Biographical material, correspondence files, writings, photographs, and printed material.
Biographical material includes Zeigler's Works Progress Administration identification card, 1936, obituaries, 1952, a biographical sketch, pages from an engagement book, 1914-1917, and an address book.
Correspondence, 1920-1941, relates to Zeigler's freelance painting, mural designs for Tiffany Studios, mural commissions for churches and other public and private commissions, including the Chapel of the Transfiguration Glendale, Oh. (1927-1928), St. Michael's Church, N.Y.C. (1929); Calvary Church, Cincinnati, Oh. (1936-1937), the "Faerie Queene" murals in the Enoch Pratt Free Library, Baltimore, Md. (1933-1941); WPA-FAP projects in New York State (1933-1937), including murals for Washington Hall, West Point Military Academy, the Stony Point Battlefield Museum, Stony Point-on-the Hudson, and the Newburgh Free Academy, Newburgh. Among the correspondents are architects responsible for the designs of the buildings, such as Ralph Adams Cram and O.H. Murray, individuals associated with the execution of the projects, including Charles Osgood and Joseph L. Wheeler; and WPA adminstrators Edward Bruce and Juliana Force.
Printed material includes clippings, ca. 1910-1948, regarding Zeigler's works of art and his involvement in the war effort and local politics; exhibition catalogs and programs, ca. 1925, 1940-1968; and reproductions of Zeigler's illustrations for bookplates, Christmas cards, magazines, including Gunter's Magazine, Harper's Weekly, and Life, ca.1890-1900, and for limited edition books by such authors as Jane Austen, Honore' de Balzac, Amelia E. Barr, Theophile Gautier, Charles Kingsley, and William Stearns Davis, ca.1890-1915.
Photographs consist of three portraits of Zeigler, ca. 1930-1940, and photographs of works by him, ca.1900, 1915, 1993, and by others ca. 1900-1913. Also included are portrait of actor Fritz Leiber, ca. 1900, a snapshot of Percy and Ella Grainger, 1929.
Also included are copyrights for Zeigler's art work, 1911, 1944, 1945, 1979; an unpublished typescript of a short story by Zeigler, "Story of the Son of Roland"; a sketch of a suit of armor created by Zeigler, ca. 1945; a project file regarding a statue of "Ushabti," created by Zeigler, 1923-1924; and a guestbook from an exhibition at the Vanderbilt Galleries, 1941.
Biographical / Historical:
Illustrator, muralist; Baltimore, Md. Studied at the Maryland Institute of Art and was founding member of the Charcoal Club of Baltimore. He began his career as an illustrator and later specialized in mural painting.
Provenance:
Donated 1979 and 1994 by Audrey Z. Archer-Shee; Zeigler's daughter.
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.
Identification cards and a resume; an eleven page Laning family genealogy; correspondence with Francis V. O'Connor and others, undated and 1925-1983; photographs of family members and ancestors, of Laning, including one of him with his self-portrait taken by Peter A. Juley & Son, ca. 1943, and of his work; writings, including lecture notes, articles on Reginald Marsh and on Thomas Hart Benton, and an account of his experiences as a muralist for the Treasury Section; Laning's sketchbook; a print by Luigi Lucioni; business and financial records, memberships in organizations; awards and certificates; typescript of an interview with Laning; and printed matter.
Biographical / Historical:
Painter and muralist, died in 1981. Born in Petersburg, Ill. Studied at Art Institute of Chicago, the University of Chicago, and the Arts Students League with Max Weber, Boardman Robinson, and John Sloan. Worked extensively on the WPA Federal Art Project and the Treasury Section.
Provenance:
Material donated in 1972 by Edward Laning, and in 1973, 1983 and 1984 by his widow, Mary Fife Laning, through Laning executor Jack Henderson.
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 papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Scope and Contents:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Biographical materials include awards, biographical sketches and resumes, travel papers, identification cards, and ten address books.
The bulk of correspondence is comprised of letters written by Florence Arquin to her husband, Samuel Williams. These letters discuss her trips to Mexico in the 1940s, her role in the Kodachrome Slide Project, and her friendships with fellow artists Diego Rivera and Frida Kahlo, and others. Also found are copies of letters from Frida Kahlo and Diego Rivera to Florence Arquin.
