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George

Alternate Title:
George Washington
Artist:
Robert Carston Arneson, 1930 - 1992  Search this
Sitter:
George Washington, 22 Feb 1732 - 14 Dec 1799  Search this
Medium:
Earthenware with underglazes and glazes
Dimensions:
With Base: 35.9 x 33.7 x 12.9cm (14 1/8 x 13 1/4 x 5 1/16")
Type:
Sculpture
Date:
1976
Topic:
George Washington: Male  Search this
George Washington: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this
George Washington: Politics and Government\Statesman\Colonial statesman  Search this
George Washington: Natural Resource Occupations\Agriculturist\Farmer  Search this
George Washington: Military and Intelligence\Army\Officer\General  Search this
George Washington: Politics and Government\President of US  Search this
George Washington: Science and Technology\Surveyor  Search this
George Washington: Congressional Gold Medal  Search this
Portrait  Search this
Credit Line:
Owner: Henry Art Gallery
Object number:
77.13 HAG
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm46b1fba90-c807-4972-ad76-7fdf5e585117
EDAN-URL:
edanmdm:npg_77.13_HAG

Patti Warashina papers

Creator:
Warashina, Patti, 1940-  Search this
Names:
Lee Nordness Galleries  Search this
Currier, Anne, 1950-  Search this
Kottler, Howard, 1930-1989  Search this
Lipofsky, Marvin, 1938-2016  Search this
Lucero, Michael, 1953-  Search this
Sperry, Robert, 1927-1998  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Date:
circa 1900-1991
bulk 1970-1989
Summary:
The papers of ceramicist and sculptor Patti Warashina (b. 1940) date from circa 1900 and 1957 through 1991, bulk 1970-1989. The collection consists of 4.8 linear feet of correspondence and printed material reflecting the many ceramic and craft exhibitions and other projects Warashina participated in throughout the United States, and her associations with other ceramicists. Also included are biographical documents, writings, art works, several photographs, and a video.
Scope and Content Note:
The Patti Warashina papers measure 4.8 linear feet and date from circa 1900 and 1957 through 1991 (bulk 1970-1989). The collection documents the artistic and teaching career of Seattle-based sculptor and ceramicist Patti Warashina predominantly through correspondence and printed material reflecting the many ceramic and craft exhibitions and other projects Warashina participated in throughout the United States, and her associations with other ceramicists. Also included are biographical documents, writings, art works, several photographs, and a video.

Biographical material includes family trees, diplomas, awards, and documents relating to Warashina's family Japanese internment during WWII. Correspondence, 1968-1991, relating to exhibitions and other projects, is with galleries, museums, purchasers, publishers, and others, among them the Lee Nordness Gallery (N.Y.), Morgan Gallery (Kansas City), and Theo Portney Gallery (Seattle). Additional correspondence files contain letters received, 1977-1990, many addressed to Warashina and her husband Bob (Robert Sperry), from friends, colleagues, former students and family members, including Nancy Carmen, Anne Currier, Deborah Horrell, Matthew Kangas, Howard Kottler, Marvin Lipofsky, Michael Lucero, and others.

Ten photographs, circa 1900-1944, are portraits of Warashina's relatives and family, and several snapshots, circa 1970s, are of former students and works of art. Printed material, 1961-1990, includes newspaper and magazine clippings, programs, journals, newsletters, exhibition announcements, exhibition catalogs, and workshop announcements for Warashina's various sculpture and ceramic lectures. Writings include both published and unpublished works by Warashina, including an artist's statement for a possible lecture at the 1986 conference of the National Council on Education for the Ceramic Arts (NCECA). Also found here are handwritten notes on a panel discussion titled Cultural and Racial Heritage: Sources and Imagery in which Warashina was a participant along with artists Aminah Brenda Lynn Robinson, María Brito Avellana, and Indira Johnson. Art work consists of blue line drawings for her sculpture "Red Earth," 1986 as well as a pen and ink sketch of Warashina by an unidentified artist. A videocassette, 1987, is of the television program "The Big A: Different Ways of Seeing", in which Warashina appears briefly.
Arrangement:
The Patti Warashina papers are arranged as seven series based primarily on type of material. The correspondence in Series 2 is arranged chronologically for exhibitions and projects and general letters received. Additional letters received are arranged by name of author.

