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Hans Hofmann papers, circa 1904-2011

Creator:
Hofmann, Hans, 1880-1966  Search this
Subject:
Dickey, Tina  Search this
Amgott, Madeline  Search this
Mauer, Alfred  Search this
Hawthorne, Charles Webster  Search this
Hofmann, Maria  Search this
Hofmann, Renate Schmitz  Search this
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
Hans Hofmann School of Fine Arts  Search this
Type:
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Topic:
Motion pictures (visual works)  Search this
Art -- Study and teaching  Search this
Art -- Philosophy  Search this
Authors -- New York (State) -- New York  Search this
Authors -- Massachusetts  Search this
Art schools -- New York (State) -- New York  Search this
Abstract expressionism  Search this
Art schools -- Massachusetts -- Provincetown  Search this
Art teachers  Search this
Painting, Modern -- 20th century -- Study and teaching  Search this
Art students -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)5966
(DSI-AAA_SIRISBib)227882
AAA_collcode_hofmhans
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_227882
Online Media:

Oral history interview with Richard Stankiewicz

Interviewee:
Stankiewicz, Richard, 1922-1983  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
University of Albany -- Faculty  Search this
Zabriskie Gallery  Search this
Hofmann, Hans, 1880-1966  Search this
Kootz, Samuel Melvin, 1898-1982  Search this
Léger, Fernand, 1881-1955  Search this
Porter, Fairfield  Search this
Smith, David, 1906-1965  Search this
Zabriskie, Virginia M., 1927-1991  Search this
Extent:
48 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1979 June 26
Scope and Contents:
An interview of Richard Stankiewicz conducted 1979 June 26, by Robert Brown, for the Archives of American Art.
Stankiewicz speaks of his life since the Archives last interviewed him in the mid-sixties; joining the Zabriskie Gallery; the Loft Living Program and his struggles with city officials; the beginning of the respectability of modern art in America; deciding to leave New York City and move to Massachusetts; accepting a teaching position at the University of Albany; his ambivalence about teaching; his comments on photographs being shown to him of his art work over the years; how his ideas develop; how he doesn't mix his politics and art; an exhibition he did in Australia; and what he is working on right now. He recalls Hans Hofmann, Fairfield Porter, Virginia Zabriskie, Sam Kootz, David Smith, Julio Gonzales, Fernand Léger, and many others.
Biographical / Historical:
Richard Stankiewicz (1922-1983) was a sculptor and educator from Huntington, Massachusetts.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 30 min.
Related Materials:
The Archives of American Art also has interviews, video recordings, and the papers of Richard Stankiewicz.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Art, American  Search this
Sculpture, Modern -- 20th century  Search this
Sculptors -- Massachusetts -- Huntington -- Interviews  Search this
Art -- Political aspects  Search this
Politics in art  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.stanki79
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stanki79

Oral history interview with Katharine Kuh

Topic:
Saturday review
Interviewee:
Kuh, Katharine  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
Art Institute of Chicago  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
First National Bank of Chicago -- Art collections  Search this
Katharine Kuh Gallery (Chicago, Ill.)  Search this
Mark Rothko and His Times Oral History Project  Search this
Vassar College. Art Gallery  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Albright, Ivan, 1897-1983  Search this
Archipenko, Alexander, 1887-1964  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Avery, Milton, 1885-1965  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Berenson, Bernard, 1865-1959  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Duchamp, Marcel, 1887-1968  Search this
Ernst, Max, 1891-1976  Search this
Hofmann, Hans, 1880-1966  Search this
Kepes, Gyorgy, 1906-2001  Search this
Klee, Paul, 1879-1940  Search this
Léger, Fernand, 1881-1955  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Moholy-Nagy, László, 1895-1946  Search this
Mérida, Carlos, 1891-1984  Search this
Newman, Barnett, 1905-1970  Search this
Noguchi, Isamu, 1904-1988  Search this
Paepcke, Walter Paul, 1896-1960  Search this
Porter, Eliot, 1901-1990  Search this
Ray, Man, 1890-1976  Search this
Rich, Daniel Catton, 1904-1976  Search this
Rothko, Mark, 1903-1970  Search this
Smith, David, 1906-1965  Search this
Stamos, Theodoros, 1922-1997  Search this
Stieglitz, Alfred, 1864-1946  Search this
Still, Clyfford, 1904-1980  Search this
Tamayo, Rufino, 1899-  Search this
Tobey, Mark  Search this
Tworkov, Jack  Search this
Weston, Edward, 1886-1958  Search this
Extent:
313 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 Mar. 18-1983 Mar. 24
Scope and Contents:
An interview of Katharine Kuh conducted 1982 Mar. 18-1983 Mar. 24, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Kuh speaks of her invalid childhood in Chicago, the development of her interest in art, classes in art history at Vassar College, and her career as curator of modern art at the Art Institute of Chicago. She recalls in particular the "Sanity in Art" movement against modern art in Chicago. Kuh describes her relationship with Mark Rothko and Rothko's relationships with Mark Tobey, Clyfford Still, Kate Rothko, Theodoros Stamos, Milton Avery, Stanley Kunitz, and Hans Hofmann.
Kuh discusses her parents, the family silk business, travelling in Europe as a child, life in Chicago, the effects of polio and other illnesses on her interests, and her student years at Vassar College. She remembers visiting Bernard Berenson in Italy with her family and again with Daniel Catton Rich, with whom she worked very closely at the Art Institute of Chicago. She speaks of the Katharine Kuh Gallery, which she started in the mid-1930s and its place in the vanguard of the Chicago art scene.
Kuh remembers the effects of the stock market crash on her personal situation, her marriage to businessman George Kuh, distaste for life in the suburbs, and her divorce. She discusses the Katharine Kuh Gallery and the actions taken against her business by members of the reactionary "Sanity in Art" movement (including a very funny anecdote concerning Carlos Merida). She speaks of the classes in modern art that she taught at her gallery and of some of the artists she exhibited there, including the photographers Ansel Adams, Alfred Stieglitz, and Edward Weston.
Kuh remembers the McCarthy era and the political conservatism in Chicago, including her testimony on behalf of Bill Zimmerman, Acting Commissioner of Indian Affairs. She criticizes blockbuster exhibitions and the changes in the role of a museum curator. She reminisces about building the collection at the Art Institute of Chicago and the art education program she ran there, and recalls Stuart Davis, Laszlo Moholy-Nagy, Gyorgy Kepes, and Ivan Albright.
Kuh remembers Laszlo Moholy-Nagy, Ludwig Mies van der Rohe, and Marcel Duchamp, as well as the collectors Walter Paepcke and Walter and Louise Arensberg (whose collection she surveyed in their home for an exhibition at the Art Institute of Chicago).
Kuh focuses on her memories of Mark Rothko, recalling when they met, their friendship, his manner of working, his feelings about his work, and his worries towards the end of his life. She talks about Clyfford Still, Barnett Newman, and Mark Tobey. Some parts of this tape repeat what she said earlier.
Kuh continues discussing Rothko, particularly his Houston chapel murals and the retrospective exhibition at MOMA in 1961. She remembers visiting Rothko's studio and describes his working methods. She relates Rothko's views on other artists, including Milton Avery, Clyfford Still, Turner, Robert Motherwell, and Adolf Gottlieb; parts repeat things said before. Kuh also discusses Rothko's wife and daughter.
Kuh recounts building the collection at the Art Institute of Chicago and speaks of the museum staff, trustees, and donors. She remembers Alfred Barr at MOMA.
Kuh continues speaking about the Art Institute of Chicago, describing the circumstances of her resignation and subsequent move to New York. She talks of knowing Peggy Guggenheim, Max Ernst, and Fernand Leger.
Kuh describes her work as a consultant to college museums and her writings. She discusses the field of art criticism and her career as art editor at Saturday Review. She recalls Clyfford Still's retrospective exhibition at the Metropolitan Museum of Art and his death.
Kuh describes her work as a collector for the First National Bank of Chicago.
Kuh recounts more about her work at Saturday Review and her resignation. She goes into great detail about her travels in Alaska and British Columbia surveying Northwest Indian art for a government report. She speaks again about the McCarthy era.
Kuh speaks again about the Katharine Kuh Gallery and the artists she exhibited there, including Josef Albers (and his Black Mountain College), Alexander Archipenko, Stuart Davis, Paul Klee, Alexander Calder, and Man Ray.
Kuh continues her discussion of artists she exhibited at the Katharine Kuh Gallery, including Mark Tobey, Paul Klee, and Isamu Noguchi.
Kuh continues talking about artists she exhibited at the Katharine Kuh Gallery, including David Smith, Ansel Adams, Edward Weston, Eliot Porter, Rufino Tamayo, and Jack Tworkov.
Biographical / Historical:
Katharine Kuh (1904-1994) was an art consultant, curator, and critic from Chicago and New York City.
General:
Originally recorded on 16 sound cassettes. Reformatted in 2010 as 31 digital wav files. Duration is 21 hrs., 52 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript: Patrons must use microfilm copy.
Rights:
Authorization to publish, quote or reproduce must be obtained from name on file.
Occupation:
Artists -- United States  Search this
Topic:
Abstract expressionism  Search this
Art critics -- Interviews  Search this
Curators -- Interviews  Search this
Art museum curators -- Interviews  Search this
Function:
Art galleries, Commercial -- Illinois -- Chicago
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kuh82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuh82

