southern California Works Progress Administration Federal Arts Project.

In 1944, Feitelson began to paint abstract shapes that he referred to as "magical forms." Feitelson continued working in an abstract manner throughout the fifties, and in 1959 was included by Jules Langsner in the exhibition Four Abstract Classicists along with Karl Benjamin, Frederick Hammersley, and John McLaughlin. From this exhibition emerged the term "hard edge" painting, which referred to the presence of geometric shapes and flat pictorial space in the work of these artists. During the final two decades of his life, Feitelson continued to work regularly, and continued to explore abstraction.

Feitelson taught for many years at the Art Center School and was a visiting professor at the University of Illinois, Urbana. He also hosted the television program Feitelson on Art from 1956-1963, as well as serving as a frequent guest on the program Cavalcade of Books to discuss art publications. Lorser Feitelson died in 1978.

Helen Lundeberg was born in Chicago, Illinois on June 24, 1908. At the age of four, her family moved to Pasadena, where she attended Pasadena High School and Junior College. In the spring of 1930, a family friend sponsored Lundeberg's tuition to attend classes at the Stickney Memorial School of Art. That summer Lundeberg met Lorser Feitelson, who had recently taken over the teaching of her construction and composition class. The following year, Lundeberg's work was included in an exhibition for the first time. By 1933, Lundeberg had a solo exhibition at the Stanley Rose Gallery. Throughout the 1930s, Lundeberg painted in a Post-surrealist manner and created some of her best known works including "Double Portrait of the Artist in Time" (1935). She also began working for the California Works Progress Administration Federal Art Project in 1936. Over the next six years, she designed murals for libraries, high schools, and parks. She and Feitelson married in 1933.

During the next five decades, Lundeberg created a distinctive and diverse body of work that included surreal images of floating mountains and falling skies, austere landscapes and architectural forms, and abstract works with brilliant colors. She remained from the 1930s to the time of her death in 1999 one of the leading and most respected figures in southern California art. Her work has been exhibited in the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art, and acquired by the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art.

Related Material:

Found in the Archives of American Art are oral history interviews with Lorser Feitelson conducted by Betty Lochrie Hoag, May 12, 1964; with Lorser Feitelson and Helen Lundeberg conducted by Betty Lochrie Hoag, March 17, 1965; and with Helen Lundeberg conducted by Jan Butterfield, July 19 and August 29, 1980. Also found are Lorser Feitelson lectures recorded by Bonnie Trotter, 1973-1974.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reel LA 1) including a scrapbook of clippings primarily concerning Lorser Feitelson's activities with the federal Works Progress Administration. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

In 1964, Feitelson loaned for microfilming a scrapbook of clippings primarily concerning his activities with the federal Works Progress Administration. The scrapbook was microfilmed on Reel LA1 and returned to Feitelson. It is not included in the container inventory in this finding aid.

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:

Painters -- California -- Los Angeles  Search this

Topic:

Art -- Study and teaching  Search this

Genre/Form:

Sketches

Poetry

Writings

Drawings

Sound recordings

Photographs

Citation:

Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation; funding for the digitization of the collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.feitlors

See more items in:

Lorser Feitelson and Helen Lundeberg papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b512ba00-6fa2-476e-a0d1-2012bb1179cd

EDAN-URL:

ead_collection:sova-aaa-feitlors

Creator:

Allen, Bardene, 1933-  Search this

Names:

Fine Arts Gallery (Laguna Beach, California)  Search this

Orange County Center for Contemporary Art  Search this

Chamberlain, Richard, 1935-  Search this

Hammersley, Frederick, 1919-2009  Search this

Extent:

0.8 Linear feet (Boxes 1-2)

0.788 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Date:

circa 1965-2014

Summary:

The papers of sculptor, painter, and gallery owner Bardene Allen measure 0.8 linear feet and date from 1965-2014. Allen's career as a painter and sculptor, her friendship with Frederick Hammersley, and her administration of the Fine Arts Gallery in Laguna Beach, California, are documented through biographical material, correspondence, professional files, exhibition files, photographic materials including digital photographs, and printed material.

