Whitney, Gertrude Vanderbilt, 1875-1942 Search this
Extent:
6.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1891-1977
Summary:
The Morgan Russell papers, 1891-1977, present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence, biographical material, transcripts of lectures given by Russell, illustrated notebooks and sketches, printed material and photographs.
Scope and Content Note:
The Morgan Russell papers present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence with many prominent individuals who played a role in Russell's artistic development; biographical material primarily documenting his activities in Europe; transcripts of lectures given by Russell; illustrated notebooks and sketches documenting his interest in, and development of, color theory, music and Synchromism; printed material such as exhibition announcements, catalogs and clippings; and photographs of Russell, his wife, friends and artwork.
Arrangement:
The collection is arranged as 7 series according to record type and reflecting the lender's arrangement. With the exception of Series 1: Correspondence, all series are arranged chronologically.
Missing Title
Series 1: Correspondence, 1909-1964 (Reels 4524-4527)
Series 2: Biographical Material, 1925-1941 (Reel 4527)
Series 3: Business Records, 1911-1946 (Reel 4527)
Series 4: Writings, 1931-1953 (Reel 4527)
Series 5: Unbound Notes and Sketches, 1891-1977 (Reels 4528-4538)
Series 6: Printed Material, 1908-1963 (Reels 4539-4541)
Series 7: Photographs, 1908-1948 (Reel 4542)
Biographical Note:
Painter and sculptor Morgan Russell was born in New York City. He studied at the Art Students League and the New York School of Art with James Earle Fraser, Andrew Dasburg and Robert Henri from 1906 to 1907, before settling in Paris in 1909 where he remained for almost forty years. After meeting Stanton Macdonald-Wright in 1911, he became interested in Synchromism and studied with Canadian color theorist Ernest Tudor-Hart. In 1913 Russell produced the first abstract Synchromies and in 1917 developed a series of Synchromies entitled EIDOS. He visited California in the early 1930s, teaching at the Chouinard School of Art in Los Angeles from 1931-1932, in addition to lecturing at museums in Los Angeles and San Francisco. Russell left France permanently in 1946 and died in Pennsylvania in 1953.
Provenance:
The Morgan Russell papers were lent to the Archives of American Art for microfilming by the Montclair Art Museum in 1991. The material was returned to the lender in 1992.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
United States -- History -- Civil War, 1861-1865 -- Personal narratives
United States -- History -- Civil War, 1861-1865 -- Journalists
Date:
1856-1929
Summary:
The papers of painter Henry Mosler (1841-1920), who began his career in Cincinnati, Ohio, lived in Germany and Paris for at least 2 decades, and finally settled in New York, measure 4.8 linear feet and date from 1856-1929. The collection documents Mosler's life and career through biographical material, personal and professional letters from members of the military, museums, family, friends and colleagues, writings including an 1862 Civil War diary, personal business records, printed material, artwork and sketchbooks, and photographs of Mosler, his family, colleagues and artwork.
Scope and Content Note:
The papers of painter Henry Mosler (1841-1920), who began his career in Cincinnati, Ohio, lived in Germany and Paris for at least 2 decades, and finally settled in New York, measure 4.8 linear feet and date from 1856-1929. The collection documents Mosler's life and career through biographical material, personal and professional letters from members of the military, museums, family, friends and colleagues, writings including an 1862 Civil War diary, personal business records, printed material, artwork and sketchbooks, and photographs of Mosler, his family, colleagues and artwork.
Biographical material includes passports for Mosler's travel during the Civil War and to the American West in 1875-1876, as well as identification cards and awards from Mosler's years in Germany and Paris, including the Ordre National Légion d'Honneur awarded to him in 1892.
Letters record Mosler's service as an aide-de-camp for the Army of Ohio and his activities as an artist correspondent for Harper's Weekly from 1861-1863 in the Western Theater of the Civil War. However, the bulk of the letters document Mosler's career from the 1880s onward. Found are letters from museums, art associations, government agencies including the Minsistere de l'Instruction Publique et des Beaux-Arts, and colleagues in Europe and the United States including artists James Henry Beard, Julien Dupré, Gabrier Ferrier, Ernest Hébert, William Henry Howe, William Ordway Partridge, and Leon Germain Pelouse, among others. There are also scattered letters from Mosler.
