An interview of Frank Lobdell conducted 1980 Apr. 9-1980 May 7, by Terry St. John, for the Archives of American Art.
Lobdell speaks of his youth and family background; his early interest in art; his education; studying with Cameron Booth; his service in the U.S. Army; artist friends and influences; political influences on his work; the community of artists in San Francisco in the 1950s, including Elmer Bischoff and Clyfford Still; his "dark years"; teaching at Stanford; reviews by critics; and the avant-garde art of the 1960s. He recalls Ninfa Valvo, Douglas MacAgy, Hassel Smith, Richard Diebenkorn, Wilfred Zogbaum, Sam Francis, Jerry (Julian) Hatofsky, Claire Falkenstein, Clay Spohn, and John Hultberg.
Biographical / Historical:
Frank Lobdell (1921- ) is a painter, printmaker, and teacher of Stanford, Calif.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
1.4 Linear feet ((partially microfilmed on 3 reels))
1.8 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1942-1993
Scope and Contents:
Correspondence; biographical and journal notes; writings; photos; catalogs and announcements; a biographical sketch; and typescripts.
REEL N70/5: Correspondence with: Martha Jackson, whose gallery handled his work; various public museums and galleries, several in California and Hawaii, universities and personal friends, including Claire Falkenstein and Louis Calcagno. There are also drafts of his own letters, written from periodic residences in Paris, San Francisco, Hawaii, Monhegan Island, Maine. The remaining material includes class lectures, biographical and journal notes on various literary and art subjects, clippings, photos, catalogs, and announcements.
REEL 295: Correspondence with Martha Jackson, Clay Spohn and others, and a few miscellanous items.
REEL 2346: Letters and postcards from Clay Spohn to Hultberg and his wife Lynne Drexler; photographs of Spohn's work; an electrocardiogram; and a printed cartoon. (Incorrectly microfilmed as: Clay Spohn papers).
Addition Correspondence, 1971-1996, n.d., notes; writings; gallery lists of Hultberg's artwork; and printed material. Professional and personal letters and memos from Elaine Weschler, 1990-1996, n.d. (Manuscripts include "Collected Poems, 1952-1996," "Two Plays for Reading," 1990, "Crying at the Lock," 1991, "Half Truths," 1997, and "Dredgings," 1997.
UNMICROFILMED: A brief biographical sketch; personal and business correspondence; exhibition catalogs and announcements; press releases and clippings; and typescripts by Hultberg including "Stone Farm Journal," 1972, and "Breaking the Picture Plane: A Meditation On Modern Art," 1976. Also included is a xerox copy of a six-page letter from Hultberg to Harry Rand describing Morris Kantor, 1980.
ADDITIONS: Personal and business correspondence, 1942-1997, including letters from his dealer and wife, Elaine Wechsler; clippings; exhibition invitations and announcements; clippings; lists of work; and notes. Much of the addition reflects Hultberg's writing career and includes plays, poems, and other unpublished manuscripts.
Biographical / Historical:
Painter, writer; New York, N.Y. Born 1922. Died 2005.
Provenance:
Donated 1969-1997 by John Hultberg. Material on reel 2346 donated 1981 by Hultberg and his wife Lynne Drexler.
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.
Occupation:
Painters -- New York (State) -- New York Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
1 Linear foot (Gift: (partially microfilmed on 2 reels))
37 Reels (Loan)
Type:
Collection descriptions
Archival materials
Reels
Date:
1954-1984
Scope and Contents:
Artists' files; institutional files; printed material and photographs.
REELS 2866-2878: Artists' files, 1960-1981, containing biographical data, correspondence, project proposals, contract agreements, invoices, receipts, newspaper and magazine clippings, exhibition catalogs and announcements, and press releases.
REELS 2952-2975: Organizational files, 1958-1972, containing Board member's and Board of Directors correspondence, 1958-1972, Executive Committee minutes and panel of selection correspondence and recommendations; correspondence of Garo Antreasian, Clinton Adams, John Sommers and June Wayne, 1954-1973; grant applications from Manolis Piladakis, Noemi Smilansky and other artists; data on staff, including biographical data, employment contracts and printed material; and material on printer training programs, artists, writers, printers and curators.
