Eight scrapbooks; biographical data; letters; and printed material.
REELS 2153-2154 & 2245: Eight scrapbooks, 1888-1981, containing clippings, exhibition catalogs and announcements, photographs, scattered letters and printed material. One scrapbook relates to Hood's family, the others concern her career.
REEL 3340: Biographical data; a copy of a letter to Hood from Joan Mondale, 1978, about Hood's drawing WARRIOR'S PLUMAGE lent by Museum of Fine Arts, Houston for the Vice President's House; a copy of a letter to Eleanor Freed from Hood, 1982; exhibition announcements, invitations, catalogs and posters; a copy of Hood's report "Late Goodbye to Jose Clemente Orozco"; newspaper and magazine clippings; an invitation, program and auction catalog from the Art League of Houston's tribute to Hood, 1984; and printed material relating to The Dorothy Hood Film Project sponsored by the Museum of Fine Arts, Houston, 1984.
Biographical / Historical:
Painter, sculptor; Houston, Tex. Died Oct. 29, 2000, at age 81.
Microfilmed as part of the Archives of American Art's Texas project.
Material on reels 2153-2154, 2245 & magazine articles, brochures, catalogs and posters on reel 3340 lent for microfilming 1979 & 1981; and all other material on reel 3340 donated 1979 & 1984 by Dorothy Hood.
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.
Correspondence; files on 42 artists, containing clippings, photos, exhibition catalogs and letters; exhibition files for her gallery, Gallery of Wonderful Things, Fort Worth, Texas, and Tall Timbers, Houston, Texas; a scrapbook containing clippings, exhibition catalogs and announcements, photos, and letters about the Gallery of Wonderful Things; printed material and loan records for her private collections of ceramics, paintings and sculpture; photographs; and printed miscellany.
Artist files include David Adickes, Ludwig Bemelmans, James Blake, Bill Bomar, Cynthia Brants, David Brownlow, Max Butler, John Chumley, Charles Cobelle, Dorothy Crowley, Montague Dawson, Adolph Dehn, Joseph Domjan, Kelly Fearing, Robert Fowler, Frank Freed, An Furuta, Henry and Leila Gadbois, R.C. Gorman, George Grammer, John Guerin, Dorothy Hood, William A. Kolliker, Richard M. Lincoln, Anthony Martin, Blanche McVeigh, Marc Moldawer, Martha Mood, Charles Pebworth, Margaret Putnam, Dickson Reeder, Andrew Rush, Porfirio Salinas, E.M. (Buck) Schiwetz, Charles Schorre, Mary Ellen Shipnes, Agnes Sims, Emily Guthrie Smith, Trudy Sween, Charles Umlauf, Bror Utter, and Charles T. Williams.
Biographical / Historical:
Hershey founded Gallery of Wonderful Things, Fort Worth, Texas in 1956 and turned it over to Electra Carlin in 1958. Carlin moved the gallery and changed the name to Carlin Gallery. Hershey moved to Houston and organized four art shows at the Tall Timbers apartment complex owned by her husband.
Lent for microfilming 1981 by Terese Tarlton Hershey.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Researcher may use study prints on file in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required. Original negatives are stored off-site in cold storage and are not accessible to the public.
Copyright to photographs from the Walter Rosenblum Collection is held by the Smithsonian American Art Museum. Requests for permission to reproduce photographs from the collection must be submitted in writing to the Photograph Archives. Certain works of art, as well as photographs of those works of art, may be protected by copyright, trademark, privacy or publicity rights, or other interests not owned by the Smithsonian American Art Museum. It is the applicant's responsibility to ascertain whether any such rights exist, and to obtain any other permission necessary to reproduce and publish the image.
Walter Rosenblum Collection, Photograph Archives, Smithsonian American Art Museum
Funding for the re-housing, preservation, and digitization of the collection was provided by Smithsonian Research Resource funds, the Smithsonian Womens' Committee and the Smithsonian Collections Care and Preservation Fund (CCPF).