Tolman, Ruel P. (Ruel Pardee), 1878-1954 Search this
Extent:
5.1 Linear feet ((partially microfilmed on 5 reels))
Type:
Collection descriptions
Archival materials
Date:
1917-1958
Scope and Contents:
Correspondence, typescripts of books, publications and clippings relating to Bolton's published and unpublished works on American art.
UNMICROFILMED: Included are drafts for AMERICAN BOOK ILLUSTRATORS (N.Y., 1938), EARLY AMERICAN PORTRAIT PAINTERS IN OILS, DICTIONARY OF AMERICAN ARTISTS, A WORKING BIBLIOGRAPHY...RELATING TO ART IN PENNSYLVANIA...NOTES FOR A REVISION (Philadelphia, 1948), a portion of Sinclair Hamilton's EARLY AMERICAN BOOK ILLUSTRATORS, 1670-1870 (Princeton, 1958), "A Brief History of the French Impressionists," "Annotated Bibliography of Early American Painters, Sculptors and Engravers to 1860," A Brief History of Colonial American Painting" (1942); 75 typewritten pages of a working bibliography of books, magazine articles and catalogs relating to art in Pennsylvania by Harold E. Dickson and Bolton, 1948; catalogs of works of several artists; notes on artists, Greek vases and architecture, the Dutch masters, the Museum of San Marco, painting technique, the French Impressionists, Early American Painting, and English historical painting. Also included are checklists of books illustrated by Howard Pyle, Katharine Pyle and Joseph Pennell; articles by R. P. Tolman and related correspondence; sketches and drawings by Bolton; and clippings and book reviews relating to Bolton.
REEL N140: A revised typescript, 1958, of AMERICAN BOOK ILLUSTRATORS.
REELS D9 & D10: A letter from book designer Bruce Rogers, annotated by Bolton, February 14, 1945 regarding Rogers' design of THE FEDERALIST PAPERS; 2 letters from Ruel Pardee Tolman, June 12, 1949 and May 19, 1953, regarding his own painting and miniatures and other paintings he is buying and studying; and 5 letters from illustrator Thornton Oakley, undated and March 10-April 19, 1946.
REELS 439-440: Copy of a photograph - probably from a book, of Winslow Homer (reel 439); and a photograph, ca. 1850, of (L to R.): Henry Kirke Brown, Henry Peters Gray and Asher Brown Durand and Emanuel Leutze, photographer unknown. [A similiar photo filmed on reel NY59-19, fr. 1-2, Mary Bartlett Cowdrey artists' files pictures William Kemble (non-artist) on Brown's right.]
Biographical / Historical:
Art historian, scholar and librarian of the Century Association; New York, N.Y. Died 1973. He specialized in book illustration and portrait miniatures.
Provenance:
From 1956-1959, Bolton donated 3 feet of material to the Archives and 2 feet to the Library of the National Museum of American Art, which subsequently transferred it to the Archives, 1981. There is some duplication within the two groups of material.
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.
Biographical material, professional and personal correspondence, subject files, financial records, artwork, printed material and an audio cassette.
Biographical information includes a résumé and award. Business correspondence, 1964-1984, regards the opening of The Hirshhorn Museum and Sculpture Garden and Block's teaching position at California State University, Northridge, and personal correspondence includes 5 illustrated letters by Block to his wife and two printed cards from Fritz Faiss. Subject files regard the WPA, 1938-1983, film animation, 1957-1976, and book illustration, 1978-1984. Financial records relate to Block's association with the Ankrum Gallery, 1936-1981. Photographs are of Block, his friends, family and works of art.
Artwork includes 2 sketches, 1962, and approximately 60 pencil figurative drawings and studies done during weekly life drawing sessions established by Block and Hans Burkhardt at the Studio Club on the MGM lot from the 1950s to mid-1970s (among them is a pastel by Burkhardt of Block drawing the nude model); and 16 drawings and one print and one poster, most of which were executed by Irving Block for Santa Susana Press, California State University, Northridge's 1986 broadside of John Updike's poem, A Pear Like a Potato. Printed material, 1941-1982, includes exhibition catalogs and clippings. An audio cassette contains Block's reminiscences of his friendship with Burkhardt and a recording of Block delivering a lecture to a senior seminar class on Walt Whitman.
Biographical / Historical:
Irving Block (1910-1986) was a painter and educator in Los Angeles, California. Block was born in New York City. He was involved in the Works Projects Administration's Federal Art Project in the 1930s, and worked as a matte shot artist at 20th Century Fox during the 1940s and 50s. He taught for many years at California State University, Northridge (1963-1980). Block co-authored with Alan Adler the original story for the science fiction film Forbidden Planet, for which he designed Robbie the Robot.
Provenance:
Donated 1984 by Block and in 1996 by Jill Block, the widow of Irving Block. Additional drawings, print and poster donated 2015 by Virginia Elwood-Akers, a former librarian at California State University, Northbridge who received the drawings from colleague Dean Norman Tanis, head of the Santa Susana Press.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- California -- Los Angeles Search this
Five letters from Lincoln MacVeagh, President, of Dial Press, 1924-1932, regarding dust jacket publication of various wood-cuts (one with an illustration, "On Top of Tobin"); ten letters from Dial's Acting Editor, Marianne Moore, 1926-1929; and two woodblock cull prints for the dust jackets of Mike Evan's Place and At Top of Tobin.
Biographical / Historical:
Printmaker, illustrator; Hampton, Virginia. Also known as J.J. Lankes.
Related Materials:
Julius J. Lankes papers also located at: Dartmouth College.
Provenance:
Donated 1989 by Lankes' son, J.B. Lankes.
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 Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).
Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.
Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.
A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.
Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.
Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.
Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.
Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.
Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.
Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.
Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.
Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)
Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)
Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)
Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)
Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)
Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.
While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.
Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.
An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."
In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.
As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.
Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.
1882 -- born, Tarrytown, New York
1887 -- death of Rockwell Kent, Sr.
1894-1896 -- attended Cheshire Academy
1895 -- toured Europe with Aunt Jo
1896 -- attended Horace Mann School, New York City
1900-1902 -- studied architecture at Columbia University
1900-1902 -- attended William Merritt Chase's summer school, Shinnecock Hills, Long Island
1903 -- studied with William Merritt Chase, New York City
1904 -- first sale of a painting
1904 -- met Rufus Weeks and attended first Socialist meeting
1905 -- lived and worked with Abbott H. Thayer, Dublin, New Hampshire
1905 -- first painting trip to Monhegan Island, Maine
1907 -- first one-man show, Claussen Galleries, New York City
1908 -- marriage to Kathleen Whiting
1908 -- studied with Robert Henri
1908 -- joined Socialist Party
1909 -- birth of Rockwell, III
1910 -- ran Monhegan Summer School of Art
1910 -- first trip to Newfoundland
1910 -- helped to organize first Independent Exhibition
1911 -- birth of Kathleen
1912 -- moved to Winona, Minnesota
1913 -- birth of Clara
1914 -- settled in Newfoundland
1915 -- deported from Newfoundland
1915 -- birth of Barbara
1917 -- served as full-time organizer and administrator of Independent Exhibition
1918-1919 -- in Alaska with son Rocky
1919 -- purchased Egypt Farm, Arlington, Vermont
1919 -- incorporated self
1920 -- publication of Wilderness
1920 -- birth of Gordon
1922 -- traveled to Tierra del Fuego
1924 -- publication of Voyaging
1925 -- trip to France
1925 -- divorced from Kathleen
1926 -- marriage to Frances Lee
1926 -- traveled to Ireland
1927 -- purchased Asgaard Farm, AuSable, New York
1927 -- editor of Creative Art
1927 -- helped organize National Gallery of Contemporary Art, Washington, D.C.