Whitney Museum of American Art artists' files and records

Creator:
Whitney Museum of American Art  Search this
Names:
Whitney Studio Club  Search this
Whitney Studio Galleries  Search this
Baziotes, William, 1912-1963  Search this
Bellows, George, 1882-1925  Search this
Benton, Thomas Hart, 1889-1975  Search this
Bloom, Hyman, 1913-  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Burlin, Paul, 1886-1969  Search this
Cadmus, Paul, 1904-1999  Search this
Cassatt, Mary, 1844-1926  Search this
Curry, John Steuart, 1897-1946  Search this
Davis, Stuart, 1892-1964  Search this
De Creeft, José, 1884-1982  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Evergood, Philip, 1901-1973  Search this
Feininger, Lyonel, 1871-1956  Search this
Gatch, Lee, 1902-1968  Search this
Glackens, William J., 1870-1938  Search this
Gorky, Arshile, 1904-1948  Search this
Graves, Morris, 1910-  Search this
Gross, Chaim, 1904-1991  Search this
Grosz, George, 1893-1959  Search this
Harnett, William Michael, 1848-1892  Search this
Hartley, Marsden, 1877-1943  Search this
Henri, Robert, 1865-1929  Search this
Hofmann, Hans, 1880-1966  Search this
Hopper, Edward, 1882-1967  Search this
Inness, George, 1825-1894  Search this
Karfiol, Bernard, 1886-1952  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lachaise, Gaston, 1882-1935  Search this
Lawson, Ernest, 1873-1939  Search this
MacIver, Loren, 1909-1998  Search this
Marin, John, 1870-1953  Search this
Marsh, Reginald, 1898-1954  Search this
Motherwell, Robert  Search this
Mount, William Sidney, 1807-1868  Search this
Nevelson, Louise, 1899-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Pollock, Jackson, 1912-1956  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Pène Du Bois, Guy , 1884-1958  Search this
Reder, Bernard, 1897-1963  Search this
Rimmer, William, 1816-1879  Search this
Rivers, Larry, 1925-2002  Search this
Rothko, Mark, 1903-1970  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sheeler, Charles, 1883-1965  Search this
Sloan, John, 1871-1951  Search this
Smith, David, 1906-1965  Search this
Stella, Joseph, 1877-1946  Search this
Tobey, Mark  Search this
Twachtman, John Henry, 1853-1902  Search this
Tworkov, Jack  Search this
Walkowitz, Abraham, 1880-1965  Search this
Weber, Max, 1881-1961  Search this
Wyant, A. H. (Alexander Helwig), 1836-1892  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Zorach, William, 1887-1966  Search this
Extent:
78 microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1914-1966
Scope and Contents:
REELS N591-N597: Photographs of the Museum, Juliana Force, Herman Moore; scrapbooks on the Whitney Studio Club, Whitney Studio Galleries and the Museum, 1927-1965.
REELS N599-N604: Notebooks of Edwin W. Dickinson; photographs and provenance information for works by Philip Evergood; a catalog of information and some photographs of Chinese ink drawings and other works by Reginald Marsh; and photographs and information on Bernard Reder, Jack Tworkov, Max Weber (portions also microfilmed on reel NY59-8 (fr. 497-658), reel NY59-9 (fr. 1-51), and William Zorach.
REELS N604-N609: Exhibition catalogs, 1946-1966, for artists and groups shows at the Museum, including Robert Feke, William Rimmer, Ralph Blakelock, Albert Maurer, Albert Pinkham Ryder, Yasuo Kuniyoshi, Thomas Cole, Max Weber, Arshile Gorky, Mark Tobey, John Sloan, Loren MacIver, I. Rice Pereira, George Grosz, Reginald Marsh, Charles Burchfield, Morris Graves, Theodore Roszak, John Marin, Hans Hofmann, Bradley Tomlin, Stuart Davis, Milton Avery, Lee Gatch, Jose De Creeft, Maurice Prendergast, Edward Hopper, Hyman Bloom, Robert E. Jones, Balcomb Greene, Karl Zerbe, Arthur G. Dove, William Zorach, Philip Evergood, Bernard Reder, Herbert Feber, Oliver O'Connor Barrett,Arthur B. Davies, Jose De Rivera, Paul Burlin, Joseph Stella, Jack Tworkov, Ivan Albright, Stuart Davis, Edwin Dickinson, John Quidor, and Niles Spencer.
REELS N646-N694: Artists' files on: Oliver O'Connor Barrett,William Baziotes, George Bellows, Thomas Hart Benton, Peter Blume, James Brooks, Patrick Henry Bruce, Charles Burchfield, Paul Burlin, David Burliuk, Paul Cadmus, Mary Cassatt, Thomas Cole, Glenn Coleman, Jon Corbino, John Steuart Curry, Jo Davidson, Arthur B. Davies, Jose DeCreeft, Charles Demuth, Jose De Rivera, Arthur Dove, Guy Pène du Bois, Stuart Davis, Frank Duveneck, Ralph Earl, Eastman Johnson, The Eight, Philip Evergood, Robert Feke, Lyonel Feininger, Ernest Fiene, George Fuller, Lee Gatch, William Glackens, Arshile Gorky, Balcomb Greene, Chaim Gross, George Grosz, William Harnett, Marsden Hartley, Childe Hassam, John Heliker, Robert Henri, Hans Hofmann, George Inness, Leon Kelly, Franz Kline, Karl Knaths, Leon Kroll, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Robert Laurent, Ernest Lawson, Jack Levine, Seymour Lipton, George B. Luks,
Stanton Macdonald-Wright, Loren MacIver, John Marin, Reginald Marsh, Alfred Maurer, K. H. Miller, Robert Motherwell, William Mount, Jerome Myers, Louise Nevelson, Georgia O'Keeffe (portions also microfilmed on reels NY59-13 (fr. 98-115, 406-424, 586-685), reel NY59-14 (entire), and reel NY59-15 (fr. 1-140, 145-153), I. Rice Pereira, Bernard Perlin, Joseph Pollett, Jackson Pollock, Reginald Pollack, Henry V. Poor, Richard Pousette-Dart, Maurice Prendergast, Abraham Rattner, Bernard Reder, Ad Reinhardt, William Rimmer, Larry Rivers, Hugo Robus, Theodore Roszak, Mark Rothko, Concetta Scarvaglione, Henry Schnakenberg, Ben Shahn, John Sloan, David Smith, Eugene Speicher, Theodoros Stamos, Joseph Stella, Maurice Sterne, Mark Tobey, Bradley Tomlin,Trajan, Allen Tucker, John Twachtman, Jack Tworkov, Abraham Walkowitz (also on reel NY/59-15) , Max Weber, James M. Whistler, Gertrude Whitney, Grant Wood, Alexander Wyant, Mahonri Young, and William Zorach.
REELS NWH 1-NWH 7: Artist files on Charles Sheeler, Bernard Karfiol, Louis Eilshemius; scatterred records of the Whitney Studio Club and Museum, 1914-1945, including minutes, Oct. 15, 1930, and Whitney Studio ledgers, 1928-1931; catalogs of one-man shows, 1932-1945; catalogs of annual painting exhibitions, 1932-1940, sculpture, watercolor and drawing exhibitions, 1933-1945, and group exhibitions, 1932-1945; and clippings, Oct. 1935-1936.
REELS NY59/8 (fr. 256-end)-NY59/10: Files on Max Weber, including biographical material, lists of work, and miscellany. Also found (NY59/8 frames 354-383) are ca.20 letters from Weber to Abraham Walkowitz, 1907-1924.
Biographical / Historical:
Whitney Museum of American Art is an American art museum in New York, New York. Founded by Gertrude Vanderbilt Whitney and formally opened in 1931. Previous to its opening as a museum it was known as the Whitney Studio Club (1914-28) and Whitney Studio Galleries (1928-30).
Provenance:
The Weber files on reels NY59/8-10 were lent for microfilming 1959 by the Whitney Museum of American Art; the remainder was lent 1964-1967; additional material from the Museum was lent at the same time, and subsequently donated, including the papers of Lloyd Goodrich, Juliana Force, Thomas B. Clarke, the American Art Research Council, and Gertrude Vanderbilt Whitney; these have each been cataloged separately. Portions of Weber, and O'Keeffe material that was microfilmed in 1959 were refilmed in 1967.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Modern -- 20th century -- United States  Search this
Artists -- Exhibitions -- New York (State) -- New York  Search this
Art, American  Search this
Function:
Art museums -- New York (State) -- New York
Identifier:
AAA.whitmuse
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitmuse

Glenn Wessels papers

Topic:
Fortnightly
Argonaut (Periodical)
Creator:
Wessels, Glenn A. (Glenn Anthony), 1895-  Search this
Names:
University of California, Berkeley. History of Art Dept.  Search this
Adams, Ansel, 1902-1984  Search this
Alvarez, Peace K.  Search this
Cunningham, Imogen, 1883-1976  Search this
Haley, John, 1905-1991  Search this
Hofmann, Hans, 1880-1966  Search this
Limerick, Ila A.  Search this
Loran, Erle, 1905-1999  Search this
Ryder, Worth, 1884-1960  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca. 1932-1982]
Scope and Contents:
Biographical material, 1953-1981; 15 letters from Hans and Maria Hofmann, and two from Wessels to Hofmann, 1952-1964; correspondence with Ila Limerick and Peace and Pauline Alvarez regarding mostly their planned but uncompleted biography of Wessels, ca. 1959-1968; miscellaneous correspondence; typescripts of lectures by Wessels; photographs of Wessels, including one by Imogen Cunningham, 1956, Wessels with others, one of his work, and one by Wessels (?) of an outdoor scene; newspaper clippings and printed material, undated, 1959-1967 and 1982; and miscellany, 1932-1966.
The Hans Hofmann letters, written from New York and Provincetown, discuss the importance of painting, his and Wessel's work, his plans to come to Berkeley to accept an honorary doctorate, and his feelings toward Wessels, Erle Loran, and others. Three of the letters are written by his wife Maria. Wessels' letters to Hofmann relate to the University's choice of Erle Loran to present Hofmann's honorary doctorate.
The correspondence with Ila Limerick, and Peace and sometimes Pauline Alvarez, contain lengthy, detailed reminiscences by Wessels on personal and professional topics. The later correspondence with Peace Alvarez relates mainly to the deteriorating health of Wessels' wife, Kay.
The miscellaneous correspondence includes a letter from Wessels to Worth Ryder, 1943, relating to Erle Loran and John Haley; a letter from Alfred Frankenstein thanking Wessels for sending his paper "The New Approach to Nature in Painting"; a letter from Worth Ryder congratulating Wessels on his exhibition, 1959; a letter from Ansel Adams praising Wessels' work done at a Polaroid Corp. Workshop, 1965; and letters regarding a controversy surrounding credit for bringing Hofmann to U.C. Berkeley, including a copy of a letter from John Haley to Paul Cummings; from Wessels to Haley, 1978; and from Wessel's brother-in-law Willis Foster to James Elliott, Director, University Art Museum, 1986.
Included in the printed material are an issue of The Fortnightly (Feb. 26, 1932) which Wessels helped found and served as art editor, and The Argonaut (July 16, 1937), containing Wessels' weekly column on art.
Biographical / Historical:
Painter, lecturer, critic, and teacher; Berkeley, Calif. Born Captown, South Africa. Studied with Hans Hofmann in Munich. Professor of Art at University of California at Berkeley.
Provenance:
Donated 1991 by Willis Foster, Wessels' brother-in-law.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- California  Search this
Topic:
Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this
Identifier:
AAA.wessglen
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wessglen

Waintrob-Budd photographs of American artists

Creator:
Waintrob-Budd (Firm : New York, N.Y.)  Search this
Names:
American Academy of Arts and Letters  Search this
Budd (Firm : New York, N.Y.)  Search this
Adrian, Barbara, 1931- -- Photographs  Search this
Archipenko, Alexander, 1887-1964 -- Photographs  Search this
Avery, Milton, 1885-1965 -- Photographs  Search this
Barnet, Will, 1911- -- Photographs  Search this
Benton, Thomas Hart, 1889-1975 -- Photographs  Search this
Biddle, George, 1885-1973 -- Photographs  Search this
Bosa, Louis, 1905- -- Photographs  Search this
Botkin, Henry, 1896-1983 -- Photographs  Search this
Browne, Byron, 1907-1961 -- Photographs  Search this
Carroll, John, 1892-1959 -- Photographs  Search this
Constant, George, 1892-1978 -- Photographs  Search this
De Creeft, José, 1884-1982 -- Photographs  Search this
De Diego, Julio, 1900- -- Photographs  Search this
Delaunay, Sonia -- Photographs  Search this
Dickinson, Edwin Walter, 1891- -- Photographs  Search this
Duchamp, Marcel, 1887-1968 -- Photographs  Search this
Evans, Walker, 1903-1975 -- Photographs  Search this
Floch, Joseph, 1895-1977 -- Photographs  Search this
Gablik, Suzi, 1934- -- Photographs  Search this
Goodrich, Lloyd, 1897-1987 -- Photographs  Search this
Gottlieb, Adolph, 1903-1974 -- Photographs  Search this
Goulet, Lorrie, 1925- -- Photographs  Search this
Grosz, George, 1893-1959 -- Photographs  Search this
Hare, David, 1917- -- Photographs  Search this
Harkavy, Minna, b. 1895 -- Photographs  Search this
Hayter, Stanley William, 1901- -- Photographs  Search this
Hofmann, Hans, 1880-1966 -- Photographs  Search this
Hopper, Edward, 1882-1967 -- Photographs  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968 -- Photographs  Search this
Jenkins, Paul, 1923-2012 -- Photographs  Search this
Kantor, Morris, 1896-1974 -- Photographs  Search this
Krasner, Lee, 1908-1984 -- Photographs  Search this
Kroll, Leon, 1884-1974 -- Photographs  Search this
Lawrence, Jacob, 1917-2000 -- Photographs  Search this
Levi, Julian E. (Julian Edwin), 1900-1982 -- Photographs  Search this
Levine, Jack, 1915-2010 -- Photographs  Search this
Levy, Ellen K -- Photographs  Search this
Lijn, Liliane, 1939- -- Photographs  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lowry, W. McNeil (Wilson McNeil), 1913-1993 -- Photographs  Search this
Marsh, Reginald, 1898-1954 -- Photographs  Search this
Mayor, A. Hyatt (Alpheus Hyatt), 1901-1980 -- Photographs  Search this
Menkes, Sigmund, 1896-1986 -- Photographs  Search this
Motherwell, Robert -- Photographs  Search this
Root, Edwin -- Photographs  Search this
Rorimer, James J. (James Joseph), 1905-1966 -- Photographs  Search this
Shahn, Ben, 1898-1969  Search this
Sheerin, Jerry -- Photographs  Search this
Soyer, Moses, 1899-1974 -- Photographs  Search this
Soyer, Raphael, 1899-1987 -- Photographs  Search this
Speicher, Eugene E. (Eugene Edward), 1883-1962 -- Photographs  Search this
Speyer, Darthea -- Photographs  Search this
Steinberg, Saul -- Photographs  Search this
Sweeney, James Johnson, 1900- -- Photographs  Search this
Waintrob, A. L., 1908-  Search this
Waintrob, Sidney J., 1903-  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976 -- Photographs  Search this
Walkowitz, Abraham, 1880-1965 -- Photographs  Search this
Zorach, William, 1887-1966 -- Photographs  Search this
Extent:
68 Items ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1953-1980
Scope and Contents:
REEL 1817: Photographs of: Will Barnet, Jose de Creeft (2), Sonia Delaunay, Walker Evans, Joseph Floch, Suzi Gablik (2), Adolph Gottlieb (also filmed on reel 1886, fr. 33-34), Lorrie Goulet, Minna Harkavy, William Hayter (2), Paul Jenkins, Lee Krasner (2), Lilliane Lijn, Jerry Sheerin (2), and Darthea Speyer (2). Also included is a group photo of Jose de Creeft, Jacques Lipchitz, George Biddle, Thomas Benton, and Ben Shahn at the American Academy of Arts & Letters Ceremonial, May 20, 1964.
REEL 1886: Photographs of: Barbara Adrian, Alexander Archipenko, Milton Avery, Will Barnet, Isabel Bishop, Louis Bosa, Henry C. Botkin, Byron Browne, John Carroll, George Constant, Julio de Diego, Edwin Dickinson, Marcel Duchamp, Joseph Floch, Lloyd Goodrich, Adolph Gottlieb, Lorrie Goulet, George Grosz, David Hare, Minna Harkavy, Hans Hofmann, Edward Hopper, Josephine Hopper, Morris Kantor, Leon Kroll, Jacob Lawrence, Julian Levi, Jack Levine, Reginald Marsh, A. Hyatt Mayor, Sigmund Menkes, Robert Motherwell, Edwin Root, James Rorimer (a cropped version erroneously microfilmed as Sidney Waintrob appears on reel 1817, fr. 1193), Moses Soyer, Raphael Soyer, Eugene Speicher, Saul Steinberg, James Johnson Sweeney, Hudson Walker, Abraham Walker, and William Zorach.
UNMICROFILMED Two photographs: Ellen K. Levy and McNeil Lowry.
Arrangement:
REEL 1817: Microfilmed with AAA's Photographs of Artists Collection II, and appear on microfilm in alphabetical order under artist with other unrelated photographs.
Biographical / Historical:
Photographic studio; New York, N.Y. Sidney J. and his brother A. L. (Bud) Waintrob specialized in photographing artists, curators and other art world personalities. They worked under the name Budd [Studio] before using Waintrob-Budd.
Provenance:
Photographs on reel 1817 and unmicrofilmed photos donated 1974-1987 by Sidney J. Waintrob; photographs on reel 1886 donated 1979-1980 by Samuel I. Hoffberg, whose relationship to Waintrob-Budd is unclear.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Rights:
Authorization to publish quote, or reproduce must be obtained from David Stekert.
Topic:
Artists -- United States -- Photographs  Search this
Identifier:
AAA.wainbudd
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wainbudd

Tony Vevers papers

Creator:
Vevers, Tony  Search this
Names:
Long Point Gallery (Provincetown, Mass.)  Search this
Provincetown Art Association  Search this
Purdue University -- Faculty  Search this
Sun Gallery (Provincetown, Mass.)  Search this
Andersen, Yvonne  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Falcone, Dominic  Search this
Grooms, Red  Search this
Halvorsen, Elspeth  Search this
Hofmann, Hans, 1880-1966  Search this
L'Engle, Lucy, 1889-1978  Search this
L'Engle, William, 1884-1957  Search this
Motherwell, Robert  Search this
Smith, Houghton Cranford, 1887-1983  Search this
Stout, Myron, 1908-1987  Search this
Tworkov, Jack  Search this
Vevers, Tabitha  Search this
Webster, E. Ambrose (Edwin Ambrose), 1869-1935  Search this
Yamamoto, Gwen  Search this
Yamamoto, Taro  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Photographs
Portraits
Watercolor paintings
Place:
Provincetown (Mass.) -- Description and Travel
Date:
1947-2008
bulk 1960-1999
Summary:
The papers of painter and art historian Tony Vevers measure 3.4 linear feet and date from 1947 to 2008, with the bulk of materials dating from 1960 to 1999. The collection concerns his career as a painter and teacher and his research and writings about the history of art in Provincetown, Massachusetts. Found within the papers are correspondence, writings, subject files, printed material, and photographs.
Scope and Contents:
The papers of painter and art historian Tony Vevers measure 3.4 linear feet and date from 1947 to 2008, with the bulk of materials dating from 1960 to 1999. The collection concerns his career as a painter and teacher and his research and writings about the history of art in Provincetown, Massachusetts. Found within the papers are correspondence, writings, subject files, printed material, and photographs.

Among the biographical materials are résumés, a personal statement, the transcript of Tabitha Vevers's 1986 "Conversation with My Father," and applications for grants to study Provincetown artists and the history of the Provincetown art community from the 1920s to the 1950s. Personal and professional includes some letters to his wife Elspeth.

The collection as a whole—and especially Vevers's writings and subject files–focuses on the Provincetown art community, its history and significance. Vevers's writings include many lectures prepared for classes he taught at Purdue University and the Provincetown Art Association and Museum, catalog essays, and notes. There are notes and research materials about artists Houghton Cranford Smith, E. Ambrose Webster, Edwin Dickinson, and Lucy and William L'Engle, and subject files about the Provincetown Art Association and Museum, Long Point Gallery, and other galleries in the area, as well as a file of Provincetown-related obituaries and eulogies for Hans Hofmann, Robert Motherwell, and Jack Tworkov, with Vevers's eulogies for Tworkov and Myron Stout.

Printed materials consist mainly of clippings, exhibition catalogs and announcements relating to Vevers and his art interests. Artwork consists of a small print and watercolor, probably by Vevers, as well as a pen-and-ink portrait by an unidentified artist.

Photographs are mainly of artwork by Vevers. The two images of Vevers show him as a young boy and in 1984 at work in his studio. There are several photographs of exhibition installations at the Sun Gallery in Provincetown, 1958-1959, identified artists are: Yvonne Andersen, Dominic Falcone, Red Grooms, Taro and Gwen Yamamoto.
Arrangement:
The collection is arranged in 7 series:

Series 1: Biographical Materials, 1962-2000 (Box 1; 1 folder)

Series 2: Correspondence, 1950s-2006 (Box 1; 0.1 linear foot)

Series 3: Writings, 1947-2008 (Boxes 1-2; 1.9 linear feet)

Series 4: Subject Files, 1954-2006 (Boxes 2-3; 0.7 linear foot)

Series 5: Printed Material, 1960s-2008 (Boxes 3-4; 0.7 linear foot)

Series 6: Artwork, circa 1950s-circa 2005 (Box 4; 2 folders)

Series 7: Photographs, circa 1950s-1984 (Box 4; 0.1 linear foot)
Biographical / Historical:
Painter and art historian, Tony Vevers (1926-2008) and his artist wife Elspeth Halvorsen (b. 1929) lived and worked in Provincetown, Massachusetts, as year-round or summer residents from 1955 to 2006. From 1964 to 1988, Vevers taught art and art history at Purdue University in Indiana. An active participant in the Provincetown art community, he was also an historian of the Provincetown art scene.

Vevers was born in London, England and immigrated to the United States in 1940, graduating from the Hotchkiss School in Lakeville, Connecticut and Yale University. Following college he studied in Florence, Italy, and with Hans Hofmann in New York City, where he met his wife Elspeth Halvorsen. The couple had two daughters, one of whom, Tabitha is also an artist.

Vevers, active in the Abstract Expressionist movement, had several one-man exhibitions and participated in over one hundred group exhibitions. His works are in the Hirshhorn Museum in Washington, DC, the Delgardo Museum in New Orleans and many universities, corporate, and private collections in the United States and abroad.

Tony Vevers died in Chatham, Massachusetts on March 2, 2008 following complications from pneumonia.
Related Materials:
Also found in the Archives of American Arts are two oral history interviews with Tony Vevers, one conducted by Dorothy Seckler 1965 September 9, the second conducted by Robert F. Brown in 1998 July 9 and August 25.
Provenance:
The papers were donated to the Archives of American Art in 2013 by Elspeth Halvorsen-Vevers the widow of Vevers.
Restrictions:
Use of original materials requires an appointment.
Rights:
The Tony Vevers papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Transcripts  Search this
Artists' studios -- Photographs  Search this
Art -- History -- Study and teaching  Search this
Art, Modern -- 19th century  Search this
Art -- Study and teaching  Search this
Abstract expressionism  Search this
Painters -- Massachusetts -- Provincetown  Search this
Educators -- Massachusetts  Search this
Art historians -- Massachusetts  Search this
Genre/Form:
Prints
Photographs
Portraits
Watercolor paintings
Citation:
Tony Vevers papers, 1947-2008, bulk 1960-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vevetony
See more items in:
Tony Vevers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vevetony

Tanager Gallery records

Creator:
Tanager Gallery  Search this
Names:
Arnold, Anne, 1926-  Search this
Brooks, James, 1906-1992  Search this
Burkhardt, Rudy  Search this
Cajori, Charles, 1921-  Search this
Cherry, Herman  Search this
Dodd, Lois, 1927-  Search this
Fine, Perle, 1908-1988  Search this
Frankenthaler, Helen, 1928-2011  Search this
Geist, Sidney  Search this
Guston, Philip, 1913-1980  Search this
Hazelet, Sally  Search this
Hofmann, Hans, 1880-1966  Search this
Ippolito, Angelo  Search this
Katz, Alex, 1927-  Search this
King, William, 1925-2015  Search this
Pearlstein, Philip, 1924-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rivers, Larry, 1925-2002  Search this
Stamos, Theodoros, 1922-1997  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Photographs
Sketches
Date:
1952-1979
Summary:
The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.
Scope and Content Note:
The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.

Administrative files include four day books, lists of artists and exhibitions, historical sketches, and an address book. There are two ledger books of expenses for shows and four receipt books from 1959-1962 which are organized by date and list artist, and artwork, buyer, and price. Correspondence is arranged chronologically and comprised mainly of copies of letters sent by the Gallery to artists as invitations to exhibit. Also found are scattered letters from museums and artists.

There are artists' files for circa 70 artists that contain a variety of materials, including price lists and biographies or resumes. Artists files are found for Anne Arnold, James Brooks, Charles Cajori, Herman Cherry, Lois Dodd, Sally Hazelet Drummond, Perle Fine, Helen Frankenthaler, Sidney Geist, Philip Guston, Hans Hofmann, Angelo Ippolito, Philip Pealstein, Alex Katz, William King, Robert Rauschenberg, Larry Rivers, Theordore Stamos, and Tom Wesselmann among many others.

The collection includes two scrapbooks containing mostly newsclippings and exhibition announcements, as well as additional loose newsclippings, numerous exhibition announcements and catalogs, and press releases. There are five photographs of gallery openings and the exterior of the building, the latter taken by Rudy Burkhardt.
Arrangement:
The collection is arranged as 7 series:

Series 1: Administrative Files, 1952-1979 (Boxes 1, 4; 0.5 linear feet)

Series 2: Financial and Legal Records, 1952-1962 (Box 1; 0.5 linear feet)

Series 3: Correspondence, 1952-1967 (Boxes 1-2; 0.3 linear feet)

Series 4: Artists Files, circa 1952- circa 1962 (Box 2; 0.1 linear feet)

Series 5: Scrapbooks, circa 1962 (Boxes 2-3; 0.3 linear feet)

Series 6: Printed Material, 1952-1971 (Boxes 2, 4; 0.3 linear feet)

Series 7: Photographs, circa 1952-circa 1959 (Box 2; 2 folders)
Historical Note:
The Tanager Gallery operated from 1952-1962 in New York City. The gallery was one of the first artist cooperative galleries formed on 10th Street in Manhattan to provide an alternative to the larger upscale galleries of Madison Avenue.

In 1952, the artist cooperative Tanager Gallery opened at 90 East 10th Street in Manhattan. Co-founders included Charles Cajori, Lois Dodd, Angelo Ippolito, William King, and Fred Mitchell. The Tanager offered open spaces for young artists to show their work and to sell art on their own terms. Membership at the Tanager included American Realists Alex Katz and Philip Pearlstein, and the Pop art/found-art collagist Tom Wesselmann. Later artists to join the cooperatiive included Mary Abbott, Perle Fine, Sidney Geist, Joseph Groell, Nanno de Groot, Sally Hazelet, Ben Isquith, Lester Johnson, Nicholas Marsicano, George Earl Ortman, Charlotte Park, Philip Pearlstein, Frank Stout, Raymond Rocklin, and Sal Sirugo. From 1952 to 1962, the Tanager Gallery exhibited works from about 250 artists.

The opening of Tanager and other 10th Street galleries was a radical change for the New York arts scene and for emerging New York artists who generally found representation with uptown gallery owners and/or art dealers on 57th Street or Madison Ave. In the 1950s, Manhattan's 10th Street was a gathering place for young artist-bohemians. The galleries were often the centers for anything avant-garde or new, such as art installations, happenings, poetry readings, jazz sessions, and performance art. For example, Tanager Gallery hosted a series of forums with local artists who would discuss their work and objectives.

Tanager Gallery received attention and respect from the more established art galleries and critics in New York, including Dore Ashton, Leo Castelli, Tom Hess, Martha Jackson, and Dorothy Miller. The Tanager Gallery closed in 1962.
Related Material:
Among the holdings of the Archives of American Art are the Lois Dodd papers, 1952-2001 and an oral history interview with Lois Dodd by Barbara Shikler from 1988.
Provenance:
Lois Dodd, co-founder of the Tanager Gallery, donated the Tanager Gallery records in several increments between 1972 and 1989.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Tanager Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, Abstract -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Scrapbooks
Photographs
Sketches
Citation:
Tanager Gallery records, 1952-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tanagall
See more items in:
Tanager Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tanagall
Online Media:

Dorothy Gees Seckler Collection of Sound Recordings Relating to Art and Artists

Creator:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Art in America  Search this
Velvet Underground (Musical group)  Search this
Asher, Elise, 1914-  Search this
Avery, Sally  Search this
Beck, Margit, 1915-1997  Search this
Bellow, Saul  Search this
Bultman, Fritz, 1919-1985  Search this
Cale, John  Search this
Cavallon, Giorgio, 1904-1989  Search this
Cohen, Jean  Search this
Cunningham, Merce  Search this
De Diego, Julio, 1900-  Search this
Drexler, Rosalyn  Search this
Flexner, James Thomas, 1908-2003  Search this
Frankenthaler, Helen, 1928-2011  Search this
Freed, William, 1904-  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Gelb, Jan, 1906-1978  Search this
Gorelick, Shirley, 1924-2000  Search this
Greenwood, Marion, 1909-1970  Search this
Hofmann, Hans, 1880-1966  Search this
Jones, John  Search this
Kahn, Wolf, 1927-  Search this
Karolik, Maxim  Search this
Katz, Alex, 1927-  Search this
Marcus, Marcia, 1928-  Search this
Margo, Boris, 1902-1995  Search this
Martin, Fletcher, 1904-1979  Search this
McLuhan, Marshall, 1911-1980  Search this
Middleman, Raoul F., 1935-  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Nico, 1938-1988  Search this
Noguchi, Isamu, 1904-1988  Search this
Orlowsky, Lillian, 1914-2004  Search this
Pearlstein, Philip, 1924-  Search this
Refregier, Anton, 1905-  Search this
Rivers, Larry, 1925-2002  Search this
Ross, Alvin, 1920-1975  Search this
Rothschild, Judith  Search this
Saint-Phalle, Niki de, 1930-  Search this
Segal, George, 1924-2000  Search this
Shahn, Ben, 1898-1969  Search this
Tinguely, Jean, 1925-  Search this
Ustinov, Peter  Search this
Warhol, Andy, 1928-  Search this
Whyte, William Hollingsworth  Search this
Wyeth, Andrew, 1917-2009  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1962-1976
Summary:
The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 17 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.
Scope and Contents:
The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 20 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.

Interviews with Artists consist of 17 interviews by Dorothy Seckler with artists including Elise Asher, Fritz Bultman, Judith Rothschild, Giorgio Cavallon, Marcia Marcus, Jean Cohen, William Freed, Lillian Orlowsky, Shirley Gorelick, Hans Hofmann, Wolf Kahn, Raoul Middleman, Robert Motherwell, Helen Frankenthaler, Olin Orr, Larry Rivers, Alvin Ross, George Segal, Jean Tinguely, and Niki de Saint Phalle. Several interviews are with two subjects at once. Many of these interviews were conducted in Provincetown, Massachusetts, and are referenced in her introduction to the catalog for the exhibition Provincetown Painters, 1890's – 1970's held at the Everson Museum and the Provincetown Art Association in 1977, and several interviews were conducted as research for articles Seckler wrote and published in Art in America. Also found are group interviews on specific subjects, including an interview with Julio de Diego, Marion Greenwood, Fletcher Martin, and Anton Refregier on the Woodstock art colony, and with Sally Avery, Boris Margo, Jan Gelb, Margit Beck and others on Op Art. In September of 1966, Seckler recorded some of Andy Warhol's Exploding Plastic Inevitable in Provincetown, which includes a performance by Nico and the Velvet Underground, as well as an interview with one of the band's members, John Cale. A single interview conducted by John Jones of George Segal appears to have been copied by Seckler to prepare for her April 1966 interview of Segal.

Broadcast materials include sound recordings of television and radio broadcast programs taped off the air presumably by Seckler. Most programs are interviews, with subjects including Maxim Karolik, James Thomas Flexner, R. Buckminster Fuller, Merce Cunningham, Alex Katz, Phillip Pearlstein, Roslyn Drexler, Barnet Newman, Saul Bellow, Ben Shahn, Marshall McLuhan, Isamu Noguchi, Andrew Wyeth, and William H Whyte. Other recordings include documentary programs related to contemporary art, book reviews, and a comedy performance with actor Peter Ustinov.

Photographs include 12 color slides from October of 1967 that appear to have been shot in Provincetown, Mass. Subjects include Dorothy Seckler and two other unidentified women.
Arrangement:
This collection is arranged in 3 series.

Series 1: Interviews with Artists, 1962-1976 (1 linear foot; Box 1)

Series 2: Broadcast Materials, 1962-1972 (0.8 linear feet; Boxes 2-3)

Series 3: Photographs, 1967 (1 folder; Box 3)
Biographical / Historical:
Dorothy Gees Seckler was an art historian, critic, journalist, and artist active in New York City and Provincetown, Mass. Born Dorothy Elizabeth Gees in Baltimore, MD in 1910, she completed the program in Advertising Design at Maryland Institute College of Art in 1931 and was awarded a traveling scholarship upon graduation, which she used to study in Europe. She later received a masters degree from Columbia University in Art History and Art Education, and worked during World War II as head of an illustration unit in the Army's Judge Advocate General's office.

After the war, she worked at the Museum of Modern Art as an art historian in the education office until 1950, when she began writing for ARTnews magazine, reviewing New York gallery shows for its "Gallery Notes" section, and exploring painters' processes in the "Paints a Picture" series. She later served as contributing editor for Art in America from the late 1950s through the late 1960s, where her published work included features on Robert Rauschenberg and Louise Nevelson, as well as broad surveys of contemporary art such as "A Folklore of the Banal" (Winter 1962) and "Audience is His Medium" (February 1963). She taught at New York University and City College of New York, and wrote a long essay on the history of the Provincetown's art colony, published in Art in America in 1959, and later updated for the catalog for the 1977 exhibition Provincetown Painters, 1890's - 1970's. Between 1962 and 1968, she conducted thirty oral history interviews for the Archives of American Art and served as one of its manuscript collectors.

Throughout her career as a writer and critic, Seckler painted and worked in collage, and her work was shown in several Provincetown galleries, and in the Provincetown Art Center and Museum. She married Jerome Seckler in 1937 and they had one son. Seckler received the American Federation of Arts Award for outstanding writing in the field of American Art in 1952. She died in 1994.
Related Materials:
Other related materials in the Archives' collections include several additional interviews conducted by Seckler for its oral history program, a full recording and transcript of the August 28, 1963 symposium on pop art, for which brief sound notes are found in this collection, and a transcript of the John Jones interview with George Segal in the John Jones interviews with artists collection, 1965 Oct. 5-1965 Nov. 12.
Separated Materials:
In 2012, several duplicates of recordings Seckler made for the Archives of American Art's oral history program were removed from the collection including: Peter and Riva Dechar (1965 and 1967), David von Schlegell (1967), Joan Mitchell (1965), Theresa Schwartz (1965), Paul Burlin (1962), Ibram Lassaw (1964), Jack Tworkov (1962), Allan Kaprow (1968), Edwin Dickinson (1962), Nathan Halper (1963), Louise Nevelson (1964-1965), Karl Knaths (1962), and Stephen Greene (1968). Joan Mitchell's 1965 oral history interview remains with the Seckler collection because reel 2 of this recording also contains a discussion of optical art that belongs in the Seckler collection. The oral history interview has been digitized and is available through the Archives' oral history program.
Provenance:
The bulk of the collection, including the interviews with the Provincetown artists, was donated 1995 by Don Seckler, son of Dorothy Seckler. The source of acquisition for the Seckler interviews with the Woodstock artists is 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.
Rights:
The Dorothy Gees Seckler collection of sound recordings relating to art and artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Optical art  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Dorothy Gees Seckler collection of sound recordings relating to art and artists, 1962-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.seckdoro
See more items in:
Dorothy Gees Seckler Collection of Sound Recordings Relating to Art and Artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-seckdoro

Ethel Schwabacher papers

Creator:
Schwabacher, Ethel, 1903-1984  Search this
Names:
Baziotes, Ethel  Search this
Cavallon, Giorgio, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Ford, John Charles, 1929-  Search this
Goodrich, Lloyd, 1897-1987  Search this
Gorky, Arshile, 1904-1948  Search this
Greenberg, Clement, 1909-1994  Search this
Guerrero, José, 1914-  Search this
Hofmann, Hans, 1880-1966  Search this
Kline, Franz, 1910-1962  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Pollock, Jackson, 1912-1956  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Reinhardt, Ad, 1913-1967  Search this
Reynal, Jeanne, 1903-  Search this
Rothko, Mark, 1903-1970  Search this
Ryan, Anne, 1889-1954  Search this
Schapiro, Meyer, 1904-  Search this
Still, Clyfford, 1904-1980  Search this
Thomas, Dylan, 1914-1953  Search this
Tomlin, Bradley Walker, 1899-1953  Search this
Tworkov, Jack  Search this
Interviewer:
Roberts, Colette, 1910-  Search this
Extent:
2.7 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Sound recordings
Date:
1940-1975
Scope and Contents:
Biographical material, letters, artist files, interview transcripts, audio tapes, notes, writings, printed material, photographs, and motion picture film document Schwabacher's research and writings on her former teacher Arshile Gorky, colleague John Ford, and other artists, as well as her own painting career.
Letters, 1956-1968, are from colleagues, including one or two each from Giorgio Cavallon, Clement Greenberg, Barnett Newman, Richard Pousette-Dart, Oscar Williams (a picture postcard of himself with Dylan Thomas, 1958) and letters, 1961-1962, concerning the retrospective for Arshile Gorky at the Venice Biennale. Transcripts are from interviews with Schwabacher, conducted by Dr. Osis, 1963, and Colette Roberts, 1965. Writings include a typescript for a lecture on Gorky, given at the Wilmington Society of Fine Arts, 1961. Notes, 1948-1967, include lists of addresses, committees, and art works by Schwabacher, and 8 notebooks concerning a written work entitled "1948..........", and books about Gorky, Newman, and Rothko. There are also notes and writings in a file for art historian Lloyd Goodrich, 1953-1957, containing typescripts about Gorky by Goodrich, Clement Greenberg, and Meyer Schapiro. Printed material 1947-1964, consists of clippings and exhibition catalogs.
A 1 page biographical sketch, 1967, gives an outline of Schwabacher's career. A transcript, 1965, is of an interview conducted by Colette Roberts. Photographs are of Schwabacher's art work completed between 1954 and 1964. Three reels of 16mm motion picture film, undated, include home movies of family members and property, identified as Brookdale Farm.
Letters, 1962-1975, consist primarily of 35 letters from Ethel Baziotes; there are also two from Anna Walinska, Gorky's first New York dealer. Artist files, 1947-1974, contain notes, writings, printed material, and photographs concerning John Ford, Arshile Gorky, Jose Guerrero, and Jeanne Reynal. The file on Ford, 1971-1974, includes 22 letters from Ford (2 are illustrated) and 4 audio cassette tapes of Schwabacher's verbal notes and Ford's comments. The file on Gorky, 1957-1972, includes a study for his illustrations for Andre Breton's Protecting Young Cherry Trees From Hares (1946), and a photograph of Gorky. Notes, 1959-1974, consist of biographical material concerning Schwabacher, 4 notebooks, including those concerning Schwabacher's writings "Paradise of the Real" and "Conflict of Freedoms" and notes for "1948.........", include 2 letters from Richard Pousette-Dart, and lists and photographs of works by Willem De Kooning, Hans Hofmann, Franz Kline, Robert Motherwell, Barnett Newman, Jackson Pollock, Ad Reinhardt, Mark Rothko, Anne Ryan, Clyfford Still, Bradley Walker Tomlin, and Jack Tworkov. Writings by Schwabacher, 1966, consist of typescripts for "Conflict of Freedoms" and "The Portrait as Image". Printed material, 1947-1974, consists of clippings, exhibition announcements and catalogs for Schwabacher and others, and 2 reproductions of art works. Photographs, undated, are of art work by Schwabacher.
Biographical / Historical:
Ethel Schwabacher (1903-1984) was a painter and art historian from New York, N.Y. Schwabacher studied at the National Academy of Design, the Art Students League, and in Europe before becoming a painting student under Arshile Gorky in New York, 1934-1936. Schwabacher wrote Arshile Gorky (1957), with a preface by Lloyd Goodrich and introduction by Meyer Schapiro, and a biography, John Ford, Conquistador, about her painting colleague and friend.
Provenance:
Material on reels N69-64-N69-65 lent for microfilming 1966 by Schwabacher; all but a few miscellaneous items were subsequently donated 1974-1975 with material filmed on reels 4986-4987. Material on reel 3975 donated 1984 by Syracuse University, which had received it from Schwabacher.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Women art historians -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Interviews
Sound recordings
Identifier:
AAA.schwethe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schwethe

Sanford Schwartz papers

Creator:
Schwartz, Sanford, 1946-  Search this
Names:
Alexandre Gallery  Search this
Whitney Museum of American Art  Search this
Hofmann, Hans, 1880-1966 -- Photographs  Search this
King, William, 1925-2015  Search this
Stout, Myron, 1908-1987  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
1948-2011
Summary:
The papers of exhibition curator Sanford Schwartz measure 0.7 linear feet and date from 1948-2011. The papers document the preparation and organization of two exhibitions curated by Schwartz, the Myron Stout retrospective at the Whitney Museum of American Art in 1980, and The Early Work of William King at Alexandre Gallery in New York City in 2007. Materials regarding Provincetown, Massachusetts painter Myron Stout (1908-1987) include correspondence with Stout and lenders to the exhibition; notes, writings, and sketches by Schwartz pertaining to the exhibition; and photographs of Stout, including one with Hans Hofmann teaching in Provincetown in 1948. Material regarding sculptor William King (1925-1990) includes correspondence between Schwartz and King, exhibition research and notes, photographs of artwork, and printed material.
Scope and Contents:
The papers of exhibition curator Sanford Schwartz measure 0.7 linear feet and date from 1948-2011. The papers document the preparation and organization of two exhibitions curated by Schwartz, the Myron Stout retrospective at the Whitney Museum of American Art in 1980, and The Early Work of William King at Alexandre Gallery in New York City in 2007. Materials regarding Provincetown, Massachusetts painter Myron Stout (1908-1987) include correspondence with Stout and lenders to the exhibition; notes, writings, and sketches by Schwartz pertaining to the exhibition; and photographs of Stout, including one with Hans Hofmann teaching in Provincetown in 1948. Material regarding sculptor William King (1925-1990) includes correspondence between Schwartz and King, exhibition research and notes, photographs of artwork, and printed material.
Arrangement:
The collection is arranged as two series.

Series 1: Research Material Regarding Myron Stout, 1948-1985 (Box 1, OV 3; 0.3 linear feet)

Series 2: Research Material Regarding William King, 1960-2011 (Boxes 1-2; 0.4 linear feet)
Biographical / Historical:
Sanford Schwartz (1946- ) is an exhibition curator in New York, New York.
Provenance:
Donated to the Archives of American art by Sanford Schwartz in 1980 and 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Sanford Schwartz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Exhibitions -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Painters -- Massachusetts -- Provincetown  Search this
Painting, American  Search this
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Citation:
Sanford Schwartz papers, 1948-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schwsanf
See more items in:
Sanford Schwartz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schwsanf

Worth Ryder papers

Creator:
Ryder, Worth, 1884-1960  Search this
Names:
Haley, Monica E., 1907-1997  Search this
Hofmann, Hans, 1880-1966  Search this
Ryder, Cornelia Meta Breckenfeld  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
0.6 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1909-1966
Scope and Contents:
Resumes; 4 excerpts from journals; excerpts from the diaries of Ryder's wife, Cornelia (Meta) Breckenfeld, 1921-1922, and 1951; correspondence, 1909-1955, primarily between Ryder and his wife, but also including 3 letters from Hans Hofmann, 1931 and 1960, and Vaclav Vytlacil, 1960; and photographs and 88 slides, 1921-1959, of Ryder, his family, house, works of art, and his wedding in Paris, 1921. Also included is an introduction to Monica Haley's proposed book on Ryder.
Biographical / Historical:
Painter, educator, etcher, writer; Berkeley, Calif. Taught at University of California at Berkeley with Hans Hofmann.
Provenance:
Donated 1985 by Monica Haley, wife of painter John Haley, a colleague of Ryder's at the University of California, Berkeley. Monica used the papers in preparation for a book (never published) on Ryder.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
88 slides: unmicrofilmed; use requires an appointment.
Occupation:
Educators -- California -- Berkeley  Search this
Painters -- California -- Berkeley  Search this
Identifier:
AAA.rydewort
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rydewort

Robert Richenburg papers

Creator:
Richenburg, Robert  Search this
Names:
Club (New York, N.Y.)  Search this
Ozenfant School of Fine Arts -- Students  Search this
Pratt Institute  Search this
Solomon R. Guggenheim Museum  Search this
Tibor de Nagy Gallery  Search this
United States. Veterans Administration  Search this
Amgott, Madeline  Search this
Ashton, Dore  Search this
Cavallon, Giorgio, 1904-1989  Search this
Cherry, Herman  Search this
Geist, Sidney  Search this
Grad, Bonnie Lee, 1949-  Search this
Hofmann, Hans, 1880-1966  Search this
Kline, Franz, 1910-1962  Search this
Lassaw, Ernestine  Search this
Lassaw, Ibram, 1913-2003  Search this
Matter, Mercedes  Search this
Moulton, Lynne  Search this
Ortiz, Rafael Montanez  Search this
Pavia, Philip, 1915-2005  Search this
Rebay, Hilla, 1890-1967  Search this
Slivka, David, 1913-  Search this
Extent:
5.3 Linear feet
4.32 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Illustrated letters
Sound recordings
Greeting cards
Video recordings
Photographs
Interviews
Date:
circa 1910s-2008
Summary:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, sound and video recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.
Scope and Content Note:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, audio/visual recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.

Biographical material includes educational records from high school through his studies at the Ozenfant School of Fine Arts using G.I. benefits. Birth, marriage,and death certificates are also found, along with Richenburg family memorabilia. There is a digital video recording of Robert Richenburg's memorial service.

Correspondence consists mostly of family letters, including some illustrated letters and many handmade cards featuring original artwork. Condolence letters addressed to Marggy Kerr are from friends, relatives, colleagues, neighbors, and acquaintances.

Subject files contain various combinations of correspondence, printed material, photographs, writings and notes relating to Richenburg's professional career and personal life. They document exhibitions, gallery representation, gifts of art work to museums and individuals, memberships, teaching activities, former students, friendships, and other aspects of his life. Files of significant interest are: The Club, Tina Dicky and Madeline Amgott, Former Students (particularly Raphael Montanez Ortiz), Bonnie L. Grad and Lynne Moulton, Hans Hofmann, Ibram Lassaw, Philip Pavia, Pratt Institute, Hilla Rebay and the Museum of Non-Objective Painting, Tibor De Nagy Gallery, and Veterans Administration.

Writings by Richenburg consist of notes, reviews, artist's statements, and the text of a speech. Also included are quotations compiled over the years by Marggy Kerr of Richenburg's comments on art and life. Among the writings by others are student papers, reviews, and poems.

Sound and visual recordings include interviews with Robert Richenburg, often conducted as research for exhibitions. Videocassettes document events such as panel discussions, and artist gatherings; a few were produced in conjunction with museum exhibitions. Also found are videotapes by video artist Raphael Montanez Ortiz, Richenburg's friend and former student.

Printed material includes items that are specifically about Robert Richenburg as well as items that incidentally mention him. The majority consist of exhibition catalogs and announcements.

Photographs show art work by Richenburg, exhibition openings and other events, and a variety of people and places. Among the events recorded is the "Artists Roundtable on Art of the '50s." Moderated by Dore Ashton, the panel included Herman Cherry, Sidney Geist, Ibram Lassaw, Mercedes Matter, and David Slivka. There are photographs of Richenburg's boyhood home in Roslindale, MA, and his house in Ithaca, NY. He is pictured with others including family members, dealers, and curators. Of particular interest are photographs of Richenburg in Provincetown, MA, 1952-1953, with friends, including: Giorgio Cavallon, Franz Kline, Ibram and Ernestine Lassaw, and Philip and Marcia Pavia. World War II photographs consist of images of art work (not by Richenburg), Richenburg and other individuals taken in France and England; a number include views of Shrivenham American University.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Material, circa 1910s-2006 (Box 1; 0.1 linear ft., ER01; 1.66 GB)

Series 2: Correspondence, 1940-2007 (Box 1; 0.4 linear ft.)

Series 3: Subject Files, 1942-2008 (Boxes 1-3, OV 7; 2.25 linear ft.)

Series 4: Writings, circa 1950-2006 (Box 3; 0.1 linear ft.)

Series 5: Sound and Video Recordings, 1996-2006 (Boxes 3-4; 0.75 linear ft., ER02; 2.66 GB)

Series 6: Printed Material, 1947-2008 (Boxes 4-5; 1.25 linear ft.)

Series 7: Photographs, circa 1923-2006 (Boxes 5-6; 0.45 linear ft.)
Biographical Note:
Robert Bartlett Richenburg (1917-2006) was a painter and educator in New York City, Ithaca, New York, and East Hampton, New York.

At age 13, Bob Richenburg's artistic talent earned him a place in a daily class for Boston Public School students at the Museum of Fine Arts. Most classes focused on copying; of far greater benefit to the young art student was the opportunity to wander through the museum and look at art nearly every day of his high school career.

Richenburg's father was an architect who also ran a stained glass lampshade business; neither endeavor was profitable, so the family endured very hard times during the Depression. To help support the family, after school and on weekends, Bob delivered ice and coal with an older brother, a job he continued while attending night school courses in liberal arts at Boston University. He studied at George Washington University in Washington, DC, 1937-1939, often working as many as four part-time jobs to cover tuition and living expenses; during summers and school vacations, he returned to Boston to work with his brother. Due to his difficult financial situation, Richenburg's college career ended before he earned a degree.

After learning that the Corcoran School of Art charged no tuition, Richenburg returned to Washington in 1940 to study painting and sculpture. Although uninformed about the art world, he realized that New York was a better place for an aspiring artist. In 1941, he began studying with George Grosz and Reginald Marsh at the Art Students League. On his own, he studied materials and techniques and copied paintings at the Metropolitan Museum Art.

With war looming and the near certainty of being drafted, Robert Richenburg and Libby Chic Peltyn (always called Chic) married in November 1942; two weeks later, he entered the army. Richenburg spent three years in England and France as a combat engineer, transporting explosives and instructing troops in the demolition of mines and booby traps. In England, he managed a photo lab and taught drawing in the fine arts section of Shrivenham American University, a school run by the U. S. Army.

Once discharged, Richenburg returned to New York and took advantage of the G.I. Bill to continue studying painting (and for the subsistence allowance that provided modest support for his family - son Ronald was born in 1947). Richenburg studied at the Ozenfant School, 1947-1949, where he developed a life-long friendship with fellow student Ibram Lassaw.

He continued his art education with Hans Hofmann in New York and Provincetown, 1949-1951. During this period, Richenburg taught drawing, painting, and art history classes sponsored by the Extension Division of City College of New York and held at venues such as Brooklyn's Central YMCA, and branches of the New York Public Library. Richenburg quickly discovered that he liked teaching and enjoyed the students.

In 1951, Richenburg joined the Pratt Institute faculty and taught studio courses at night; soon, he was teaching full time during the day. Richenburg began to achieve recognition as the youngest of the Abstract Expressionists and by the early 1960s his career was well established. Tibor De Nagy Gallery in New York and Dwan Gallery in California represented Richenburg, and a number of paintings were sold to museums and private collectors. As Richenburg experimented with new ideas and materials, his work began changing. He was a popular instructor at Pratt with several promising students who also began experimenting. In 1964, when the unorthodox work of one student in particular caught the attention of Pratt administrators, Richenburg was asked to change his approach to teaching. This roused student protests, and press coverage focused on the specific situation and academic freedom in general. He chose to resign rather than alter his teaching philosophy.

Richenburg secured a position at Cornell University. The confluence of his absence from New York City and the ascendance of Pop Art were damaging, and his career was derailed when De Nagy and Dwan dropped him from their rosters a few years later. After it was clear that he would not secure tenure at Cornell, Richenburg returned to New York in 1967 and began teaching at Hunter College. Daily life in New York was harder than he remembered and, for him, the City had lost its allure.

When offered the chairmanship of the Ithaca College art department, the Richenburgs were delighted to return to tranquil Ithaca, New York. Chic died in 1977, and Bob remained at Ithaca College until retiring in 1983. In addition full-time teaching and handling administrative activities as department chairman, Richenburg made time to work in his studio practically every day. He created a large body of work in a wide variety of media and styles, moving on to new ideas and experiments after exhausting his possibilities or interest.

Beginning in 1949 with a loan exhibition organized by The Museum of Non-Objective Art, Richenburg participated in a wide range of group shows. His first solo exhibition was held in 1953 at the Hendler Gallery, Philadelphia. Over the years, he enjoyed other solo exhibitions at venues such as: David Findlay Jr. Fine Art, Dwan Gallery, Hansa Gallery, Ithaca College Museum of Art, McCormick Gallery, Rose Art Museum (Brandeis University), Santa Barbara Museum of Art, Sidney Mishkin Gallery (Baruch College), and Tibor De Nagy Gallery. In the 1960s and 1970s, Richenburg's work was seldom shown, but from the mid-1980s onward there has been renewed interest.

Richenburg's work is represented in the permanent collections of many museums including Hirshhorn Museum, Museum of Modern Art, Philadelphia Museum of Art, and Whitney Museum of American Art. In addition, his work was acquired by many highly regarded private collectors including Larry Aldrich, Walter P. Chrysler, Jr., Joseph H. Hirshhorn, J. Patrick Lannon, and James A. Michener.

Robert Richenburg and Margaret (Marggy) Kerr, a painter and sculptor living in Ithaca, were married in 1980. Ms. Kerr is known for "brick rugs" made from cut bricks forming designs for site specific sculpture and garden walks. Richenburg became close to his stepfamily of three children, Marggy's grandchildren and her mother. After he retired from Ithaca College, Bob and Marggy moved to Springs in East Hampton, New York.

Although Richenburg suffered from Parkinson's disease during the last six years of his life, he continued to work in his home studio until physically unable to produce art. He died on October 10, 2006.
Related Material:
An oral history interview of Robert Richenburg was conducted by Dorothy Seckler for the Archives of American Art, circa 1968.
Provenance:
Donated in 2008 by Margaret Kerr, widow of Robert Richenburg, on behalf of herself and his son Ronald Richenburg.
Restrictions:
Use of original material requires an appointment. Use of audiovisual material with no duplicate access copy requires advance notice.
Rights:
The Robert Richenburg papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donors have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Educators -- New York (State) -- East Hampton  Search this
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Sculptors -- New York (State) -- East Hampton  Search this
New York school of art  Search this
Painters -- New York (State) -- East Hampton  Search this
Genre/Form:
Illustrated letters
Sound recordings
Greeting cards
Video recordings
Photographs
Interviews
Citation:
Robert Richenburg papers, circa 1910s-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.richrobe
See more items in:
Robert Richenburg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-richrobe
Online Media:

Nicholas Wilder Gallery records

Creator:
Nicholas Wilder Gallery  Search this
Names:
James Corcoran Gallery  Search this
Altoon, John, 1925-  Search this
Avedisian, Edward, 1936-2007  Search this
Bengston, Billy Al  Search this
Davis, Ron, 1937-  Search this
Francis, Sam, 1923-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goode, Joe, 1937-  Search this
Graham, Robert, 1938-  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Holland, Tom, 1936-  Search this
Martin, Agnes, 1912-2004  Search this
McCracken, John, 1934-2011  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Noland, Kenneth, 1924-  Search this
Olitski, Jules, 1922-  Search this
Price, Kenneth, 1935-2012  Search this
Twombly, Cy, 1928-  Search this
Wilder, Nicholas  Search this
Yokomi, Richard  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1944-1984
bulk 1968-1979
Summary:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968-1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards, photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.
Scope and Content Note:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968 to 1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards (the bulk of the collection), photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.

The majority of records date from the period after the gallery moved to La Cienega Boulevard to Santa Monica Boulevard in Los Angeles, California. Very few records pertaining to specific exhibitions or openings are included in this collection. However, there is one exhibition catalog and scattered gallery invitations which were used as scrap paper. Other materials include business records that contain financial materials and notes. Printed Materials contain popular newspapers and magazines that reflect Wilder's interests, invitations to other galleries, auction catalogs, and business cards. Correspondence includes scattered gallery correspondence, Wilder's personal correspondence and documents, and holiday cards.

The bulk of the collection consists of artist files which include inventory cards and transparencies of works of art. Information on the inventory cards and transparencies may specify: date of creation, date of accession, potential collectors, purchase records, and titles. Notable artists include: Joe Goode, Tom Holland, Robert Graham, Billy Al Bengston, Cy Twombly, Ken Price, Ed Moses, Ron Davis, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Agnes Martin, Edward Avedisian, John Altoon, Richard Yokomi, Sam Francis, Bruce Nauman, Hans Hofmann, and David Hockney. The majority of inventory cards reflect business at the gallery in the mid-late 1970s.

Financial records originating from the James Corcoran Gallery are included in this collection. The relationship between the two establishments is unclear although it seems that the James Corcoran Gallery moved into the space previously occupied by the Nicholas Wilder Gallery.
Arrangement:
The collection is arranged into four series:

Series 1: Business Records, 1968-1978, 1980-1984, circa 1970s (Box 1; 5 folders)

Series 2: Correspondence, 1974-1981, circa 1970s (Box 1; 4 folders)

Series 3: Printed Material, 1976-1980, circa 1970s (Box 1; 9 folders)

Series 4: Artist Files, 1944-1984, circa 1960s-1970s (Box 1-3; 2 linear feet)
Historical Note:
In April 1965, Nicholas Wilder (1937-1989) founded his contemporary art gallery at 814 North La Cienega Boulevard in Los Angeles, California. His interest in art started at Amherst College where he worked for the art department as a slide technician. While in graduate school at Stanford University, he worked at the Lanyon Gallery in Palo Alto, California. An initial offer of financial backing to open a gallery inspired a move to Los Angeles. Although that offer fell through, Wilder remained determined. In late 1964, Wilder sold shares of his future gallery to friends in order to secure funds. He bought the shares back shortly after opening.

The Nicholas Wilder Gallery's first show featured Edward Avedisian. The gallery expanded and featured artists from New York and California, including: Joe Goode, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Cy Twombly, Ed Moses, Ken Price, Agnes Martin, John Altoon, Sam Francis, Billy Al Bengston, and Hans Hofmann. The gallery helped start the careers of American artists such as Robert Graham, Tom Holland, Ron Davis, and Bruce Nauman. In 1970, the gallery moved to 8225 ½ Santa Monica Boulevard. Through its fourteen years of operation, the gallery held a new show every month. Wilder's openings represented a large source of pride and he ensured that every opening reception included a stocked bar for his clients.

Initially, the gallery succeeded through Wilder's talents and passion for art. At its peak, the Nicholas Wilder Gallery sold two million dollars worth of art per year. However, in the mid-1970s a change in attitude within the art world affected sales. According to Wilder, many artists no longer painted for expression but as a viable business venture. Furthermore, he claimed that buyers would not risk collecting works from a younger or less well-known artist. In addition to these factors, Wilder attributed the decline of his gallery to his extravagance and lack of business sensibilities. Eventually, the gallery faced financial problems and Wilder recognized the need to leave the business.

The Nicholas Wilder Gallery closed on December 31, 1979. Wilder informed his employees that he would close a year in advance and ensured that all of his artists found a new gallery for representation. He moved to New York after leaving his gallery and became an artist. Nicholas Wilder passed away in 1989 from AIDS-related causes.
Related Material:
Also found in the Archives of American Art is an oral history interview with Nicholas Wilder conducted by Ruth Bowman on July 18, 1988.

Nicholas Wilder Gallery records, 1927-1980, are also located at the Getty Research Institute.
Provenance:
The Nicholas Wilder Gallery records were donated to the Archives of American Art in 1998 by Matthew Curtis Klebaum, a friend of Wilder's and a former employee of the James Corcoran Gallery.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Nicholas Wilder Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Art dealers -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Citation:
Nicholas Wilder Gallery records, 1944-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nichwild
See more items in:
Nicholas Wilder Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nichwild
Online Media:

Arnold Newman photographs of artists

Creator:
Newman, Arnold, 1918-2006  Search this
Names:
Abercrombie, Gertrude, 1909-1977 -- Photographs  Search this
Albers, Josef -- Photographs  Search this
Albright, Ivan, 1897-1983 -- Photographs  Search this
Avery, Milton, 1885-1965 -- Photographs  Search this
Bacon, Peggy, 1895-1987 -- Photographs  Search this
Baziotes, William, 1912-1963 -- Photographs  Search this
Bemelmans, Ludwig, 1898-1962 -- Photographs  Search this
Blai, Boris, 1893-1985 -- Photographs  Search this
Bloch, Julius T. (Julius Thiengen), 1888-1966 -- Photographs  Search this
Botkin, Henry, 1896-1983 -- Photographs  Search this
Brook, Alexander, 1898-1980 -- Photographs  Search this
Burchfield, Charles Ephraim, 1893-1967 -- Photographs  Search this
Burliuk, David, 1882-1967 -- Photographs  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Castellón, Federico, 1914-1971 -- Photographs  Search this
Cikovsky, Nicolai, 1894- -- Photographs  Search this
Criss, Francis, 1901-1973 -- Photographs  Search this
Davidson, Jo, 1883-1952 -- Photographs  Search this
Davis, Stuart, 1892-1964 -- Photographs  Search this
De Kooning, Willem, 1904-1997  Search this
Evergood, Philip, 1901-1973 -- Photographs  Search this
Feininger, Lyonel, 1871-1956 -- Photographs  Search this
Florsheim, Richard A., 1916-1979 -- Photographs  Search this
Gropper, William, 1897-1977 -- Photographs  Search this
Gross, Chaim, 1904-1991 -- Photographs  Search this
Groth, John, 1908-1988 -- Photographs  Search this
Guglielmi, Louis, 1906-1956 -- Photographs  Search this
Guston, Philip, 1913-1980 -- Photographs  Search this
Gwathmey, Robert, 1903-1988 -- Photographs  Search this
Hare, David, 1917- -- Photographs  Search this
Hirshfield, Morris, 1872-1946 -- Photographs  Search this
Hofmann, Hans, 1880-1966 -- Photographs  Search this
Hopper, Edward, 1882-1967 -- Photographs  Search this
Jenkins, Paul, 1923-2012 -- Photographs  Search this
Jules, Mervin, 1912- -- Photographs  Search this
Kantor, Morris, 1896-1974 -- Photographs  Search this
Kaplan, Joseph, 1900-1980 -- Photographs  Search this
Knaths, Karl, 1891-1971 -- Photographs  Search this
Kroll, Leon, 1884-1974 -- Photographs  Search this
Kuniyoshi, Yasuo, 1889-1953 -- Photographs  Search this
Lassaw, Ibram, 1913- -- Photographs  Search this
Laurent, Robert, 1890-1970 -- Photographs  Search this
Lawrence, Jacob, 1917-2000 -- Photographs  Search this
Levi, Julian E. (Julian Edwin), 1900-1982 -- Photographs  Search this
Levine, Jack, 1915-2010 -- Photographs  Search this
Lipchitz, Jacques, 1891-1973  Search this
Sheeler, Charles, 1883-1965 -- Photographs  Search this
Stella, Joseph, 1877-1946 -- Photographs  Search this
Extent:
0.6 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
ca. 1940-1960
Scope and Contents:
Photographs of 47 American artists taken by Newman.
REEL 153: Artists include: Gertrude Abercrombie, Josef Albers, Ivan Albright, Milton Avery, Peggy Bacon, William Baziotes, Ludwig Bemelmans, Boris Blai, Julis Bloch, Harry Botkin, Alexander Brook, Charles Burchfield, David Burliuk, Alexander Calder, Federico Castellon, Nicolai Cikovsky, Francis Criss (2), Jo Davidson, Willem De Kooning, Philip Evergood, Lyonel Feininger, Richard Florsheim, William Gropper, Chaim Gross (2), John Groth, Louis Guglielmi, Philip Guston, Robert Gwathmey, David Hare, Morris Hirshfield, Hans Hofmann, Edward Hopper, Paul Jenkins, Mervin Jules, Morris Kantor, Joseph Kaplan, Karl Knaths, Leon Kroll, Ibram Lassaw, Robert Laurent, Julian Levi, Jack Levine, and Jacques Lipchitz.
REEL 1027: Stuart Davis, Yasuo Kuniyoshi, and Charles Sheeler.
UNMICROFILMED: Jacob Lawrence (2) and Joseph Stella (2).
Biographical / Historical:
Portrait photographer; New York City; b. New York, N.Y., Mar. 3, 1918; d. June 6, 2006, New York, N.Y.
Provenance:
Donated 1961 by Arnold Newman.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Photographers -- New York (State) -- New York  Search this
Topic:
Artists -- United States -- Photographs  Search this
Identifier:
AAA.newmarno
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newmarno

Oral history interview with Seong Moy

Interviewee:
Moy, Seong  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Booth, Cameron, 1892-1980  Search this
Hayter, Stanley William, 1901-1988  Search this
Hofmann, Hans, 1880-1966  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
69 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1971 Jan. 18-28
Scope and Contents:
An interview of Seong Moy conducted 1971 Jan. 18-28, by Paul Cummings, for the Archives of American Art.
Moy speaks of his childhood in Canton, China; his immigration to Minnesota; the art scene in Minneapolis and Saint Paul in the 1930s; his education; the influence of his teachers, including Cameron Booth, Hans Hofmann, and Vaclav Vytlacil; the influence of Stanley William Hayter; being introduced to printmaking by the WPA art project in Minnesota; his service as a photographer in World War II; his teaching philosophy; and the art scene in Provincetown in the 1970s.
Biographical / Historical:
Seong Moy (1921- ) is a painter and printmaker from New York, N.Y. and Provincetown, Mass.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 3 hrs., 19 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art, American  Search this
Asian American artists  Search this
Chinese American artists  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Printmakers -- Massachusetts -- Provincetown -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.moy71
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moy71

Lenita Manry papers

Creator:
Manry, Lenita, 1902-1969  Search this
Names:
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
Lenita Manry Fund  Search this
Hofmann, Hans, 1880-1966  Search this
Extent:
0.4 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1931-1968
Scope and Contents:
Notes and sketches, 1931-1946, taken from Hans Hofmann lectures in Berkeley, New York and Provincetown, by Miss Manry. Also included are typed copies of 4 Hofmann articles, one apparently unpublished, brochures concerning the School of Fine Arts, and clippings. Also included are family correspondence, 1967-1968; several letters from Hofmann, 1938 and later, genealogical material, an address book and loose address sheets, and 8 photographs of Manry.
Biographical / Historical:
Painter; New York, N.Y. Student of Hans Hofmann and later Assistant Director of the Hans Hofmann School of Fine Arts.
Provenance:
Donated 1971 by Philip Davis, lawyer for the estate of Lenita Manry.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Women painters -- New York (State) -- New York  Search this
Identifier:
AAA.manrleni
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-manrleni

Makler Gallery records

Creator:
Makler Gallery  Search this
Names:
Avery, Milton, 1885-1965  Search this
Bertoia, Harry  Search this
Calder, Alexander, 1898-1976  Search this
Frank, Mary, 1933-  Search this
Hofmann, Hans, 1880-1966  Search this
Lipchitz, Jacques, 1891-1973  Search this
Makler, Hope Welsh, 1924-2013  Search this
Makler, Paul Todd, 1920-  Search this
Nevelson, Louise, 1899-1988  Search this
Pascin, Jules, 1885-1930  Search this
Rickey, George  Search this
Swaroop, Jyoti  Search this
Extent:
2.3 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1957-1989
Scope and Contents:
Files on artists and galleries; sales book; price lists; photographs; printed material; and scrapbooks.
Artist and gallery files, containing correspondence, price lists, receipts and printed material; a sale book, containing sale prices and paintings lists; 3 scrapbooks, 1959-1973, containing printed material, correspondence, photographs, and a brief history; a complete run of PROMETHEUS, the newsletter published by the gallery, containing articles on the gallery's exhibits, trends in collecting, the art market, and reviews of Philadelphia and New York city exhibitions; exhibition catalogs; clippings; and photographs of installations and artworks. Among the artists represented are Milton Avery, Alexander Calder, Mary Frank, Hans Hofmann, George Rickey, and Jyoti Swaroop.
Included in the photographs are artists Harry Bertoia, Jacques Lipchitz, Louise Nevelson, and Jules Pascin.
Biographical / Historical:
Art gallery; Philadelphia, Pa. Founded in 1960 by Dr. Paul Todd Makler and his wife Hope; exhibited primarily pre-1960s painting and contemporary sculpture.
Provenance:
Donated 1990 by Paul and Hope Mackler.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art dealers -- Pennsylvania -- Philadelphia  Search this
Topic:
Art -- Exhibitions -- Periodicals  Search this
Art, Modern -- 20th century -- Periodicals  Search this
Function:
Art galleries, Commercial -- Pennsylvania -- Philadelphia
Identifier:
AAA.maklgall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-maklgall

Erle Loran papers

Creator:
Loran, Erle, 1905-1999  Search this
Names:
Fine Arts Museums of San Francisco  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
University of California, Berkeley -- Faculty  Search this
Bearden, Romare, 1911-1988  Search this
Cézanne, Paul, 1839-1906  Search this
Dasburg, Andrew, 1887-1979  Search this
Greenberg, Clement, 1909-1994  Search this
Haley, John, 1905-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Hatfield, Dalzell, 1893-1963  Search this
Hofmann, Hans, 1880-1966  Search this
Levinson, Harry  Search this
Sabean, Samuel  Search this
Schaefer, Bertha, 1895-1971  Search this
Still, Clyfford, 1904-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Writings
Date:
1912-1999
Summary:
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Erle Loran papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, Abstract  Search this
Art teachers -- California -- Berkeley  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painters -- California -- Berkeley  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Writings
Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loraerle
See more items in:
Erle Loran papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loraerle
Online Media:

John Little papers

Creator:
Little, John, 1907-  Search this
Guild Hall of East Hampton  Search this
Names:
Signa Gallery  Search this
Hofmann, Hans, 1880-1966  Search this
Hunter, Sam, 1923-  Search this
Kiesler, Frederick  Search this
Namuth, Hans  Search this
Parker, Elizabeth, 1916-  Search this
Parsons, Betty  Search this
Extent:
0.2 Linear feet ((71 items))
Type:
Collection descriptions
Archival materials
Date:
1935-1978
Scope and Contents:
Correspondence, including letters from Sam Hunter, Hans Hofmann, Betty Parsons, Guild Hall, and Frederick Kiesler; clippings; correspondence; photographs of Little and his work; printed brochures, one which includes a large Hans Namuth photograph of Little; an exhibition catalog of Elizabeth Parker; and a clipping about the Signa Gallery.
Biographical / Historical:
Painter, sculptor, textile designer; born in Alabama, moved to New York; Attended Buffalo Fine Arts Academy, the Art Students League, studied with George Grosz, and at the Hans Hofmann School of Fine Arts. Taught at University of California, Berkeley and was treasurer of the Signa Gallery, which is located in East Hampton, New York. Little's preferred media are oils and bronze.
Provenance:
Donated 1980-1981 by John Little.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters  Search this
Sculptors  Search this
Topic:
Painting, Modern -- 20th century -- History -- New York (State) -- New York  Search this
Textile design -- New York (State) -- New York  Search this
Sculpture -- New York (State) -- New York  Search this
Decorative arts  Search this
Identifier:
AAA.littjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-littjohn

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