Writings and notes include an 1862 Civil War diary and two illustrated notebooks from 1862 and 1863 containing sketches, and travel and financial notes. Also found are two biographical accounts of Mosler's career and poems by various authors, many inspired by Mosler's paintings.
Personal business records include an account book documenting Mosler's income and expenses from 1869-1878 and 1886-1892, and Library of Congress copyright certificates for four of Mosler's pictures.
Printed material documents Mosler's career in the United States and Europe through news clippings, a brochure, and an exhibition catalog for an 1897 exhibition of his paintings at Galleries of Pape Bros.
Artwork and sketchbooks include six sketches and an engraving by Mosler, and two books containing sketches by Mosler and other artists including James Henry Beard. The series also contains one ink drawing each by Leon Germain Pelouse and E. Hillery.
Photographic material includes albums and individual photographs of Mosler in his studio and with others including his immediate and extended family, and students. Also found are photos of artists including Gabriel Ferrier, Ernest Hébert and Thomas Buchanan Read, Brigadier General R. W. Johnson and opera singers Emma Nevada Palmer and Renée Richards. Photographs of artwork are primarily found in 2 oversized albums dedicated by Mosler to his children, Edith Mosler and Gustave Henry Mosler respectively.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material, 1863-1892, 1921 (Box 1, OV 10; 4 folders)
Series 2: Letters,1861-circa 1920 (Boxes 1-2; 1.3 linear feet)
Series 3: Writings and Notes, circa 1860-circa 1900 (Boxes 2-3, 6; 0.4 linear feet)
Series 4: Personal Business Records, 1869-1905 (Box 3; 4 folders)
Series 5: Printed Material, circa 1860s-1929 (Box 3; 10 folders)
Series 6: Artwork and Sketchbooks, 1856-1917 (Box 4, OVs 10-11; 0.5 linear feet)
Series 7: Photographic Material, 1860-circa 1910 (Boxes 5-9, BV 12; 2.0 linear feet)
Biographical Note:
Henry Mosler (1841-1920) worked primarily in Ohio, New York City, and Europe as a painter of portraits and scenes of rural life in Europe. Mosler served as an artist correspondent for Harper's Weekly during the Civil War.
Born in Silesia (Poland) in 1841, Henry Mosler immigrated to New York City with his family in 1849. In the early 1850s the family moved to Cincinnati, Ohio, where Mosler received art instruction from James Henry Beard, becoming an accomplished portrait painter and an active participant in the Cincinnati art scene.
Following the outbreak of the Civil War in 1861, Mosler became an artist correspondent for Harper's Weekly, documenting the Western Theater in Kentucky and Tennessee. He served as a volunteer aide-de-camp with the army of Ohio from 1861-1863 and was present at the engagement at Green River, and "present and under fire" at the battles of Shiloh and Perryville.
Immediately thereafter, Mosler relocated to Dusseldorf for two years and attended the Royal Academy, followed by six months in Paris where he studied with painter Ernest Hébert. In 1866 Mosler returned to Cincinnatti where his portraits and genre scenes enjoyed growing popularity.
In 1875 Mosler traveled to Munich and two years later settled in Paris from where he enjoyed critical and financial success both in Europe and in the United States. Mosler was known for his genre paintings of peasant life in rural Brittany and he became a regular participant in Salon exhibitions and won honorable mention in the Salon of 1879, when his painting Le Retour, became the first work by an American artist to be purchased by the French government. In 1888 he won the gold medal at the Paris Salon and in 1892 he was made chevalier de la Legion d'Honneur and officier de l'Académie.
Mosler returned to the United States temporarily during this period, including a trip in 1885-1886 to visit the West and collect material for paintings of Native American life.
In 1894 Mosler returned to the United States and settled in New York, where he became a popular teacher and an active participant in the New York art scene. In 1895 he was made an associate member of the National Academy of Design, and in his last decades took up landscape painting during summers in the Catskill mountains, and produced genre paintings depicting scenes from colonial and rural life. Mosler continued to enjoy widespread popularity until his death in 1920.
Provenance:
The bulk of the collection was donated to the Archives of American Art by J. F. McCrindle, a great-grandson of Mosler, in 1976 and 1977, having been previously lent to AAA for microfilming. A photograph album was donated in 1993 by Paul M. Hertzmann, a dealer who acquired it through purchase. Additional materials were donated in 2008 and 2009 by McCrindle via John T. Rowe, president and CEO of the Joseph F. McCrindle Foundation.
Restrictions:
Use of original papers 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.
Expatriate painters -- France -- Paris Search this
Painters -- New York (State) -- New York Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Illustrated notebooks
Drawings
Sketches
Citation:
Henry Mosler papers, 1856-1929. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Joseph F. McCrindle Foundation and the Terra Foundation for American Art.
Correspondence; writings; notes; estate lists; contracts; photographs of works of art; exhibition catalogs; clippings; miscellaneous printed material.
REEL 925: Correspondence with artists, 1954-1968, concerning Benton's purchase and background of their works; and writings by Benton on Soviet art.
REEL 3134: A 13-page, incomplete, typescript, 1955, "Reginald Marsh as I Remember Him," by Benton. He writes of working with Marsh on the YALE RECORD and collecting Marsh's paintings.
REEL 4073: Correspondence, 1940-1983, with artists; typescripts on Marsh; writing by Jack Levine "How the Witches' Sabbath was Painted";
photographs and lists of works of art; a notebook "Works of Art on Loan to the William Benton Museum, University of Connecticut" from Benton's estate; a notebook "Painting Contracts" between artists, galleries, and Encyclopaedia Britannica, Inc.; notebook "Sold," containing data on the sale of Reginald Marsh's work;
printed material on Rockwell Kent, Thomas Hart Benton, Benton's collection, and others; photocopies of 2 portions of Ivan Albright's sketchbooks; a notebook "Britannica Painting Exhibitions Manual of Procedure"; a 2 p. typescript "The Story of My Portrait" by Grant Wood's sister Nan Wood Graham; 3 illustrated notebooks by Ivan Albright; and a sketchbook by Reginald Marsh containing 33 figure sketches.
Correspondents include Ivan Albright, Thomas Hart Benton, George Biddle, Isabel Bishop, Aaron Bohrod, Salvador Dali, Abner Dean, Koren Der Harootian, Jimmy Ernst, Milton Hebald, Joseph Hirsch, Ben Johnson, Rockwell Kent, Frank Kleinholz, Jack Levine, Reginald Marsh, Henry Varnum Poor, James N. Rosenberg, Hella Moravic Sachs, and Orest G. Vereisky.
Biographical / Historical:
Art collector, politician; Chicago, Ill. Publisher of ENCYCLOPAEDIA BRITANNICA, Vice-President of the University of Chicago, Congressman from Connecticut, and an avid collector of American art. Benton and Reginald Marsh were classmates and collaborated respectively as editor and illustrator for the Yale newspaper. During the Depression, Benton provided Marsh with a monthly stipend for which he received a monthly painting. When he became chairman of the board of ENCYCLOPAEDIA BRITANNICA, Benton collected contemporary American painting to Americanize BRITANNICA's British image.
Provenance:
Material on reel 925 and 3134 donated by Benton 1968. His family donated and lent additional material 1985-1986, including originals of some letters which were originally donated as photocopies.
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.
Topic:
Art -- Collectors and collecting -- United States Search this
Art, Modern -- 20th century -- History -- United States Search this
Letters, notes and writings (1935-1972), financial material (1937-1966), printed material (1946-1970), photographs, sketchbooks and audio tapes document Saccaro's painting and writing careers.
REEL 723 (frames 72-645): Nine sketchbooks contain ink, crayon, and pencil sketches by Saccaro. Subjects include figure and animal studies as well as calculations for his later x-ray works. Eleven illustrated notebooks (1940-1969) contain Saccaro's ideas and thoughts about art; opinions on artists such as Karl Baumann, Dong Kingman, Robert McChesney, and Jose Ramos; and ideas and sketches for stories.
REEL 723 (frames 646-858): Four pages of notes concern "alpha," "omega," and "x-ray" painting and "squirt pieces". Thirteen letters (1947-1964) concern exhibitions, teaching at UCLA, a story Saccaro wrote, and a drawing for ARTFORUM. Photographs show Saccaro, his family, his works of art, Elaine Mayes (a photographer who shared Saccaro's studio, 1960-1963), exhibitions (1956-1961), and groups of artists. Other materials include a drawing of Saccaro by Nathan Oliveira, a drawing of an idea for a soft sculpture, exhibition announcements, an artist's statement, a guest book, an interview transcript (1962), excerpts from an essay by critic Alfred Frankenstein, Saccaro's resume, and 11 clippings (1956-1973).