Writings and notes include extensive research notes, notebooks, and notecards by Florence Arquin, primarly on Latin American art and culture. Also found is a draft of Arquin's work on Diego Rivera, Diego Rivera (1886-1957): The Shaping of an Artist (Early Period--1889-1921). Writings by others include a draft of a foreword by Diego Rivera, and writings by Jose de Souza Pedreira, and Hilla Rebay.
Teaching and project files include materials from Arquin's time teaching at the Art Institute of Chicago, her work with the the Federal Art Project at the Art Institute of Chicago and the Kodachrome Slide Project. Teaching files are scattered and include student papers, class outlines, and a lecture. The Federal Art Project at the Art Institute of Chicago files include a proposal and project reports. The Kodachrome Slide Project files include correspondence, receipts, reports, educational guides and materials, slide sequences, and printed material.
Printed material includes exhibition catalogs and announcements, clippings, booklets, travel guides, magazines, education journals, subject files on Diego Rivera and Frank Lloyd Wright, and blank postcards from Arquin's travels. There are extensive booklets and pamphlets published by the Pan American Union, and travel guides and educational guides for Latin America. Some printed material is in Spanish.
Photographs include portraits and snapshots of Florence Arquin, Diego Rivera, Frida Kahlo and others. Photos of Florence Arquin show her in her office, giving lectures, and at events with others. Photographs of works of art are by Frida Kahlo and Diego Rivera.
Artwork is scattered and includes a sketchbook by Florence Arquin with watercolor and pencil sketches and a print signed by de Diego.
There are four scrapbooks created by Florence Arquin. Scrapbooks may include photographs, writings, maps, and printed materials. Materials relate to the Federal Art Project at the Art Institute of Chicago, travel, and the Kodachrome Slide Project.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, 1939-1962 (0.4 linear feet; Box 1, 11)
Series 2: Correspondence, 1940-1985 (0.8 linear feet; Box 1-2)
Series 3: Writings and Notes, 1929-circa 1964 (2.0 linear feet; Box 2-4)
Series 4: Teaching and Project Files, 1930-1963 (1.4 linear feet; Box 4-5)
Series 5: Printed Material, 1923-1964 (1.8 linear feet; Box 5-7, 11)
Series 6: Photographs, 1929-circa 1960 (0.7 linear feet; Box 7, 11)
Series 7: Artwork, circa 1940-circa 1950 (2 folders; Box 7, 11)
Series 8: Scrapbooks, 1935-1956 (0.9 linear feet; Box 8-10)
Biographical / Historical:
Painter, photographer, educator, writer, and critic, Florence Arquin (1900-1974) was active in Chicago, Illinois. She was widely known for her expertise in the field of Latin American studies and had a close relationship with Frida Kahlo and Diego Rivera. From 1935 to 1939 she worked as administrator for the Federal Art Project in Illinois and joined the Art Institute of Chicago in 1939 to develop education programs aimed at secondary school students.
Florence Arquin was born in 1900 in New York City. She graduated from the Art Institute of Chicago where she studied art education. After, she undertook post graduate studies at the National University of Mexico. In the early 1940s Arquin traveled to Mexico to paint, where she developed friendships with Diego Rivera and Frida Kahlo. In 1943 a solo exhibition of her paintings at the Benjamin Franklin Library in Mexico City was highly praised by Rivera in the catalog introduction. Arquin's book Diego Rivera: The Shaping of an Artist, 1889-1921 about the artist's formative years, was published by the University of Oklahoma Press in 1971.
Arquin traveled extensively in South America, the United States, and Europe throughout her life. From 1945 to 1951 she traveled to Brazil, Bolivia, Peru, and Ecuador as Director of the Kodachrome Slide Project under the sponsorship of the Department of State. Arquin photographed aspects of life and culture and gave lectures at bi-national cultural institutions throughout those countries and in the United States. The project was part of an effort to provide educational agencies with visual aids in the field of Latin American studies.
Under another State Department grant, duplicates of Arquin's photographs were then made available for sale to institutions and individuals interested in the field of Latin American studies. The Metropolitan Museum of Art assumed responsibility for publicity, sale, and distribution of the slides from 1950 to 1955. Although few sales originated through the sales office of the Museum, Arquin managed to generate sales through her own efforts. In 1961 she applied for another grant to take control of the original slides and to add slides that she had taken on other visits to Latin America, Morocco, Spain, Portugal, and other European countries since then.