Scope and Contents:

The papers of sculptor, painter, and gallery owner Bardene Allen measure 0.8 linear feet and date from 1965-2014. Allen's career as a painter and sculptor, her friendship with Frederick Hammersley, and her administration of the Fine Arts Gallery in Laguna Beach, California, are documented through biographical material, correspondence, professional files, exhibition files, photographic materials including digital photographs, and printed material.

Correspondence includes a small amount of professional correspondence regarding Allen's career. Also of note is personal corresondence which includes letters from Frederick Hammersley and actor Richard Chamberlain. Professional files include a statement of Allen's thoughts on her relationship with Frederick Hammersley, as well as price lists, artwork inventories, donations, commission proposals, and documentation of her involvement with both the Fine Arts Gallery in Laguna Beach, California and the Orange County Center for Contemporary Art. Exhibition files are for select exhibitions Allen participated in. Photographic material includes printed photographs and transparencies as well as digitized and digital images of artwork and of Allen with her artwork and at exhibitions. Printed material includes press clippings and exhibition invitations and catalogs.

Arrangement:

The collection is arranged in 6 series:

Series 1: Biographical Material, circa 1990-1996 (0.1 Linear Feet; Box 1)

Series 2: Correspondence, circa 1965-2009 (0.2 Linear Feet; Box 1)

Series 3: Professional Files, circa 1980-1994 (0.1 Linear Feet; Box 1)

Series 4: Exhibition Files, circa 1989-1995 (0.1 Linear Feet; Box 2)

Series 5: Photographic Material, circa 1977-2014 (0.2 Linear Feet; Box 2, ER01)

Series 6: Printed Material, circa 1981-2007 (0.1 Linear Feet; Box 2)

Biographical / Historical:

Bardene Allen (1933- ) is a sculptor, painter and former gallery owner in Laguna Beach, California. Allen received her Bachelor of Fine Arts degree at Pomona College in 1955 where she studied under Frederick Hammersley, who would become a life-long friend and correspondent. She is the former owner of the Fine Arts Gallery in Laguna Beach, California which was in operation from 1980 to 1983. As a sculptor Allen has worked in stone, wood, resin, bronze and terracotta. Her subjects in sculpture and painting range from mythic gods and imaginary creatures to everyday characters, Hollywood entertainers, and popular musicians in rock and jazz music.

Provenance:

The papers were donated from 1992 to 2002, 2009, and 2014 by Bardene Allen.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Sculptors -- California  Search this

Painters -- California  Search this

Gallery owners -- California  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Citation:

Bardene Allen Papers, circa 1965-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.allebard

See more items in:

Bardene Allen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96cb441fe-8257-4178-bc2e-c0532f95a292

EDAN-URL:

ead_collection:sova-aaa-allebard

Creator:

Hammersley, Frederick, 1919-2009  Search this

Subject:

McLaughlin, John  Search this

Stone, Susie  Search this

Benjamin, Karl  Search this

L.A. Louver Gallery  Search this

Pomona College (Claremont, Calif.)  Search this

Type:

Diaries

Drawings

Scrapbooks

Interviews

Sketchbooks

Sound recordings

Video recordings

Citation:

Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009. Archives of American Art, Smithsonian Institution.

Topic:

Computer Art  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7270

(DSI-AAA_SIRISBib)209421

AAA_collcode_hammfred

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209421

Creator:

Frederick Hammersley Foundation  Search this

Hammersley, Frederick, 1919-2009  Search this

Citation:

Frederick Hammersley Foundation records, circa 2009-2019. Archives of American Art, Smithsonian Institution.