1929 -- sailed to Greenland on Direction
1930 -- publication of N by E
1932-1933 -- returned to Greenland
1934-1935 -- final trip to Greenland
1935 -- publication of Salamina
1936 -- trip to Puerto Rico
1937 -- trip to Brazil
1937-1938 -- Post Office Department mural commission and controversy over Eskimo-language message interpreted as encouraging Puerto Rican independence
1939 -- divorced from Frances
1939 -- General Electric Co. mural commission for New York World's Fair
1940 -- publication of This Is My Own
1940 -- marriage to Shirley Johnstone (Sally)
1942 -- solo exhibition, Know and Defend America, at Wildenstein Galleries, New York City
1946 -- elected to Executive Committee of American Labor Party
1948 -- congressional candidate, American Labor Party
1948 -- transferred ownership of dairy to remaining employees after boycott resulting from support of Wallace for president
1949 -- attended World Congress for Peace, Paris
1950-1958 -- denied U.S. passport; lawsuit, appeals, and Supreme Court decision reinstating right to travel
1953 -- testified before House Un-American Activities Committee
1955 -- publication of It's Me, O Lord
1958 -- one-man show at Hermitage Museum, Leningrad
1959 -- publication of Of Men and Mountains
1960 -- gift of Kent Collection to Friendship House, Moscow
1960 -- exhibition at Pushkin Museum, Moscow
1963 -- publication of Greenland Journal
1966 -- elected to Academy of Arts of the USSR
1967 -- awarded Lenin Peace Prize, Moscow
1969 -- oral history interview, Archives of American Art
1969 -- home at Asgaard destroyed by fire; papers survived with some water and smoke damage
1969 -- first installment of Rockwell Kent Papers donated to Archives of American Art
1971 -- died, Plattsburgh, New York
1971 -- gift of additional Rockwell Kent Papers to Archives of American Art
1979 -- gift of textile samples to the Archives of American Art
1996 -- gift of additional Rockwell Kent Papers to Archives of American Art
2000 -- death of Sally [Shirley Johnstone] Kent Gorton
2000 -- previously sealed correspondence of wives Frances and Sally (Series 1) opened to researchers
2001 -- gift of additional Rockwell Kent papers to the Archives of American Art from the Estate of Sally Kent [Shirley Johnstone] Gorton
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized 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.
An interview of Dahlov Ipcar conducted 1979 Nov. 13, by Robert F. Brown, for the Archives of American Art.
Mrs. Ipcar reflects on life in New York and Maine and her preference for the country life in Maine. She talks of the influence of her mother and her art. She recalls life during the Depression and the very minimal way of life she and her husband Adolph Ipcar had. She also talks about the changes in her life and becoming first an illustrator of children's books and eventually an author and illustrator of books for children and adults.
Biographical / Historical:
Dahlov Zorach Ipcar (1917- ) is a painter and illustrator from Bath, Me. Ipcar's parents are Marguerite and William Zorach.
Provenance:
This interview is 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.
Interview of Don Freeman conducted 1965 June 4, by Betty Hoag McGlynn, for the Archives of American Art, in his home, in Santa Barbara, Calif. Freeman speaks of his childhood in San Diego with his guardian; his high school years spent in St. Louis at a public school Prineipia (and his teacher Kathryn Cherry); the knowledge of his artistic destiny as a child; his move to New York City in 1929; his time spent working as an unbooked trumpet player for jazz orchestras on Broadway; his formative years at the Art Students League under the guidance of John Sloan;
the influence of Robert Henri and "Art Spirit;" his decision to do illustrations for the theater section of the Herald Tribune of ongoing performances; his time spent studying with Harry Wickey (etcher and sculptor); his relationship and marriage to wife Lydia as well as description of life in downtown Manhattan immediately following the stock market crash ; time at Art Students League studying along side with Jackson Pollock, Manuel Tolegian, Whitney Darrel; his decision to work for the WPA in
the graphics department completing lithographs (1933-1934); "Freedom of the Press," a painting completed around the same time and the possible influence of Reginald Marsh; his interest in a project called "Paint for the People" (a public works project for the New York Subway system); time spent illustrating for the WPA theater magazine "The Living Magazine;" his opinions concerning acetate and stone as well as the use of mezzotint; his personal magazine which he published for four years (name unknown); a general summary of his feelings towards the WPA as an artistic force; his separation from the Union Uprisings due to his success within the program;
his work on "Our Flying Navy" a series of illustrations (now compiled as a book) used for advertisement for the Navy; his participation in the Association of American Artists before his term spent in the Army during WWII; his budding career as a children's books writer and illustrator (Barton Press); his illustrations for William Soroyan"s The Human Comedy; his move back west and his son Roy; and his current occupation of giving "Chalk Talks" around the country, speaking with students about art, music, theater.
Biographical / Historical:
Don Freeman (1908-1978) was an Illustrator from New York, N.Y. Went to New York City at the age of 21. Studied with John Sloan and Harry Wickey at the Art Students League.
General:
An unrelated interview of Ben Messick conducted by B. Hoag McGlynn is also on this tape.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Illustrators -- California -- Interviews Search this
An interview with Fritz Eichenberg conducted 1979 May 14-1979 December 7, by Robert F. Brown, at the artist's home, in Peace Dale, Rhode Island, for the Archives of American Art.
Eichenberg discusses his career; his artistic philosophy; various books he has illustrated including, "Jane Eyre," "Wuthering Heights," "The King and I," and "Crime and Punishment"; working with Dorothy Day for the "Catholic Worker"; drawing political cartoons for "The Nation"; working for the WPA; and becoming a Quaker.