Florence Arquin died in 1974.
Provenance:
The collection was donated to the Archives of American Art by Samuel Williams, Arquin's husband, in 1991.
Restrictions:
The Florence Arquin 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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The Florence Arquin 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The papers of painter and poet Virginia Admiral measure 0.6 linear feet and date from 1945-1978. The scattered papers include identification cards, correspondence with artists and friends, personal business records, and printed material. Found are files relating to the Art Workers' Coalition, a group that sought to pressure the Museum of Modern Art and others to implement political and economic reforms to their practices.
Scope and Contents:
The papers of painter and poet Virginia Admiral measure 0.6 linear feet and date from 1945-1978. The scattered papers include identification cards, correspondence with artists and friends, personal business records, and printed material. Found are files relating to the Art Workers' Coalition, a group that sought to pressure the Museum of Modern Art and others to implement political and economic reforms to their practices.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Virginia Admiral (1915-2000) was a painter and poet based in New York City, New York. She was the ex-wife of Robert De Niro and mother of actor Robert De Niro Jr.
Virginia Admiral was born in Oregon in 1915 and studied at the Art Institute of Chicago. She worked for the Federal Arts Project in Oakland, California in 1938 but enrolled at the Hofmann School in New York City two years later. It was at the Hofmann school, where she studied under its founder Hans Hoffman, that she met fellow artist Robert De Niro. They married and had a son, Robert De Niro Jr., who would later become an actor. Admiral and De Niro divorced in 1945.
Admiral's work was included in the 1948 Peggy Guggenheim exhibition at the Venice Biennale. Also an activist and a writer, Admiral participated in the anti-Vietnam War movement, and wrote for True Crimes magazine. She died in 2000 in New York City, New York.
Provenance:
Virginia Admiral donated her papers to the Archives of American Art in 1979 and 1980.
Restrictions:
This collection is open for research. Access to the original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Painters -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Virginia Admiral papers, 1945-1978. Archives of American Art, Smithsonian Institution.
Sponsor:
To process this collection, this project received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.
The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.
Scope and Content Note:
The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.
Biographical material consists of awards, biographical notes, membership and identification cards, passports, a will, and a sound recording of a 1945 interview with Liebes.
Correspondence is personal with family and friends, and general with friends and colleagues including artists, and fellow weavers and designers. Notable correspondents include Dorr Bothwell, Daren Pierce, Beatrice Wood, and Frank and Olgivanna Lloyd Wright.
Diaries and calendars record Liebes's busy professional and personal life, with notations on daily activities and, beginning in 1952, detailed notes by staff recording activities at the studio on days when Liebes was absent.
Writings by Dorothy Liebes include notes, drafts, and manuscripts of published and unpublished writings, including an autobiography, speeches, and drafts for an unpublished book on weaving.
Subject files contain correspondence, printed material, photographs, and miscellaneous items in varying combinations, and focus heavily on Liebes's consulting work for businesses in the textile industry, including her work with DuPont, Bigelow-Sanford, Goodall, Dow, and others. The files document the importance of her work as a colorist and show how she successfully adapted craft weaving to machine methods. Furthermore, they record how Liebes used her marketing instincts and broad media appeal to rebrand the image of companies such as DuPont from one of chemistry and utility, to one that represented high style and glamor in durable and practical fabrics that were affordable and desirable in home furnishings. Other subject files document organizations, individuals, and topics of interest to Liebes, including files recording her involvement with arts and crafts organizations, her role as director for the Decorative Arts Display at the Golden Gate Exposition in 1939, her work as director of the Red Cross's Arts and Skills workshop, scattered exhibition records, and files on weavers and weaving. Files on Liebes's extensive promotional work for multiple clients are also included here, as are files documenting Liebes's relationship with Relman Morin, such as correspondence and scattered records of Morin's career as a Pullitzer Prize winning journalist.
Financial and legal records are comprised of accounting records from the 1930s-1940s, financial summaries, investment statements, personal and business inventories, personal and business tax returns, and some legal records.