REEL 3051: Files, 1960-1978, containing correspondence with artists, Board of Directors, Panel of Selections, Clinton Adams, Garo Antreasian, June Wayne and others; and printer evaluation reports and general correspondence.
REELS 3052-3055: Organizational files, 1959-1981, containing correspondence, information on fellowships and printer and curatorial training, biographical data, printed material, photographs of artists and printers, progress reports and proposals, financial material and printed material; 4 scrapbooks of printed material, 1960-1972; and photographs of artists, printers, the studio, staff parties, workshops, special projects and lithographs. [261 duplicate prints of some of the above photos were given to the Archives April 2, 1984 for study purposes only].
UNMICROFILMED: Printed material, 1958-1984, including catalogs, brochures, exhibition catalogs and publications by the workshop and institute; price lists of Tamarind lithography editions, 1983-1984; publications concerning the art and technique of lithography and the marketing of prints; and photographs of William Brice, Sam Francis, John Hultberg, John D. McLaughlin, Aubrey E. Schwartz and Emerson Woelffer with June Wayne working in the studio.
REEL 439-440 AND SCANNED Seventeen photos of artists, previously microfilmed under Photos of Artists I, and subsequently scanned and returned to the Tamarind records. Artists include: Annie Albers, Josef Albers, William Brice, Richard Diebendorn, Sam Francis, John Hultberg, John McLaughlin, Nathan Loiveria, Henry C. Pearson, Miriam Schapiro, Aubrey Schwartz, Esteban Vicente, Romas Viesulas, Emerson Woelffer, and Adja Yunkers.
Biographical / Historical:
Lithography workshop; Los Angeles, Calif. Founded in 1960 by Garo Antreasian, Clinton Adams and June Wayne. Relocated to Albuquerque, N.M., 1970, by Adams and Antreasian and re-established as the Tamarind Institute.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project, 1983-1984. Unmicrofilmed material and 261 duplicate prints of some photos on reels 3052-3055 donated 1984 by the Tamarind Institute via Clinton Adams, director.
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.
Reel 3051 is ACCESS RESTRICTED written permission is required.
Occupation:
Lithographers -- California -- Los Angeles Search this
Printmakers -- California -- Los Angeles Search this
Topic:
Lithography -- 20th century -- California -- Los Angeles -- Study and teaching Search this
The Mary Fuller McChesney papers measure 44.1 linear feet and date from 1949-2011. Included are biographical material, correspondence, writings, artists' files, financial records, photographs, artwork, printed material, and reel-to reel sound recordings documenting the career of sculptor, art historian, and author, Mary Fuller McChesney. A small portion of the papers includes material on painter, Edward Corbett.
Among the sound recordings are interviews conducted by McChesney between 1965 and 1966, and used as the primary research for her book. Interviewees include Jeremy Anderson, Dorr Bothwell, Ernest Briggs, Joan Brown (2), Lawrence Calcagno (2), Edward Corbett (2), James Budd Dixon, Edward Dugmore, Jorge Goya, Dimitri Grachis, John Grillo (1966, 1972), John Hultberg, Jack Jefferson, James Kelly, Walter Kuhlman, Seymour Locks, Douglas MacAgy, Madeleine Martin, William Morehouse, Raymond Parker, Leonard Pollakoff, Ad Reinhardt, Deborah Remington, Phil Roeber, John Saccaro, Jon Schueler, Peter Shoemaker, Hassel Smith, Clay Spohn, Jean Varda, and James Weeks.
Biographical / Historical:
Mary Fuller McChesney (1922-2022) was a sculptor, art historian, and author in San Francisco and Petaluma, California.
Provenance:
A majority of the collection donated 2015 by Mary Fuller McChesney. Photographs on reel 1329 donated 1973 and sound recordings donated 1994 by McChesney. Material on reel NDA 1 (fr. 728-741) lent for microfilming 1964 by Lewis Ferbrache; material on NDA 1 (fr. 930-943) lent 1964 by Mary F. McChesney.