Missing Title

Series 1: Biographical Material, 1974-1991, undated (Box 1; 3 folders)

Series 2: Correspondence, 1957, 1967-1991, undated (Boxes 1-3; 2.0 linear feet)

Series 3: Photographs, circa 1900- circa 1959, 1971, undated (Box 3; 3 folders)

Series 4: Printed Material, 1961-1990, undated (Boxes 3-6, OV 7; 2.0 linear feet)

Series 5: Writings and Notes, 1984, 1986, 1989, undated (Box 6; 4 folders)

Series 6: Artwork, 1986, undated (Box 6; 2 folders)

Series 7: Miscellany, 1987, undated (Box 6; 2 folders)
Biographical Note:
Patti Warashina is a Japanese American ceramicist and sculptor. She was born in 1940 as Masae Patricia Warashina in Spokane, Washington to third generation Japanese emigrants. She received her undergraduate degree from the University of Washington, Seattle, where she studied with sculptors Robert Sperry, Harold Myers, Rudy Autio, Shoji Hamada, Shinsaku Hamada, and Ruth Penington. She received her first solo exhibition in 1962 at the Phoenix Art Gallery in Seattle the same year she graduated with an M.F.A. from the University of Washington. Warashina later married fellow student Fred Bauer and from 1964 to 1970 exhibited as Patti Bauer.

Influences in Warashina's art include California funk and sculptural ceramics. Her work is best known for its whimsical themes expressed through low-fire highly colored figurative images. Together with fellow artists Robert Sperry, Howard Kottler and Fred Bauer, she brought national recognition to the department of ceramics at the University of Washington's School of Art beginning in the 1980s.

Patti Warashina is a recipient of several awards for achievements in the field of crafts, most recently the Twining Humber Award granted by Seattle's Artists Trust in 2002. She received the Governor's Award of Special Commendation for the Arts in 1980 in addition to grants from the National Endowment for the Arts in both 1975 and 1986. In 1978, Warashina was awarded a World Craft Council Travel Grant which allowed her to conduct research on the ceramic arts process in Japan, Hong Kong, Singapore, Thailand, Bali and the Philippines. Warashina's teaching career spans over 30 years and includes positions at the University of Wisconsin, Eastern Michigan University, and at her alma mater where she has taught for over 25 years. Her work is featured in several museum collections in both the U.S. and abroad including the American Craft Museum in New York, the Seattle Art Museum and Henry Art Gallery, the Smithsonian American Art Museum's Renwick Gallery (Washington, DC), the Art Gallery of Western Australia, and the Ichon World Ceramic Center in Korea. Since her marriage to ceramicist Robert Sperry in 1976, she has used Patti Warashina as her professional name. Patti Warashina is a resident of Seattle, Washington.
Provenance:
The Patti Warashina papers were donated by the artist to the Archives of American Art in 1991.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Ceramicists -- Washington (State) -- Seattle  Search this
Sculptors -- Washington (State) -- Seattle  Search this
Topic:
Japanese American families -- Photographs  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American sculptors  Search this
Asian American ceramicists  Search this
Women artists  Search this
Women ceramicists  Search this
Women sculptors  Search this
Genre/Form:
Video recordings
Photographs
Citation:
Patti Warashina papers, circa 1990-1991, bulk 1970-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warapatt
See more items in:
Patti Warashina papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw959631d63-cd0b-4c29-b6df-dadc4b149ee0
EDAN-URL:
ead_collection:sova-aaa-warapatt
Online Media:

Clippings — Jacob Lawrence: Painting Life Exhibition at Henry Art Gallery

Collection Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Container:
Box 16, Folder 20
Type:
Archival materials
Date:
1998
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Jacob Lawrence and Gwendolyn Knight papers / Series 4: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98960b764-0771-4b72-b74f-3131103fb5f9
EDAN-URL:
ead_component:sova-aaa-lawrjaco-ref1040

Jacob Lawrence: Painting Life (1998) Exhibition at the Henry Art Gallery, University of Washington