Printed material includes advertisements, articles, and exhibition announcements and catalogs, recording Liebes's career. This material is supplemented by thirty-three bound scrapbooks of printed publicity material, photographs, and documents recording Liebes's career in substantial depth.
Artwork by Dorothy Liebes consists of designs, feather weavings, a small hooked composition, and tapestry samples. Artwork by others includes prints by Dorr Bothwell, designs by Lawrence J. Colwell, and painted sketches of clothing designs by Daren Pierce. Two linear feet of samples consist primarily of textile swatches primarily designed by Dorothy Liebes Studio, Inc.
Photographic material includes professional portraits of Liebes and others, photos of Liebes at events and parties, with staff and other weavers, at work in her studio, and traveling. Of note are a series of pictures taken at Taliesin West with Frank and Olgivanna Wright, Relman Morin, and others. Photographic material also provides examples of Liebes's design work in homes, hotels, offices, and elsewhere, and shows her work pictured in exhibitions and showrooms. Photographs of other subjects include portraits of unidentified women by Man Ray and Consuela Canaga.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, circa 1934-circa 1970 (Box 1, OV 23; 0.28 linear feet)
Series 2: Correspondence, 1922-1973 (Boxes 1-2; 1.5 linear feet)
Series 3: Diaries and Calendars, 1948-1971 (Boxes 2-4; 1.5 linear feet)
Series 4: Writings, 1920-circa 1971 (Boxes 4-5; 1.05 linear feet)
Series 5: Subject Files, circa 1933-1971 (Boxes 5-13, 20, OVs 23, 59; 8.43 linear feet)
Series 6: Financial and Legal Records, circa 1935-1972 (Box 13, 20; 0.6 linear feet)
Series 7: Printed Material, 1897-1971 (Boxes 14, 20-21, OV 38; 1.1 linear feet)
Series 8: Scrapbooks, 1933-1972 (Box 21-22, 24-36; 5 linear feet)
Series 9: Artwork, circa 1920s-circa 1960s (Boxes 14, 22, OVs 23, 39, 42, RD 37; 1.24 linear feet)
Series 10: Samples, circa 1850-1855, circa 1930s-circa 1970 (Boxes 15-16; 2.0 linear feet)
Series 11: Photographic Material, circa 1875, circa 1897-circa 1970 (Boxes 17-19, 36, OVs 38, 40-41; 2.0 linear feet)
Biographical Note:
California and New York weaver, textile designer, and consultant Dorothy Wright Liebes (1899-1972) was known for distinctive textiles featuring bold color combinations and unusual textures achieved through the use of materials such as glass rods, sequins, bamboo, grass, leather, ribbon, wire, and ticker tape. Her work with companies in the synthetic fiber industry to make craft weaving compatible with man-made fabrics and machine looms, produced an innovative and exciting new aesthetic in interior design that was both functional and affordable, and made Liebes a mid-century household name.
Born Dorothy Wright in Santa Rosa, California, Liebes was the daughter of chemistry professor Frederick L. Wright and teacher Bessie Calderwood Wright. She studied art, education, and anthropology at San Jose State Teachers College and the University of California, Berkeley. During her college years, a teacher encouraged her to experiment with weaving and textile design since many of her paintings resembled textiles.
Liebes was a teacher for several years before deciding to pursue a career in textile design. She then studied weaving at Hull House in Chicago and traveled to France, Italy, Guatemala, and Mexico to learn the traditional weaving forms of those cultures. Upon her return to the United States, Liebes opened her first professional studio for weaving and textile design on Powell Street in San Francisco; Dorothy Liebes Design, Inc. was established in 1934, and eventually employed a staff of weavers. Liebes moved her studio to 545 Sutter Street in 1942.
Her first client in the industry was Goodall-Sanford Mills, with whom Liebes worked as a consultant for more than a decade. As her client base expanded, she decided to open a New York studio and maintained both studios until 1948 when she closed her San Francisco operation and relocated to New York City.
Liebes became a color and design consultant to corporations such as DuPont, Dow, and Bigelow-Sanford and tested and promoted newly developed synthetic fibers. She advised textile chemists in the development of fibers that were versatile enough to produce many different textures and worked with engineers and technicians to develop new machines that could reproduce the irregularities of hand-loomed fabrics. Liebes became a sought-after speaker by textile industry and consumer groups, and sometimes taught workshops on color and design.