Restrictions:
This collection is temporarily closed. Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview of John Hultberg conducted 1968 Nov. 11, by Paul Cummings, for the Archives of American Art. Hultberg speaks of his family background; his education at the California School of Fine Arts, and some of his teachers; the California art scene in the 1940s; his early paintings; abstract expressionism; landscape painting and other subject matter which interests him; filmmaking; the Club; minimal and pop art.
Biographical / Historical:
John Hultberg (1922-2005) was a painter from New York, N.Y.
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.
0.8 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1949-1980
Scope and Contents:
Correspondence; writings and notes; financial data; sketchbooks; photographs; exhibition catalogs and clippings.
UNMICROFILMED: Correspondence with galleries and others; writings and notes; consignment and sales statements and other financial records from the Gres Gallery and the Martha Jackson Gallery, 1955-1961; a guest book from exhibitions sponsored by the Rainbow Art League of New York, 1973-1975; 3 sketchbooks, containing watercolor sketches and ink, charcoal, pencil, and crayon drawings; exhibition announcements and catalogs; clippings, and other printed materials; and photographs of Carton, Willem de Kooning, Rene d'Haroncourt, John Ferren, Clement Greenberg, John Hultberg, Martha Jackson, Samuel M. Kootz, Betty Parsons, Milton Resnick, works of art by Carton, and gallery installations.
REEL 2787: Fifteen exhibition catalogs, twelve clippings, a resume, and a photograph of Carton in his studio with a model.
Biographical / Historical:
Painter and instructor; New York, N.Y.
Provenance:
Donated 1978 and 1984 by Mr. & Mrs. Norman Carton.
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.
The Martha Jackson Gallery records consists of 2 microfilm reels and one letter, measuring 0.01 linear feet, and date from 1954 to 1964. Materials on microfilm are mostly artists' files containing mainly correspondence with Jackson and her son David Anderson concerning exhibitions, resumes, price lists, exhibition catalogs, checklists, and receipts. The one item in the collection that is an original document is a letter dated March 29, 1963, from John Hultberg in San Miguel de Allende, Mexico. Hultberg writes of the artist colony there, the difficulty of acquiring artist supplies in Mexico, studio arrangements, his sense "of serenity," his plans, and arrangements for an upcoming exhibition at the Martha Jackson Gallery. The letter was also microfilmed with the rest of the collection.
Scope and Contents:
The Martha Jackson Gallery records consists of 2 microfilm reels and one letter, measuring 0.01 linear feet, and date from 1954 to 1964. Materials on microfilm are mostly artists' files containing mainly correspondence with Jackson and her son David Anderson concerning exhibitions, resumes, price lists, exhibition catalogs, checklists, and receipts.
The one item that is an original document is a letter dated March 29, 1963, from John Hultberg in San Miguel de Allende, Mexico. Hultberg writes of the artist colony there, the difficulty of acquiring artist supplies in Mexico, studio arrangements, his sense "of serenity," his plans, and arrangements for an upcoming exhibition at the Martha Jackson Gallery. The letter was also microfilmed with the rest of the collection.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Series 1: Martha Jackson Gallery Records, 1954-1964
Biographical / Historical:
The Martha Jackson Gallery (established 1953) was a gallery in New York City. Martha Jackson opened her Gallery in New York City at 22 E. 66th St., moving three years later to 32 E. 69th St. The gallery specialized in modern American and European painting and sculpture, particularly Abstract Expressionists. Her son, David Anderson, worked with Jackson and took over the gallery after her death in 1969.
Related Materials:
Additional Martha Jackson Gallery records are available at the University of Buffalo Art Galleries.
Provenance:
Material on reel D246 was lent for microfilming by the Martha Jackson Gallery in September, 1965. One letter from John Hultberg (reel 2814) was donated.
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:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Citation:
Martha Jackson Gallery records, 1954-1964. Archives of American Art, Smithsonian Institution.
Correspondence, exhibition files, photographs and printed material relating to the painting career of Richard Upton.
Correspondence is with Fred Licht, John Hejduk, Bill Berkson, Jasper Johns, John Hultberg, Rudy Pozzatti; letters from Joyce Carol Oates, Dorothy Dehner, Rudolph Arnheim, Stanley Kunitz, and Nancy Wynne-Jones. Exhibition files include Upton's proposals, checklists, and reviews. Photographs are of Upton, his colleagues, and his studio. Printed material includes press releases and clippings.
Biographical / Historical:
Richard Upton (1931- ) is a painter living in Saratoga Springs, N.Y.
Provenance:
Donated 2011 by Richard Upton via Christine Vitolo, Upton's Power of Attorney.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Research material for an exhibition THE MARTHA JACKSON MEMORIAL COLLECTION held at the National Museum of American Art, June 21-September 15, 1985, and a catalog (Smithsonian Institution Press, 1985). Included are clippings and press releases, 1953-1975, and letters, 1979-1984, from artists and Jackson's colleagues and employees including Herb Aach, Garo Antreasian, Amy Baker, Dorothy Beskind, Dennis Bing, Norman Bluhm, Naomi Blum, Grace Borgegenicht, Mrs. Toni Borgzinner, Keith Boyle, Charles Brady, Adelyn Breeskin, James Brooks, Fritz Bultman, Lawrence Calcagno, Christo Capralos, Vardea Chryssa, Christopher Colt, Richard Diebenkorn, Jim Dine, Hisao Domoto, Seymour Drumlevitch, Frank Duncan, Claire Falkenstein, David Gilhooly, Ives Goucher, Clement Greenberg, Grace Hartigan, Gottfried Honegger, John Hultberg,
Harry Jackson, Paul Jenkins, Alfred Jenson, Lester Johnson, Alex Katz, Lillian Kiesler, Kenneth Koch, Lee Krasner, Elaine Kurtz, Bruce Lowney, Alexandra Luke, Ed McGowin, Carlos Merida, Sadamasa Motonaga,Louise Nevelson, Tom Parish, Jackson Pollock (Betty Parsons Gallery concerning Pollock),Israel Rosen, John Salt, Peter Spinelli, Julian Stanczak, Francisco Toledo, June Wayne, and Edward Weiss. Several of the correspondents wrote brief memoirs of their relationships with Jackson.
Biographical / Historical:
Art historian, curator; National Museum of American Art, Washington, D.C. Jackson (1907-1969) was an art collector, dealer, and painter. She operated the Martha Jackson Gallery, New York City. Her collection was given to the National Museum of American Art in 1981 by her estate.
Provenance:
Lent for microfilming 1988 by Harry Rand. The Martha Jackson memorial collection was donated to the National Museum of American Art in 1981 by Jackson's estate.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Roberts, Colette Jacqueline, 1910-1971 Search this
Type:
Sound Recording
Date:
1967 September 15
Citation:
John Hultberg and Colette Jacqueline Roberts. Interview with John Hultberg, 1967 September 15. Colette Roberts Papers and Interviews with Artists, 1918-1971. Archives of American Art, Smithsonian Institution.
John Hultberg and Colette Jacqueline Roberts. Duplicate of interview with John Hultberg, 1966. Colette Roberts Papers and Interviews with Artists, 1918-1971. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with John Hultberg, 1968 Nov. 11. Archives of American Art, Smithsonian Institution.
The papers of painter and instructor Edward Dugmore measure 2.0 linear feet and date from 1937-1993. Found within this small collection are biographical materials, scattered business and financial records, notes, a file concerning the Drake University Summer Session, printed material, and photographs. The bulk of the papers consist of correspondence exchanged with art critic Hubert Crehan and artist colleagues including George Abend, Ernie Briggs, Herman Cherry, Lucien Day, Harvey Harris, Reuben Kadish, Mary Fuller McChesney, and Clyfford Still.
Scope and Content Note:
The papers of painter and instructor Edward Dugmore measure 2.0 linear feet and date from 1937-1993. Found within this small collection are biographical materials, scattered business and financial records, notes, a file concerning the Drake University Summer Session, printed material, and photographs. The bulk of the papers consist of correspondence exchanged with art critic Hubert Crehan and artist colleagues including George Abend, Ernie Briggs, Herman Cherry, Lucien Day, Harvey Harris, Reuben Kadish, Mary Fuller McChesney, and Clyfford Still.
Printed materials include clippings, exhibition catalogs and announcements, and press releases. Photographs are of artwork, Dugmore, and colleagues, including Lewin Alcopley, Anne Arnold, Warren Brandt, Ernest Briggs, Herman Cherry, Hubert Crehan, Lucien Day, Rosalyn Drexler, John Grillo, John Hultberg, Reuben Kadish, Aristodemus Kaldis, Kyle Morris, Stephen and Pam Pace, Charles Pollock, Peter Voulkos, and Hugo Weber.
Arrangement:
The collection is arranged into 7 series:
Missing Title
Series 1: Biographical Material, 1948-1993 (Box 1; 3 folders)
Series 2: Correspondence, circa 1943-1992 (Box 1, 2; 1.5 linear feet)
Series 3: Business Records, circa 1951-1972 (Box 2; 2 folders)
Series 4: Notes, circa 1969-1980 (Box 2; 1 folder)
Series 5: Drake University Summer Session File, 1972-1973(Box 2; 5 folders)
Series 6: Printed Material, circa 1937-1993 (Box 2; 25 folders)
Series 7: Photographs, circa 1960-1983 (Box 2; 9 folders)
Biographical Note:
Edward Dugmore (1915-1996) was a painter and arts instructor working in New York, San Francisco, Illinois, and Maryland.
Edward Dugmore was born in 1915 in Hartford Connecticutt, the son of Walter and Ellen Spragg Dugmore. Dugmore received a four year scholarship to study painting at Hartford Art School from 1934 to 1938. In 1938, he also married Edith Oslund. He briefly studied lithography and etching under Thomas Hart Benton at the Kansas City (Missouri) Art Institute in 1941. After serving in the U.S. Marine Corps during World War II, he returned to New York City. From 1946 to 1948, he taught painting and drawing at St. Joseph's College in West Hartford, Connecticut.
In 1948, Dugmore moved to San Francisco and began two year's study of art under the G.I. Bill at the California School of Fine Arts, were he befriended Clyfford Still and Ernest Briggs. He co-founded the artists' collaborative Metart Gallery, where he had his first solo exhibition in 1950.
From 1951 to 1952, Dugmore studied at the University of Guadalajara, Mexico, earning a master's degree in fine arts. In 1952, he moved back to New York City where he had solo exhibitions at the Stable Gallery over the following three years. He also had solo exhibitions at the Howard Wise Gallery in New York and Cleveland during the 1960s.
Between 1961 and 1962, Dugmore was Visiting Artist at the University of Southern Illinois, and in 1970, he was Visiting Artist at the Des Moines Art Center and Drake University. From 1964 to 1974, he taught painting and drawing part time at the Pratt Institute, and in 1965, he was Artist-in-Residence at the Montana Institute of Fine Arts, sponsored by a Ford Foundation Grant. From 1973 to 1982, he taught part time at the Maryland Institute, College of Art in Baltimore, Maryland.
Dugmore's paintings are in the collections of the Albright-Knox Art Gallery, the Walker Art Center, the Corcoran Gallery of Art, and the Hirshhorn Museum and Sculpture Garden.
Edward Dugmore died in 1996 in Minneapolis, Minnesota.
Related Material:
Among the holdings of the Archives of American Art is a transcribed oral history interview with Edward Dugmore conducted by Tram Combs in 1994.
Provenance:
The Edward Dugmore papers were donated in several increments between 1980 to 1993 by the artist.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York Search this
Genre/Form:
Photographs
Citation:
Edward Dugmore papers, 1937-1993. Archives of American Art, Smithsonian Institution.