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)22080

AAA_collcode_fredhamm

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22080

Creator:

Hammersley, Frederick, 1919-2009  Search this

Webster, Tamara, 1917-2011  Search this

Subject:

Hammersley, Frederick  Search this

Type:

Correspondence

Date:

1972 August 8

Citation:

Frederick Hammersley. Frederick Hammersley letter to Tamara Webster, 1972 August 8. Tamara Webster papers relating to Frederick Hammersley, circa 1917-circa 1920s. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)17960

See more items in:

Tamara Webster papers relating to Frederick Hammersley, circa 1917-circa 1920s

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_17960

Creator:

Webster, Tamara, 1917-2011  Search this

Names:

Hammersley, Frederick, 1919-2009  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1917-circa 1920s

1961-1996

Summary:

The Tamara Webster papers relating to Frederick Hammersley measure 0.2 linear feet and date from circa 1917-circa 1920s, and 1961 to 1996. Webster was a mixed-media artist who operated the Tamara Webster Gallery in Cambria, California and was a friend of Frederick Hammersley. The papers include letters and holiday cards all written by Hammersley to Webster, and some Hammersley exhibition catalogs and clippings Hammersley sent to Webster. Also found are photographs of Hammersley in his Albuquerque studio, and photos of his artwork, his exhibitions, and other subjects.

Scope and Contents:

The Tamara Webster papers relating to Frederick Hammersley measure 0.2 linear feet and date from circa 1917-circa 1920s, and 1961 to 1996. Webster was a mixed-media artist who operated the Tamara Webster Gallery in Cambria, California, and a friend of Frederick Hammersley. The papers include letters and holiday cards all written by Hammersley to Webster, and some Hammersley exhibition catalogs and clippings Hammersley sent to Webster. Also found are photographs of Hammersley in his Albuquerque studio, and photos of his artwork, his exhibitions, and other subjects.

Arrangement:

The collection is arranged as 3 series.

Missing Title

Series 1: Letters, 1970-1996 (3 folders; Box 1)

Series 2: Printed Material, 1961-1990 (2 folders; Box 1)

Series 3: Photographs, circa 1917-circa 1920s, 1972-1995 (8 folders; Box 1)

Biographical / Historical:

Tamara Webster (1917-2011) was a gallery owner and mixed-media artist in Cambria, California.

Webster incorporated painting, weaving, mosaic, ethnic jewelry, furniture, woodwork, and sculpture into her artwork. She moved to Cambria in the early 1970s and operated the Tamara Webster gallery in two locations before moving it to her home studio. Webster befriended abstract painter Frederick Hammersley while living in California. After Webster moved to New Mexico in 1971 the two artists corresponded and remained friends for many years.

Related Materials:

The Archives of American Art also has the Frederick Hammersley papers, 1897-2008 and the Bardene Allen Papers, circa 1965-2009.

Provenance:

The Tamara Webster papers relating to Frederick Hammersley were donated to the Archives of American Art in 2015 via Karen Kile, the director of the San Luis Obispo Museum of Art.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Art dealers -- California -- Cambria  Search this

Gallery owners -- California -- Cambria  Search this

Mixed-media artists -- California -- Cambria  Search this

Topic:

Women art dealers  Search this

Women artists  Search this

Citation:

Tamara Webster papers relating to Frederick Hammersley, circa 1917-circa 1920s, 1961-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

The collection was digitized in 2022 with funding provided by the Frederick Hammersley Foundation.

Identifier:

AAA.webstama

See more items in:

Tamara Webster papers relating to Frederick Hammersley

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aa7b20d2-b726-407b-9e4f-73233e1f61a5

EDAN-URL:

ead_collection:sova-aaa-webstama

Creator:

Hammersley, Frederick, 1919-2009  Search this

Type:

Writings

Date:

between 1948 and 1971

Citation:

Frederick Hammersley. Frederick Hammersley notes on "An idea", between 1948 and 1971. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Topic:

Graphic art  Search this

Record number:

(DSI-AAA)10000

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_10000

Creator:

Hammersley, Frederick, 1919-2009  Search this

Type:

Artworks

Date:

between 1948 and 1971

Citation:

Frederick Hammersley. Frederick Hammersley collage An idea, between 1948 and 1971. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Topic:

Graphic art  Search this

Record number:

(DSI-AAA)10001

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_10001

Creator:

Hammersley, Frederick, 1919-2009  Search this

Type:

Artworks

Date:

195-?