REELS 4211-4212: Correspondence (1935-1966) includes several letters from Saccaro to Marie and an illustrated letter from George Tomlin (1948). Writings include 6 notebooks and 13 drafts of short stories and essays (ca. 1954-1959). Two logbooks (1935-1951) list manuscripts sent to publishers. One logbook contains an essay about Marie Lynch, Saccaro's wife, painting his portrait in 1938. Other materials include consignment receipts from the Hollis Gallery (1959-1964), clippings (1946-1970), exhibition announcements and catalogs (1956-1960), a design for a soft sculpture, audio tapes of Paul Karlstrom's interview of Saccaro (1974) and a camping trip (1972), and a resume and school records of Marie Lynch. Photographs (1945-1975) show Saccaro, his family, friends, and art works.
Biographical / Historical:
Draftsman, collage artist, painter, and writer; San Francisco, California. Studied at the California School of Fine Arts (1951-1954). Until recently, Saccaro's paintings were in the abstract expressionist style (his more recent paintings are characterized by a different approach, which Saccaro calls "x-ray"). Saccaro pursued a writing career before becoming a painter.
Provenance:
Materials on reels 723 (frames 72-645) and 4211-4212 were donated by his niece, Patricia Barrett, on behalf of John Saccaro's estate.
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 -- California -- San Francisco Search this
Correspondence, some illustrated, from friends, colleagues and galleries; writings, including a statement by Boshier about his painting, "Identi-kit Man," and an essay about Boshier by Nigel Gosling; a catalog from an exhibition called "Lives", 1979, for which Boshier wrote the introduction; articles and clippings; exhibition announcements; exhibition catalogs; several books containing illustrations by Boshier; an illustrated notebook, 1979-1982; a sketchbook of ink drawings, 1955-1956; photographs, including a series of photographs of the singer David Bowie, and some of Derek Boshier's work.
Also includes a resume and bibliography; photographic reproductions of Boshier's work; the catalog introduction for the "Lives" exhibition; and clippings.
Biographical / Historical:
Painter, draftman, educator,photographer, filmmaker; Houston, Tex. and London, England. Rock star David Bowie was an acquaintance of Boshier, and Boshier prepared some studies of album covers for Bowie.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
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.
7.4 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Sketchbooks
Date:
1912-1986
Scope and Contents:
Correspondence, writings, art works, scrapbooks, printed material, photographs, and files on Julio De Diego and Kimon Nicolaides and other topics, related to Bridaham's career as an artist and writer.
REEL 8: Printed material, including articles written by Bridaham for periodicals (1950-1957), 15 exhibition catalogs (1928-1968), clippings by and about Bridaham (1930-1959), 6 press releases (1956-1957), a transcript of a radio discussion which included Bridaham (1951), 2 advertisements, a lecture announcement (1957), instructions on using egg tempera for Bridaham's students, a guide book to the Louisiana State Museum (1956), brochures about Strathmont Museum (1958), and resumes.
REEL 3: Material related to Kimon Nicolaides, including a radio address given by him, 1933; publicity for his book THE NATURAL WAY TO DRAW; exhibition catalogs; clippings; press releases; and a photograph of one of his sculptures. [Microfilm title: Kimon Nicolaides papers]
UNMICROFILMED: Correspondence with Kimon Nicolaides and Henry Schnackenberg (1921-1923), Julio De Diego (1941-1952), Ethel Spears (1961), Isabel Bishop (1975), and George and Edith Rickey. Letters to Mamie Harmon concern a Nicolaides exhibition and book (1938-1941). Writings include nine v. of diaries (1946-1954) kept during his tenure at the Art Institute of Chicago, and notes and drafts for an unpublished book (1938-1982).
Subject files concerning Ivan Albright's poetry, the Colonial Craft Survey for Massachusetts (1935), Olof Krans (1939), the reorganization of the Metropolitan Museum's photographic department (1949), Romanesque and Gothic sculpture and the Society for Contemporary American Art. A file (1921-1983) on Julio De Diego contains Bridaham's research materials, sketches and drawings by the artist, a journal kept by De Diego in New York (1932) and photographs of De Diego, his family including third wife Gypsy Rose Lee, friends and art works. Kimon Nicolaides' file (1921-1986) contains his writings and drawings (1928), drawings by Vivian Gordon and Howard Ahrens (1923-1986), photographs and other research materials.
Printed materials consists of clippings (1930-1972), "The Chicago Artist" newsletter (1938), press releases, a book cover, Artists Equity publications (1952-1953), posters, exhibition catalogs and anouncements and membership cards. Photographs show Bridaham, friends, National Art Week activities with Macena Barton, Charles Biesel, Jules Eboli and Richard Florsheim, his studio and drawings (1928-1949). Other materials include over 150 prints and drawings (1927-1977) of Moroccan scenes, Colorado wildflowers and other subjects, resumes, an illustrated notebook of Bridaham's plans for art works (1931-1932) and a list of his works (1974).
ADDITION: Material concerning the latter part of Bridaham's life, including original works of art, photographs, a dream sketchbook (1945), a notebook devoted to Julio de Diego; Bridaham's letters to Jeanette Fowler, 1989-1990 and other correspondence, 1940s-1950s; and printed material.
Biographical / Historical:
Museum director, art historian, painter, and printmaker; d. 1992. Bridaham received a degree in chemical engineering from M.I.T. and studied art history at Harvard's Fogg Museum from 1936-1937. He received a 1931 American Field Service fellowship for study in France and Morocco, and studied studio art at the Art Students League under Kimon Nicolaides and Kenneth Hayes Miller. Between 1938 and 1954, Bridaham was a staff officer at the Art Institute of Chicago. He was also the director of the Louisiana State Museum, New Orleans, and of the Strathmont Museum, Elmira, N.Y. He is the author of Gargoyles, Chimeras and the Grotesque in French Gothic Sculpture.
Related Materials:
Lester Bridaham photographs and papers relating to gargoyles, 1895-1987, are located at The Getty Research Institute Special Collections.
Provenance:
Donated 1974-1987 by Lester Burbank and Dorothy Bridaham. In 1996, an additional 0.8 ft. was donated from the Jeanette Fowler estate.
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.
0.5 Linear feet ((343 items on 3 reels of microfilm))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1873-1938
Scope and Contents:
Notebooks, correspondence, photographs, art works, printed materials, and miscellany.
REEL 1654: A notebook listing prices of printmaking supplies; 3 illustrated notebooks; a passport, 1878; letters to Bacher and his wife Mary from Robert Blum concerning his travels to Japan, from John M. Carrier and Gari Melchers; condolence letters to Mary; photographs of Bacher; a photograph album of an artists' party, including Bacher, John White Alexander, James Carroll Beckwith, Edwin Blashfield, Robert Blum, William Merritt Chase, Thomas Wilmer Dewing, John LaFarge, Will Hicok Low, Frances Millet, John Singer Sargent, Jules Turcas, John Twatchmann, and J. Alden Weir; and photographs of tableaux at the American Art Club, Munich, 1878-1897, the Bronxville studio, and works of art; exhibition announcements and catalogs; clippings; reproductions; a Frank Duveneck exhibition catalogue, 1938; and miscellany.
REEL 1654, frames 327-371: Six drawings and 28 etchings including scenes of Venice and landscapes; two drawings "Caricatures of Some of the Venetian Group of 1886" by Robert Blum; an etching of Venice by Theodore M. Wendel; snapshots and a few photographs, including one of the interior of the Hotel Gramatan.
REEL 2786: An undated letter to Bacher from Robert Blum, discussing his mental and physical condition and thanking Bacher for his kindness.
REEL 3967: Three letters to the Bachers from their nephew, Lewis Archibald Blum; a photo of Bacher, 1887; a circular "Panama-Pacific International Exposition of San Francisco," 1915; and a pamphlet from the Metropolitan Museum, "Publications on Sale," 1938.
Biographical / Historical:
Impressionist painter and etcher; Cleveland, Ohio. Studied with Frank Duveneck in Cincinnati and Boulanger in Paris.
Provenance:
Papers originally lent for filming 1979 by Mr. and Mrs. Will Bacher, Bacher's son and son's wife. Will Bacher's grandchildren subsequently donated most of this material in 1985 and six other items. Art work and a few photographs (reel 1654, frames 327-371 and 417) previously lent were not donated with other materials in 1985.
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 collection measures 0.2 linear feet and consists of three notebooks, notebook fragments, and two letters written by African American primitive painter Horace Pippin. The three notebooks and notebook fragments contain Pippin's World War I memoirs written in the 1920s, one of which is illustrated by Pippin with six drawings of war scenes. Two letters are dated 1943 and circa 1943. One of the letters is written to "Dear Friends" and begins with "life story of art."; the other is written to dealer Robert Carlen about showing his painting Domino [Game] Players.
Scope and Content Note:
The collection measures 0.2 linear feet and consists of three notebooks, notebook fragments, and two letters created by African American primitive painter Horace Pippin. The notebooks recount Pippin's World War I experiences, including his being wounded. One of the notebooks is illustrated.
Arrangement:
The collection is arranged into one series.
Missing Title
Series 1: Horace Pippin Notebooks and Letters, circa 1920s, 1943; 8 items
Biographical Note:
Horace Pippin (1888 -1946) was a self-taught painter from West Chester, Pennsylvania. Pippin was inspired to paint by his experiences in France during World War I. He lost the use of his right arm when wounded during the war and, when painting, had to use his left hand to guide his right. He gained a national reputation as "a true American primitive" in the 1940s for his paintings depicting childhood memories, war experiences, heroes, and religious subjects.
Provenance:
Horace Pippin's war memiors/notebooks and one letter were purchased from Robert Carlen, Pippin's dealer, in 1956. The 1943 letter from Pippin to Carlen was donated by Dr. and Mrs. Matthew Moore in 1983.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Painters -- Pennsylvania -- Philadelphia Search this
(62 numbered pages, pages 37-40 have been cut out)
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
circa 1920s
Scope and Contents note:
Pippin recounts his World War I experiences in detail from the time he left the United States on November 17th, 1917 with the 15th N.Y. Infantry for France. Pippin writes of life in the trenches and dug-outs, night forays and traveling through enemy territory, details of days and nights of battles and getting shelled, gassed, and machine gun fire by the Germans, and his perceptions of fighting alongside French and Algerian soldiers. He also recounts the details of getting shot in the shoulder and right arm, lying in the trench too weak to get up, having a French soldier get shot and fall upon him dead and not being able to move out from under the dead man, getting some bread and water from the dead body, and finally being rescued and moved around in the field until being loaded onto an ambulance and taken to one hospital and being transferred to another one.
Illustrated with six pencil and crayon drawings of marching and battle scenes.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Horace Pippin notebooks and letters, circa 1920, 1943. 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
Artworks include three illustrated notebooks of ink sketches and notes, and scattered pencil sketches. Biographical material consists of resumes and a title card for a work of art. Correspondence is with family and friends including Fritz and Lucie Glarner and Judith Rothschild, institutions, and museums. Scattered notes include one notebook. Personal business records contain price lists, sales records, and receipts for materials. Photographs include portraits of Mark with her sculpture, and snapshots of Mark as a young woman, with her family and friends, and at events. Also found are photographs of works of art and of exhibitions, many of which are labeled and annotated. Printed materials focus on Mark's career and include clippings, exhibition announcements and catalogs, and periodicals.
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.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
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.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
0.4 Linear feet ((partially filmed on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1945-1950]
Scope and Contents:
Sketches and sketchbooks, drawings and other art work; and clippings.
REEL 7: Six sketchbooks.
UNMICROFILMED: Pencil, charcoal, and ink sketches and figure studies; wood block prints; lithographs; gouache drawings; an illustrated notebook; and clippings.
Donated 1961 by John Peter Ursulescu, Michael Ursulescu's brother.
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 painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.
Scope and Contents:
The papers of painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1948-1962 (4 folders; Box 1, OV 10)
Series 2: Correspondence, 1935-1973 (1.7 linear feet; Boxes 1-2, OV 10)
Series 3: Writings, 1938-1964 (0.7 linear feet; Boxes 2-3)
Series 4: Personal Business Records, 1940-1964 (0.3 linear feet; Box 3, BV 7)
Series 5: Printed Material, circa 1940-1975 (0.8 linear feet; Box 3, BV 8-9)
Series 6: Artwork, circa 1950-1965 (3 folders; Box 3)
Series 7: Photographic Materials, 1950-1965 (1.6 linear feet; Boxes 4-6)
Biographical / Historical:
Painter, muralist, and educator Rico (Frederico) Lebrun (1900-1964) lived and worked in New York City and Los Angeles, California, and his modernist works were primarily influenced by traditional religious iconography and human suffering.
Born in Naples, Italy, Lebrun attended the Naples Academy of Beaux Arts after his military service in the Italian Army during WWI. He began his career as a stained glass designer and was offered a one year contract to work in Springfield, Illinois, for the Pittsburgh Plate Glass Company in 1924. At the end of the contract, Lebrun moved to New York City where he found work as a commercial illustrator for magazines such as Vogue, Fortune, and The New Yorker. After a return to Italy in the early 1930s to continue his art studies, Lebrun moved to New York City in 1936 where he taught at the Art Students League, painted his first mural commission for the Fogg Art Museum with Lewis Rubenstein, and found work as an artist for the WPA.
In 1938, Lebrun moved to Southern California and accepted a position at the Chouinard Art Institute, where his students would include Disney studio animators for Bambi. Lebrun continued to produce paintings while teaching, and his first solo exhibition was organized by Donald Bear, then director of the Santa Barbara Museum of Art. Beginning in 1947, Lebrun spent three years working on over 200 drawings and paintings for the Crucifixion series, which culminated in an exhibition at the Los Angeles County Museum of Art.
In the late 1940s and 1950s, he continued to teach at the Jepson Institute in Los Angeles and at other institutions, including the Instituto Allende in San Miguel, Mexico from 1952 to 1954. In 1958, while teaching at Yale, Lebrun was invited by professor and art critic Peter Selz to create a mural for Pomona College. He completed his plans for the mural during his year-long teaching residency at the American Academy of Rome in 1959, and completed Genesis in 1960. Lebrun died from cancer in 1964.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Constance Lebrun Crown and David Lebrun conducted by Paul Karlstrom, November 23, 1974. Syracuse University also holds papers of Rico Lebrun.
Provenance:
The papers were donated in 1974 by Lebrun's wife, Constance Lebrun Crown. Additional materials were donated by Crown in 1976.
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 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:
Educators -- California -- Los Angeles Search this
Muralists -- California -- Los Angeles Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Rico Lebrun papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
Artwork consists of three sketchbooks of outlines, ideas, and pen and ink figure studies. Additional artwork can be found in the illustrated notebooks included in the Writings series.
Arrangement:
Materials are arranged by document type.
Collection 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.
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:
Rico Lebrun papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
This series contains address books, appointment books, contracts, receipts, banking documents, property inventories, stock records, tax records, notes, notebooks, wills and other legal documents, and scattered correspondence related to Graham's finances. Apart from the appointment books and inventories which are earlier, records in this series are dated from the late 1950s to Graham's death.
Appointment books contain intermittent records of business and personal appointments from 1931 to 1938, and from 1948 to 1961. As with most of Graham's papers, they are heavily annotated and often contain sketches; a 1937 appointment book in particular contains numerous color drawings. Annotations range from notes about Graham's antique trade to personal matters and writings on Graham's wide-ranging interests. Some of these notes appear to have been made years after the year for which the book was made. One of the folders containing the address files is also annotated and illustrated. Notebooks found in the Writings series contain similar notes, writings, and sketches.
Bank account records include check ledgers, deposit slips, and account statements. Financial notebooks consist of check ledgers that were re-used as notebooks, usually to keep track of antique objects and collectors. Additional notes related to antiques are found in financial notes, along with notes on personal assets and Graham's dealings with the Stable Gallery. Scattered drafts of letters are found among financial notes. Additional financial correspondence is also found filed with wills, stock records, and tax records.
The book inventory and catalog of antiques and books are both annotated typescripts with notes in Graham's handwriting.
Other details about the contents of folders are noted in the folder list.
Additional correspondence related to Graham's business transactions can be found in Correspondence. In particular, letters related to Graham's estate can be found with Elinor Graham's correspondence.
Collection Restrictions:
The collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
Reel 5049: Museum of Modern Art, NY: John Graham Notebooks: Authorization to publish, quote or reproduce requires written permission from the Museum of Modern Art. Contact Reference Services for more information.