Biographical / Historical:
Fritz Eichenberg (1901-1990) was an illustrator, cartoonist, and printmaker from Peace Dale, Rhode Island.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 4 hr., 12 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Alex Katz conducted 1969 Oct. 20, by Paul Cummings, for the Archives of American Art. Katz speaks of his early education; his family's interest in art; his U.S. Navy service; his education at the Cooper Union School and at Skowhegan; styles and methods in painting; his work in collage, portraiture and book illustration; theater set design; teaching at Yale, Skowhegan and the Studio School; his interest in poetry; and his current painting style. He recalls Fairfield Porter and Henry Varnum Poor and reminisces about The Club and the Tenth Street group of artists.
Biographical / Historical:
Alex Katz (1927-) is 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.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Sculptors -- United States -- Interviews Search this
An interview of Rockwell Kent conducted 1969 Feb. 26-27, by Paul Cummings, for the Archives of American Art. Kent speaks of his family background; his early interest and talent in art; studying painting with Robert Henri and William Merritt Chase; his early studies and work in architecture; Kenneth Hayes Miller as a teacher; experiences which influenced him and inspired him; his travels and explorations; his work in book design and illustration; mural commissions; the American Artists Group; his political life and public affairs. He recalls Merle Armitage and Carl Zigrosser.
Biographical / Historical:
In addition to being a successful painter, printmaker, illustrator, designer, and commercial artist, Kent pursued careers as a writer, professional lecturer, and dairy farmer. He travelled extensively, and was a political activist who supported the causes of organized labor, civil liberties, civil rights, anti-Fascism, and peace and friendship with the Soviet Union.
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.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Book-plate designers -- New York (State) -- Interviews Search this
An interview of wood engraver and book illustrator Fritz Eichenberg conducted by Christopher Lydon for WGBH television station, broadcast December 25, 1985. Included are shots of Eichenberg's engravings for works by Shakespeare, Swift, Dostoevsky and many others. Also appearing is Harold McGrath, who demonstrates the printing of one of Eichenberg's engravings.
Biographical / Historical:
Illustrator, printmaker; Peace Dale, R.I. Died 1990.
Publication, Distribution, Etc. (Imprint):
Boston : WGBH Educational Foundation, c1985.
Provenance:
Donated 1992 by WGBH Educational Foundation. The video was made for and broadcast by WGBH, a PBS TV station. It was at Mrs. Eichenberg's suggestion that Christopher Lydon, the interviewer, arrange this gift.
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:
Authorization to publish, quote or reproduce requires written permission from WGBH Educational Foundation. 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.
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Paul Vanderbilt papers, 1854-1992, bulk 1945-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
The collection documents the career of painter and illustrator, Antonio Sotomayor, his interest in Latin American art and artists, and his association with the San Francisco arts community. Materials found in the collection include letters, writings, sketches and sketchbooks, printed material and photographs.
Scope and Content Note:
The collection consists primarily of correspondence, writings, artwork, printed material, and photographs documenting Sotomayor's career, his interest in Latin American art and artists, and his association with the San Francisco arts community.
Arrangement:
The collection is arranged as six series:
Series 1: Correspondence, 1931-1988, undated (box 1, 21 folders)
Series 2: Writings, 1932-1946, undated (box 1, 11 folders)
Series 3: Artwork, 1935, undated (box 1, 23 folders)
Series 4: Printed Material, 1935-1987 (boxes 1-2, 12 folders)
Series 5: Photographs, circa 1920-1984, undated (box 2, 13 folders)
Series 6: Oversized Material, 1941, 1958, undated (2 OV folders)
Biographical Note:
Antonio Sotomayor was born in Bolvia and came to San Francisco in 1923. He was educated at the Escuela de Belleas Arts in La Paz and the Hopkins Institute of Art in San Francisco. Primarily known for his murals and paintings, Sotomayor was also an illustrator, caricaturist, designer, ceramicist, and educator. Over the course of his career his work was exhibited in the United States, France, Italy, Spain, Mexico, and South America and he became known as the popular "artist laureate" of San Francisco where he lived with his wife, Grace. He died of cancer in 1985 at the age of 82.
Provenance:
The Antonio Sotomayor papers were donated to the Archives of American Art by Grace Sotomayor in 1998.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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 -- California -- San Francisco Search this
Cartoonists -- California -- San Francisco Search this
Topic:
Muralists -- California -- San Francisco Search this