Collection Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Container:
Box 20, Folder 13
Type:
Archival materials
Date:
1998
Scope and Contents:
Includes correspondence, lists, draft exhibition text, notes, chronology, and printed material.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Jacob Lawrence and Gwendolyn Knight papers / Series 8: Jacob Lawrence Catalogue Raisonné Project Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw919857d0f-eee1-4900-b2f5-630096688d1a
EDAN-URL:
ead_component:sova-aaa-lawrjaco-ref1154

Jacob Lawrence: Painting Life (1998) Exhibition at Henry Art Gallery

Collection Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Container:
Box 24, Folder 36
Type:
Archival materials
Date:
1998
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Jacob Lawrence and Gwendolyn Knight papers / Series 10: Professional Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a44a443e-1136-4648-ab93-1a8dc74a1826
EDAN-URL:
ead_component:sova-aaa-lawrjaco-ref1286

Notes, Chronologies, and Printed Material Related to the Jacob Lawrence: Painting Life (1998) Exhibition at Henry Art Gallery

Collection Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Container:
Box 24, Folder 37
Type:
Archival materials
Date:
circa 1998
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Jacob Lawrence and Gwendolyn Knight papers / Series 10: Professional Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d39bbb91-2911-493e-bdb2-0fc6900357d2
EDAN-URL:
ead_component:sova-aaa-lawrjaco-ref1287

Henry Art Gallery

Collection Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Container:
Box 12, Folder 16
Type:
Archival materials
Date:
1998
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Jacob Lawrence and Gwendolyn Knight papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9efd61672-938c-43a6-9228-024b63e7d22f
EDAN-URL:
ead_component:sova-aaa-lawrjaco-ref898

Imogen Cunningham papers, 1903-1991

Creator:
Cunningham, Imogen, 1883-1976  Search this
Subject:
Adams, Ansel  Search this
Mann, Margery  Search this
Moholy-Nagy, László  Search this
Newhall, Beaumont  Search this
Sheeler, Charles  Search this
Noskowiak, Sonya  Search this
Partridge, Roi  Search this
Schoener, Allon  Search this
Steichen, Edward  Search this
Steinert, Otto  Search this
Strand, Paul  Search this
Struss, Karl  Search this
Toklas, Alice B.  Search this
Van Dyke, Willard  Search this
Weston, Edward  Search this
Bissantz, Edgar  Search this
Andreson, Laura  Search this
Bristol, Horace  Search this
Bourke-White, Margaret  Search this
Butler, John Davidson  Search this
Bullock, Wynn  Search this
Feininger, Lyonel  Search this
Coburn, Alvin Langdon  Search this
Graves, Morris  Search this
Hellman, Lillian  Search this
Lange, Dorothea  Search this
Kanaga, Consuelo  Search this
O'Keeffe, Georgia  Search this
Aalto, Alvar  Search this
Newman, Arnold  Search this
Witkin, Lee D.  Search this
Zorach, William  Search this
White, Minor  Search this
George Eastman House  Search this
Group f.64  Search this
Henry Art Gallery  Search this
Witkin Gallery  Search this
Type:
Interviews
Illustrated letters
Photographs
Citation:
Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.
Topic:
Photographers  Search this
Photography, Artistic  Search this
Portrait photography  Search this
Women artists  Search this
Women photographers  Search this
Women educators  Search this
Theme:
Women  Search this
Photography  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9453
(DSI-AAA_SIRISBib)211651
AAA_collcode_cunnimog
Theme:
Women
Photography
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211651
Online Media:

Kamekichi Tokita Papers, circa 1900-circa 2010, bulk 1900-1948

Creator:
Tokita, Kamekichi, 1897-1948  Search this
Subject:
Callahan, Kenneth  Search this
Tokita, Shokichi  Search this
Tokita, Elsie  Search this
Art Institute of Seattle  Search this
Seattle Art Museum  Search this
Hotel Cadillac (Seattle, Wash.)  Search this
Henry Art Gallery  Search this
Public Works of Art Project  Search this
Minidoka Relocation Center  Search this
Group of Twelve (Seattle, Wash.)  Search this
Type:
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Citation:
Kamekichi Tokita Papers, circa 1900-circa 2010, bulk 1900-1948. Archives of American Art, Smithsonian Institution.
Topic:
World War, 1939-1945 -- Japanese Americans  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Art, American -- Northwestern States  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Art, Modern -- 20th century -- Northwestern States  Search this
Japanese Americans -- Forced removal and internment, 1942-1945 -- Diaries  Search this
Theme:
Asian American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10444
(DSI-AAA_SIRISBib)213849
AAA_collcode_tokikame
Theme:
Asian American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213849
Online Media:

Linda Farris Gallery records

Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Names:
Barry, Lynda, 1956-  Search this
Bruskin, Grisha, 1945-  Search this
Clough, Charles, 1951-  Search this
Landfield, Ronnie, 1947-  Search this
Luce, Charles, 1947-  Search this
Lucero, Michael, 1953-  Search this
Markovitz, Sherry  Search this
Nevelson, Louise, 1899-1988  Search this
Noah, Barbara  Search this
Pepper, Beverly  Search this
Extent:
13.4 Linear feet (13 Boxes, 1 sol, 1 ov folder)
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Date:
1969-1995
Summary:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials.
Scope and Contents:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials. Business correspondence is with galleries, dealers, publishers, museums, and other businesses. Administrative files are varied and include advertising and promotion materials, exhibition schedules, mailing lists, guest books, a scrapbook, and gallery history.

Artists' files are found for many contemporary American artists that interested Linda Farris or were represented by the gallery. The contents of each file vary but many include photographs and slides, writings, correspondence, and printed materials. Files for Lynda Barry, Grisha Brusking, Charles Clough, Ronnie Landfield, Charles Luce, Michael Lucerno, Sherry Markovitz, Louise Nevelson, Barbara Noah, and Beverly Pepper are particularly rich. Exhibition files are for Linda Farris Gallery exhibitions and include printed materials, correspondence, loan and consignment agreements, and photographs.

Event files cover anniversary celebrations, lectures, panel discussions, and receptions. There are 17 sound cassette recordings of "Art Now" lectures and "Focus" panel discussions. Scattered reference files contain collected materials on subjects of interest to the gallery. There are scattered financial, sales, and legal files. Sales records cover 1970-1979.

Linda Farris' personal papers contain printed materials about her and the gallery and other materials concerning her professional and curatorial work outside of the gallery. There is also a transcript of an oral history with Farris and a news interview.

Printed materials include published books and magazines, clippings and exhibition catalogs and announcements.

Photographs are scattered throughout adminstrative files, exhibition files, event files, and Linda Farris' personal papers.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Correspondence, 1975-1991, undated (Box 1; .7 linear feet)

Series 2: Administrative files, 1970-1995, undated (Box 1-2, 14; 1 linear feet)

Series 3: Artists and Exhibition files, 1969-1995, undated (Box 2-9, 15; 6.6 linear feet)

Series 4: Events files, 1971-1990, undated (Box 9, 14; 0.6 linear feet)

Series 5: Reference files, 1969-1994, undated (Box 9-10; 0.6 linear feet)

Series 6: Financial, Sales and Legal files, 1970-1995 (Box 10; 0.4 linear feet)

Series 7: Linda Farris Papers, 1972-1995 (Box 10-11; .9 linear feet)

Series 8: Printed Materials, 1970-1995 (Box 11-14; 2 linear feet)
Biographical / Historical:
The Linda Farris Gallery was Seattle's leading venue for contemporary art during its twenty-five years of operation.

Linda Farris opened Gallery East in Bellevue in 1970, and a year later moved to Pioneer Square in Seattle, changing the name to Linda Farris Gallery in 1973. The gallery continued to present contemporary art there until closing in December 1995. Art dealer Linda Farris began representing a group of promising artists, all graduates of the University of Washington. Greg Kucera of the Greg Kucera Gallery noted in an article for the Seattle Weekly, "Their work could be loosely seen as a movement, complete with aesthetic interrelationships, convenient marriages, an unintelligible manifesto in the form of Dennis Evans' quirky pronouncements…" From the same article he states, "Her avant-garde gallery changed forever the nature of being an art dealer in Seattle." It was among the three or four most influential galleries in the Pacific Northwest.