Citation:

Frederick Hammersley. Holiday card design, 195-?. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Topic:

Holidays  Search this

Record number:

(DSI-AAA)11238

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_11238

Creator:

University of New Mexico  Search this

Hammersley, Frederick, 1919-2009  Search this

Type:

Artifacts

Date:

1969 Mar. 20

Citation:

University of New Mexico and Frederick Hammersley. Punched cards for computer art by Frederick Hammersley, 1969 Mar. 20. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Topic:

Computer art  Search this

Record number:

(DSI-AAA)14817

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_14817

Creator:

Hammersley, Frederick, 1919-2009  Search this

Subject:

Hammersley, Frederick  Search this

Type:

Writings

Date:

1952-1956, bulk 1952-1954

Citation:

Frederick Hammersley. Frederick Hammersley diary, 1952-1956. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)16851

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_16851

Creator:

Hammersley, Frederick, 1919-2009  Search this

Type:

Sound Recording

Date:

1984 August 26

Citation:

Frederick Hammersley. "Something Concrete on Abstract Art" lecture, 1984 August 26. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Topic:

Art, Abstract  Search this

Record number:

(DSI-AAA)19543

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_19543

Creator:

Hammersley, Frederick, 1919-2009  Search this

Type:

Correspondence

Date:

ca. 1952-53

Citation:

Frederick Hammersley. Frederick Hammersley christmas card to unidentified recipient, ca. 1952-53. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)9536

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_9536

Creator:

Hammersley, Frederick, 1919-2009  Search this

Type:

Correspondence

Date:

ca. 1952-53

Citation:

Frederick Hammersley. Frederick Hammersley Christmas card to unidentified recipient, ca. 1952-53. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)9537

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_9537

Creator:

Hammersley, Frederick, 1919-2009  Search this

Type:

Sound Recording

Date:

1989 June

Citation:

Frederick Hammersley. Hammersley reads four talks given in 1967, 1989 June. Frederick Hammersley papers, circa 1860-2009. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)19542

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Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_19542

Author:

Hammersley, Frederick 1919-2009-  Search this

Howe, Kathleen Stewart  Search this

McGrew-Yule, Rebecca  Search this

Pomona College (Claremont, Calif.) Museum of Art  Search this

Subject:

Hammersley, Frederick 1919-  Search this

Physical description:

52 p. : col. ill. ; 25 cm

Type:

Books

Exhibitions

Date:

2007

[2007]

Call number:

ND237.H283 A4 2007

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_901229

Creator:

Frederick Hammersley Foundation (2009)  Search this

Hammersley, Frederick, 1919-2009  Search this

Extent:

0.026 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Date:

circa 2009-2019

Scope and Contents:

The Frederick Hammersley Foundtion records measure 26.07 megabytes and date from circa 2009-2019. Included is a comprehensive record of the work of artist Frederick Hammersley that consists of PDF and HTML versions of an Excel spreadsheet with images, derived from the Foundation's database of Hammersley works, a key to the spreadsheet, guidelines for captioning Hammersley's works, and catalog reports on Hammersley works from the Foundation's database. The Foundation created these records in lieu of a catalog raisonne, for which there are no plans.

Biographical / Historical:

The Frederick Hammersley Foundation (est. 2009) is a charitable organization dedicated to promoting the life and works of artist, Frederick Hammersley.

Related Materials:

The Archives also holds the Frederick Hammersley papers, circa 1860-circa 2018, and the Tamara Webster papers relating to Frederick Hammersley, circa 1917-circa 1920s.

Provenance:

Donated in 2020 by the Frederick Hammersley Foundation via Kathleen Shields, Executive Director and President.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

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

The New Mexico Museum of Art has retained all intellectual property rights, including copyright, that they may own in the following material: All digital images of works of art. Researchers should be directed to NMMA to obtain any images of works of art for publication.

Function:

Foundations (Organizations)

Identifier:

AAA.fredhamm

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw951f10d04-72c3-42c7-8637-361994a3efff

EDAN-URL:

ead_collection:sova-aaa-fredhamm