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:
John Graham Papers, 1799-1988. 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
Biographical material; correspondence, 1937-1957, with Pierre Jacquemon and others; an illustrated notebook; lists of works of art with disposition information; a scrapbook containing two letters from Hans Hofmann, 1936 and 1956, and printed material; exhibition announcements and catalogs; clippings and printed material; and photographs of Clark in her studio and with others, and of her works of art.
Biographical / Historical:
Painter; Great Barrington, Massachusetts.
Provenance:
Lent for microfilming 1980 by Eleanor A. Clark.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of African American painter, muralist, and arts educator Hale Woodruff measure 0.6 linear feet and date from 1920 to 1977 with the bulk of the collection dating from the 1960s to the 1970s. The papers contain biographical material, professional files, writings, printed material, photographs, and photocopies of a scrapbook, and of artwork.
Scope and Contents:
The papers of Hale Woodruff measure 0.6 linear feet and date from 1920 to 1977, with the bulk of the collection dating from the 1960s to the 1970s. The papers contain biographical material, professional files, writings, printed material, photocopies of a scrapbook, photographs, and photocopies of artwork.
Biographical material includes a resume, awards and honorary degrees, and an interview transcript.
Professional files consist of correspondence, committee files, and materials related to exhibitions and projects.
Writings include an illustrated notebook; drafts and copies of lectures, statements, articles, book reviews, and exhibition text; and notes on note cards, as well as photocopies of notes Woodruff took in Mexico while studying with Diego Rivera.
Printed Material includes exhibition announcements, exhibition catalogs, publications in which Woodruff is featured, clippings, and other assorted printed material.
The scrapbook consists of photocopies of scrapbook pages. The originals do not appear in the collection, but mostly contained clippings and printed material, with some correspondence.
Photographs include black and white photographs with an accompanying piece of correspondence, and photocopies of photographs of artwork.
Artwork includes photocopies of sketches and drawings.
Arrangement:
This collection is arranged as seven series.
Series 1: Biographical Material, 1966-1977 (Box 1; 4 folders)
Series 2: Professional Files, 1944-1973 (Box 1; 4 folders)
Series 3; Writings, 1920-1977, undated (Box 1; 0.3 linear feet)
Series 4; Printed Material, 1920s-1970s (Box 2, 4 folders)
Series 5: Scrapbook, 1927-1928, 1940-1960 (Box 2, 1 folder)
Series 6: Photographic Material, 1926-1977 (Box 2, 2 folders)
Series 7: Artwork, 1939-1952, undated (Box 2, 1 folder)
Biographical / Historical:
Hale Aspacio Woodruff (1900-1980) was an African American painter, muralist, and arts educator. His most well-known works are the Amistad murals, painted between 1939 and 1940 for Talladega College's Savery Library.
Woodruff was born in Cairo, Illinois, and grew up in Nashville, Tennessee. He studied at the John Herron Art Institute in Indianapolis, and at the Art Institute of Chicago. After winning an award from the Harmon Foundation, he traveled to Paris and attended the Academie Moderne and the Academie Scandinave. He also spent a summer studying mural painting in Mexico with Diego Rivera.
In 1931, Woodruff established one of the earliest art departments at a Black college at Atlanta University – teaching classes at the University's Laboratory High School, Morehouse College, and Spelman College as well. He also established the Atlanta Annuals, one of the earliest national exhibition opportunities for African American artists. In 1946 he moved to New York and taught in the art department at New York University until his retirement in 1968.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Hale Woodruff conducted by Al Murray, November 18, 1968.
Separated Materials:
The Archives of American of Art also holds material lent for microfilming (reel 4222), the majority of which was included in subsequent donations. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
The Hale Woodruff papers were lent for microfilming by Woodruff in 1970. Most of the material was subsequently donated in 1978, along with additional material.
Restrictions:
Use of 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
Muralists -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Writings include an illustrated notebook from Woodruff's studies at the John Herron Art Institute; photocopies of notes Woodruff took while studying with Diego Rivera; and drafts and copies of lectures, statements, articles, book reviews, and text written for exhibitions. There are also a number of note cards with notes for presentations, lectures, articles, etc.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Hale Woodruff papers, 1920-1977, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