The gallery held exhibitions of many nationally known contemporary artists, including Sam Francis, Louise Nevelson, and Robert Rauschenberg, as well as Northwest artists Jeffrey Bishop, Dennis Evans, Sherry Markovitz, Nancy Mee, Norie Sato, and Patti Warashina. The latter group started with the gallery and remained loyal at the time of its closing in 1995.

Art dealer, collector and free-lance curator Linda B. Farris (1944-2005), a native of San Francisco and a graduate of the University of California, Berkeley (1966), was an active participant in and style setter for the Seattle art world for the twenty-five years she was in business. As a member of the art community she actively supported the Henry Art Gallery at the University of Washington, Pilchuck Glass School, and Seattle Art Museum's Contemporary Art Council, and served on the boards of directors of Henry Art Gallery and Factory Visual Arts. Farris curated "Eight Seattle Artists" in 1981 for the Los Angeles Institute of Contemporary Art and "Self Portraits" in 1983 for the Los Angeles Municipal Art Gallery. She also led the movement to keep Henry Moore's "Vertebrae" from leaving Seattle, and instituted a series of talks, panel discussions, performances, and tours in her gallery, and in and around Seattle.

This note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
An oral history interview with Linda Farris conducted in 1975 by Sally Swenson, is located in the University of Washington University Libraries Digital Collections.
Provenance:
The Linda Farris Gallery records were donated to the Archives of American Art by owner Linda Farris in 1995 at the time she closed the gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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.
Topic:
Avant-garde (Aesthetics)  Search this
Art -- Washington (State) -- Exhibitions  Search this
Art, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Artists -- Northwestern States  Search this
Transcripts  Search this
Function:
Art galleries, Commercial -- Washington (State)
Genre/Form:
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Citation:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lindfarr
See more items in:
Linda Farris Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a88eaff1-cd31-4f5b-a7bf-1e2648ae6b2d
EDAN-URL:
ead_collection:sova-aaa-lindfarr
Online Media:

Linda Farris Papers

Collection Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Extent:
0.9 Linear feet (Box 10-11)
Type:
Archival materials
Date:
1972-1995
Scope and Contents:
This series contains articles by and about Linda Farris and the gallery, clippings, photographs, brochures and flyers, correspondence about arts issues and funding, notes and writings, and a certificate of appreciation for Festival '72 from Seattle Center. Topics covered include the owner's activities and curation outside her own gallery, articles written by Ms. Farris, the ArtFair/Seattle Advisory Committee, the Goodwill Games Visual Arts Subcommittee, the Seattle Art Dealers Association, Ms. Farris's participation in the campaign to keep the Henry Moore sculpture "Vertebrae" in Seattle, an Art for the YWCA project, University of Washington Henry Art Gallery board membership, her involvement in a lecture visit by collectors Herb and Dorothy Vogel, and transcripts of a 1975 Archives of Northwest Art oral history by Sally Swenson, and of a 1989 interview by Ted Rinaldo.
Arrangement:
Folders are arranged alphabetically by topic.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lindfarr, Series 7
See more items in:
Linda Farris Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9004fe28f-a55a-4e1f-9917-a7bf9e380ed7
EDAN-URL:
ead_component:sova-aaa-lindfarr-ref37

Oral history interview with Anne Gerber, 1983 Feb. 24-Apr. 21

Interviewee:
Gerber, Anne  Search this
Interviewer:
Focke, Anne  Search this
Subject:
Henry Art Gallery  Search this
Seattle Art Museum  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Anne Gerber, 1983 Feb. 24-Apr. 21. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- Washington (State) -- Seattle -- Interviews  Search this
Art patronage -- Washington (State) -- Seattle  Search this
Art, Modern -- Northwestern States  Search this
Art, American -- Northwestern States  Search this
Art patrons -- Washington (State) -- Seattle -- Interviews  Search this
Theme:
Art Collectors  Search this
Record number:
(DSI-AAA_CollID)13276
(DSI-AAA_SIRISBib)212433
AAA_collcode_gerber83
Theme:
Art Collectors
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212433
Online Media:

Oral history interview with Ramona Solberg, 2001 March 23

Interviewee:
Solberg, Ramona L., 1921-2005  Search this
Interviewer:
Halper, Vicki  Search this
Subject:
Day, Russell  Search this
Hall, Laurie  Search this
Harrington, LaMar  Search this
Ho, Ron  Search this
Hu, Mary Lee  Search this
Larsen, Jack Lenor  Search this
Lipofsky, Marvin  Search this
Maloof, Frieda  Search this
Maloof, Sam  Search this
Marshall, John  Search this
Pence, Coralyn  Search this
Penington, Ruth  Search this
Slemmons, Kiff  Search this
Tompkins, Don  Search this
Woell, J. Fred  Search this
Worden, Nancy  Search this
Central Washington State College  Search this
Edison Vocational School  Search this
Bellevue Art Museum (Wash.)  Search this
American Craft Council  Search this
University of Washington  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ramona Solberg, 2001 March 23. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Technique  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)12835
(DSI-AAA_SIRISBib)226997
AAA_collcode_solber01
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_226997
Online Media:

Oral history interview with Anne Gerber

Interviewee:
Gerber, Anne  Search this
Interviewer:
Focke, Anne  Search this
Names:
Henry Art Gallery  Search this
Seattle Art Museum  Search this
Extent:
5 Sound cassettes (Sound recording)
73 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1983 Feb. 24-Apr. 21
Scope and Contents:
An interview of Anne Gerber conducted 1983 Feb. 24-Apr. 21, by Anne Focke, at the artist's home, in Seattle, Wash., for the Archives of American Art's Northwest Oral History Project.
Gerber speaks of her family background; her education; her marriage; her and her husband's interest in fair housing and other social issues; her early interest in art and collecting; the Seattle Art Museum, the Henry Gallery, and other galleries; and other interests, including music and architecture.
Biographical / Historical:
Anne Gerber is a collector and patron from Seattle, Wash.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
Topic:
Art -- Collectors and collecting -- Washington (State) -- Seattle -- Interviews  Search this
Art patronage -- Washington (State) -- Seattle  Search this
Art, Modern -- Northwestern States  Search this
Art, American -- Northwestern States  Search this
Art patrons -- Washington (State) -- Seattle -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gerber83
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98183c953-ad60-431e-9d06-4cb3c1ea80dc
EDAN-URL:
ead_collection:sova-aaa-gerber83
Online Media:

Oral history interview with Ramona Solberg

Interviewee:
Solberg, Ramona  Search this
Interviewer:
Halper, Vicki  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Bellevue Art Museum (Wash.)  Search this
Central Washington State College -- Faculty  Search this
Edison Vocational School -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Students  Search this
Day, Russell  Search this
Hall, Laurie  Search this
Harrington, LaMar, 1917-2005  Search this
Ho, Ron  Search this
Hu, Mary Lee, 1943-  Search this
Larsen, Jack Lenor  Search this
Lipofsky, Marvin, 1938-2016  Search this
Maloof, Frieda  Search this
Maloof, Sam  Search this
Marshall, John, 1936-  Search this
Pence, Coralyn  Search this
Penington, Ruth, b. 1905  Search this
Slemmons, Kiff  Search this
Tompkins, Don  Search this
Woell, J. Fred, 1934-  Search this
Worden, Nancy  Search this
Extent:
35 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 23
Scope and Contents:
An interview of Ramona Solberg conducted 2001 March 23, by Vicki Halper, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Solberg's apartment, Seattle, Washington.
Solberg speaks of her family background and childhood in Seattle; her jewelry studies with Ruth Pennington at the University of Washington in Seattle and her use of found objects; her service in the Unites States Army; attending the Edison Vocational School on the GI Bill and pursuing a masters degree in jewelry at the University of Washington; studies with Coralyn Pence; her travels to Mexico and her fascination with pre-Columbian objects; enameling in Norway; collecting beads from around the world; her book, "Inventive Jewelry-Making" (New York: Van Nostrand Reinhold, 1972); leading tours for a Seattle-based group, "Friends of the Crafts," to the Middle East, Asia, Antarctica, and elsewhere for 16 or 17 years; teaching at Central Washington State College and creating her first bead and found object pieces there in 1956; her fondness for turquoise, lapis, and coral; inviting Don Tompkins to teach at Central Washington State College; Tompkins's "tongue-in-cheek" use of metals; her desire to make jewelry that can "shake, rattle, and roll"; teaching and workshops; her use of preliminary sketches; her soldering technique; fasteners; the weight of her jewelry; the "restraints of jewelry"; her lack of interest in making matched sets and bracelets and rings; the lack of social commentary in her work; her series of pieces inspired by the book, "Watership Down;" the influence of Fred Woell and his use of "American throw-aways"; her involvement with the Northwest region of the American Craft Council; her association with a group of jewelers in the Northwest including Ron Ho, Laurie Hall, Nancy Worden, and Kiff Slemmons; making beaded fibulas; curating exhibitions such as Ubiquitous Bead (1987) and Ubiquitous Bead II (1998) at the Bellevue Art Museum in Seattle; exhibitions at Facèré Jewelry Art Gallery in Seattle and the Henry Art Gallery at the University of Washington in Seattle; working in small spaces; getting into the exhibition Objects: USA "through the back door"; her status as an international artist; pricing her work; her pieces in museum collections; and her health. She recalls Russell Day, Jack Lenor Larsen, Sam and Frieda Maloof, John Marshall, Marvin Lipofsky, LaMar Harrington, Mary Lee Hu, and others.
Biographical / Historical:
Ramona Solberg (1921-2005) was a jeweler from Seattle, Washington. Vicki Halper is a curator at the Seattle Art Museum.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 13 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Art -- Technique  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.solber01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b1828bbb-30f3-403c-9455-424d2bde6e1a
EDAN-URL:
ead_collection:sova-aaa-solber01
Online Media:

Oral history interview with Edward B. Thomas, 1983 April 28-May 10

Interviewee:
Thomas, Edward B., 1920-1984  Search this
Interviewer:
Olbrantz, John  Search this
Subject:
Anderson, Guy  Search this
Callahan, Kenneth  Search this
Graves, Morris  Search this
Tobey, Mark  Search this
Henry Art Gallery  Search this
Seattle Art Museum  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Edward B. Thomas, 1983 April 28-May 10. Archives of American Art, Smithsonian Institution.
Topic:
Prints -- 20th century -- Northwestern States  Search this
Art, Modern -- Northwestern States  Search this
Art, American -- Northwestern States  Search this
Educators -- Washington (State) -- Seattle -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11764
(DSI-AAA_SIRISBib)212450
AAA_collcode_thomas83
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212450
Online Media:

Oral history interview with Edward B. Thomas

Interviewee:
Thomas, Edward B., 1920-1984  Search this
Interviewer:
Olbrantz, John  Search this
Names:
Henry Art Gallery  Search this
Seattle Art Museum  Search this
Anderson, Guy, 1906-1998  Search this
Callahan, Kenneth, 1905-1986  Search this
Graves, Morris, 1910-  Search this
Tobey, Mark  Search this
Extent:
84 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1983 April 28-May 10
Scope and Contents:
An interview of Edward B. Thomas conducted 1983 April 28-May 10, by John Olbrantz, at the artist's home in Seattle, Washington, for the Archives of American Art's Northwest Oral History Project. Thomas speaks of his family background and early art experiences; his education at the University of Washington; printmaking and its role in Northwest art; his role as education director at the Seattle Art Museum; the development of the museum under Richard E. Fuller; contributors to the museum; the impact of the 1962 World's Fair; the Northwest art scene; exhibitions at the museum; interaction with the Henry Gallery and other museums; and his future plans. He recalls Guy Anderson, Kenneth Callahan, Morris Graves, and Mark Tobey.
Biographical / Historical:
Edward B. Thomas (1920-1984) was an educator and museum curator from Seattle, Washington.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 9 min.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
Topic:
Prints -- 20th century -- Northwestern States  Search this
Art, Modern -- Northwestern States  Search this
Art, American -- Northwestern States  Search this
Educators -- Washington (State) -- Seattle -- Interviews  Search this
Function:
Art museums -- Washington (State) -- Seattle
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.thomas83
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fb8bdaf4-cf0c-4d0d-a935-ea35153931d5
EDAN-URL:
ead_collection:sova-aaa-thomas83
Online Media:

Grace Nicholson: Inventories and Clippings

Collection Creator:
Museum of the American Indian, Heye Foundation  Search this
Collection Director:
Heye, George G. (George Gustav), 1874-1957  Search this
Container:
Box 262A, Folder 3
Type:
Archival materials
Date:
1928 - 1968
Restrictions:
Image number 011 "Holiday Handcraft" has been removed from the slideshow due to culutral sensitivity.
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
Museum of the American Indian/Heye Foundation records
Museum of the American Indian/Heye Foundation records / Series 6: Collectors
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4a322f6cb-5196-43ba-a2f9-d7bc7ada72a1
EDAN-URL:
ead_component:sova-nmai-ac-001-ref14859
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Osisake ceremony, Mgbom village, Afikpo Village-Group, Nigeria

Photographer:
Ottenberg, Simon  Search this
Collection Photographer:
Ottenberg, Simon  Search this
Extent:
1 Slide (col.)
Culture:
Igbo (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Nigeria
Date:
1959-1960
Scope and Contents:
This photograph was taken by Dr. Simon Ottenberg while conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.
Original caption reads, "Osisake ceremony, Amebo ward square, Mgbom Village." [Ottenberg field research notes, September 1959-December 1960, Part I].
Local Numbers:
289/1959-1960

EEPA 2000-070505
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Shrines  Search this
Baskets  Search this
Genre/Form:
Color slides
Identifier:
EEPA.2000-007, Item EEPA 2000-007-0505
See more items in:
Simon Ottenberg photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo708f159dd-244a-48e6-91fb-2513046724a1
EDAN-URL:
ead_component:sova-eepa-2000-007-ref1013

Oje Ogwu ceremony for Ezi Akane compound, Ukpa Village, Afikpo Village-Group, Nigeria

Photographer:
Ottenberg, Simon  Search this
Collection Photographer:
Ottenberg, Simon  Search this
Extent:
1 Slide (col.)
Culture:
Igbo (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Nigeria
Date:
1959-1960
Scope and Contents:
This photograph was taken by Dr. Simon Ottenberg at the Oje Ogwu ceremony presented on the eke day of 3 January 1960 in the main common of Ukpa Village. Dr. Ottenberg was conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.
Original caption reads, "Oje Ogwu ceremony at Ukpa Village. Note the different styles of dresses. String netted masks. Musicians wearing the same, some with dry leaves, some with fresh ones, some with feathers, some without. Some use porcupine quills. Ebi is what dress called if wear porcupine quills, okpu ebuba (hat-feather) is what call other musicians with feathers in hats." [Ottenberg field research notes, September 1959-December 1960, Part I].
"Oje Ogwu is a play performed in only a few common villages each year. It is a net-masked dance of about thirty players accompanied by musicians also wearing net face coverings. Most of the Ezi Akane secret society members from the age group of boys and young men took part in the actual rehearsals and performances. The Oje Ogwu dance is simpler than the Okumkpa play or the Njenji masked parade. It takes a short period of time to perform and is based on only a few contrastive elements. There are the three types of costumes, each of which has special movements and activities associated with it. The Oje Ogwu is not particularly associated with a specific festival, but rather with a season." [ Ottenberg, 1975: Masked rituals of Afikpo, the context of an African art; Seattle: University of Washington Press, 1975].
The photograph depicts akopia eka (knock-hand) musicians as well as ebulu players, entering the village common. The musicians all wore a dark brown net mask with black lines on it, and a variety of head coverings. Some had porcupine quill hats (ebi) and some headpieces of feathers, called okpu ebuba (hat-feather). Most of them played the single-piece iron gong, egele; a few had the wooden ekwe gong, and several others just hit two sticks together.
Local Numbers:
290/1959-1960

EEPA 2000-070506
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Clothing and dress -- Africa  Search this
Cultural landscapes  Search this
Masquerades  Search this
Headdresses -- headgear -- Africa  Search this
Masks  Search this
Genre/Form:
Color slides
Identifier:
EEPA.2000-007, Item EEPA 2000-007-0506
See more items in:
Simon Ottenberg photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7225e09b6-5821-4b86-8a3e-4218f56873ad
EDAN-URL:
ead_component:sova-eepa-2000-007-ref1014

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