Liebes's commissions included the United Nations Delegates Dining Room, the Persian Room at the Plaza Hotel and the King of Saudi Arabia's traveling royal throne room. Between 1937 and 1970, Liebes participated in more than thirty solo and group exhibitions at the San Francisco Museum of Art, Museum of Modern Art, de Young Museum, Cranbrook Museum, Detroit Institute of Art, Massachusetts Institute of Technology, Museum of Contemporary Crafts, and other venues. She received prizes and awards from institutions and corporations such as Lord and Taylor, Neiman-Marcus, the Paris Exposition, the American Institute of Decorators, the American Institute of Architects and the Architectural League. She was also awarded the Elsie de Wolfe Award and an honorary degree from Mills College in 1948.
Liebes's other notable activities included her work a director of the Decorative Arts Display for the 1939 San Francisco World's Fair, which she credited with establishing her as an authority in the field, and her work as organizer and director of "Arts and Skills," a Red Cross occupational therapy project that included training in weaving for soldiers injured in World War II. In the 1950s, she worked with the Bureau of Indian Affairs, journeying though the southwest to study Indian schools and weaving techniques.
Liebes was married to businessman Leon Liebes from 1928 until their divorce in 1940 and continued to use the name Liebes for the remainder of her life. In 1948, she married Pulitzer prize winning Associated Press special correspondent Relman "Pat" Morin.
During the last year of her life, Dorothy Liebes was semi-retired due to a heart ailment. She died in New York City on 10 September 1972.
Provenance:
Gift of the Estate of Dorothy Liebes through Relman Morin, 1972, and Ralph Higbee, 1973-1974.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Textile designers -- California -- San Francisco Search this
Textile designers -- New York (State) -- New York Search this
Weavers -- California -- San Francisco Search this
Weavers -- New York (State) -- New York Search this
Art consultants -- New York (State) -- New York Search this
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
License folder containing a Mechanic's Identification Card and five Mechanic's License Cards issued by the United States Department of Commerce, Aeronautics Branch, to Paul R. Gruhler as a licensed Engine Mechanic. Identification Card issued on 16 October 1927 with photograph of Gruhler. License cards expired on the 15th of October in 1929, 1931, 1933, 1935, and 1937.
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
United States Department of Commerce Mechanic's License
Type:
Archival materials
Date:
1927-12-01
Scope and Contents:
A Mechanic's license and accompanying identification card issued to Kelsey on the 1st of December 1927. The identification card includes a photogrpah of Kelsey. The material of both items is fragile.
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
Biographical materials include identification cards and invitations and a home movie recording showing Baasch's studio in winter. Correspondence is from family, friends, institutions, and arts organizations. Photographs depict Baasch, Baasch in her studio, and artwork. Printed materials consist of clippings, newsletters, and exhibition announcements and catalogs, many of which are hand drawn. Writings including lists of works of art, poems, and a notebook. Also found are sketches taken from a sketchbook.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Merle Baasch papers, 1949-circa 1963. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
Found are biographical materials including resumes, a biographical sketch, identification cards, and awards. Correspondence is with family and business colleagues, institutions, and museums; many letters discuss women in the arts. Financial records contain scattered sales information and documentation of supply purchases. Photographs depict Borgatta, with unidentified family and friends, and her artwork. Her education and exhibition career is documented in printed clippings, announcements, and catalogs. Writings likely originated from her time at Smith College. Others include a speech given entitled "The Sexual Role in Artistic Sensibility," and syllabi from courses taught by Borgatta.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Isabel Case Borgatta papers, 1939-1978. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
Series includes biographical material such as awards, certificates, and identification cards; correspondence with friends, colleagues, Northeastern University, and other cultural and educational institutions; and printed material including clippings and exhibition materials. While the bulk of the papers document Chandler's founding of and activities involving the African American Master Artists in Residency Program (AAMARP) at Northeastern University, there are alo scattered professional records relating to his activities as a professor and an activist.
The bulk of the series consists of photocopied material.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Authorization to publish, quote or reproduce requires written permission of Dana Chandler. Contact Reference Services for more information.
Collection Citation:
Dana Chandler papers, 1968-1993. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation
