From Berlin to Pasargadae via Basra, Baghdad, Paikuli, Tāq-i Bustān, Hamadan, Teheran, Khurha, Qum and Isfahan.
- FSA A.6 01.04, on which Joseph Upton's classification mentions "N-83", provides an account of an expedition (February 14, 1923 to November 14, 1923) from Berlin (Germany) to Pasargadae (Iran), via Bombay (india) and Karrachi (Pakistan), then following ancient caravan roads via Baghdad (Iraq), Paikuli (Iraq), hamadan (Iran), Tehran (Iran), Isfahan (Iran), to finally reach Shiraz (Iran) and the monuments in its vicinity.
- Original handwritten title on cover reads: "Ernst Herzfeld; Tagebuch, Persien I, 1923"
- Ab-i'arm, near Khurha (Iran): Sketch plan of bath, (p. 1).
- Bombay (India): Refused permission to disembark, March 16, 1923, (p. 1).
- Karrachi (Pakistan): Refused permission to disembark, March 18, 1923, (p. 8).
- Zubair (old Basra) (Iraq): Comparison with Samarra (Iraq), March 24, 1923, (p. 9).
- Baghdad (Iraq) and Ctesiphon (Iraq): Notes on Talisman Tor, Mustansiriyya Madrasa, Sultanatspaläste, in der Zitadelle, Mirjāniyya Madrasa, Khan Ortma. Side trips to Ctesiphon. Comments on British and Arab personalities and on political views of Egyptians, March 25 to May 24, 1923, (pp. 10-36).
- Miss Gertrude Bell, quote "uncrowned Queen of Iraq," April 5, 1923, (p. 12).
- Samarra (Iraq): Visit with comments of personalities, state of ruins and Caliph's palace. Comparison of ruins with Kufa (p.21); of mosques with those at Nejef and Qazwin (p.22); and fate of the lost finds from Samarra during World War I., April 9-16, 1923, (pp. 15-16).
- al-Kharsuin (Iraq): Visit and observation re ruins, probably Nebukadnezar's time. Sketch: plan of temple with ziggurat, April 17, 1923, (p. 16).
- Taq (Iraq): Visit to and comments, April 19, 1923, (pp. 17-18).
- Salman Pak (Iraq): Sketch of two carved stucco ornaments, April 19, 1923, (pp. 19).
- Baghdad (Iraq): Daniel, Menachem, Baghdad philantropist; Sarkis, Yusuf (Baghdad), "very fine library, almost complete about Iraq," April 25, 1923, (p. 19).
- Vicinity of Kufa (Iraq): Sanctuary of Dhuʹl-Kifl, April 27, 1923, (pp. 19-21).
- Nejef (Iraq): Safavid entrance to mosque compared with mosques in Samarra (Iraq) and Qazvin (Iran), April 28, 1923, (pp. 22).
- Baghdad (Iraq): Khayyat, Djirdjis (antique dealer, Baghdad), important antiquities for sale: Hellenistic, Parthian, Sasanian and Islamic, May 12, 1923, (pp. 23-25).
- Bahrām V GÅr; silver plate in possession Khayyat, May 12, 1923, (pp. 24-25).
- Account of fate of Babylon expedition finds during World War I: May 1923, (pp. 27-30).
- Fate during World War I of Sarre's "hebb", (p. 31).
- More discussion of antiquities, including important Sasanian bullae, May 18, 1923, (pp. 32-35).
- Warka (Iraq): Sasanian bullae, May 18, 1923, (pp. 32-35).
- Deli 'Abbas (Iraq): Trip from Baghdad via Khan Bani Sa'ad, Nahrawan, Ba'quba, Khan al-Musabbagh, Abu Saida to Deli 'Abbās, with comments on Arab and British officials, May 24-26, 1923, (pp. 37-41).
- Kal'at al-Mufti (Iraq): The larger of two Tells between Abu Saida and Deli 'Abbas, May 26, 1923, (p. 39).
- Qara Tepe (Iraq): Trip from Deli 'Abbas via Nahr Shohane, Tell Manzil (Ishtar-statuette), Khir Suweine, Qyshla Suweine (ruins), Kashheh Pass, Narimchai. Comments on inhabitants and landscape, May 27, 1923, (pp. 41-44).
- Kallan (Iraq): Trip from Kifri via Sarkalan and Kallan (Kal'a-i Shirwana), May 29, 1923, (pp. 49-51).
- Trip to Paikuli (Iraq) via Zhala and work there, including new names in inscriptions, May 30 to June 7, 1923, (pp. 51-53).
- Trip from Paikuli (Iraq) via Diagiaish, Qaslan, Darband, Khan-i Naft to Sarpul, June 7, 1923, (p. 52).
- Darband Gorge (Kurdistan): Babylonian reliefs and ruins, June 9, 1923, (pp. 54-55).
- Sarpul (Iran): Made squeezes of inscriptions. Arsacid relief with Pahlavi inscription of Ardvaran V (Hartaban), June 11-12, 1923, (p. 55-57).
- Dukkan i Daud (Iran), June 13 1923, (pp. 57-58).
- Kerind (Iran): Building remains, June 14, 1923, (pp. 59).
- Firuzabad (Iran): In the valley from Kerind a whole series of Tells. Nearby the rock drawing of an ibex, June 14, 1923, (p. 59-60).
- Husainabad (Iran): Large Tell, June 15, 1923, (pp. 60).
- Hasanabad (Iran): Many Tells, two meaningful, June 16, 1923, (pp. 61).
- Harnawa (Harunabad) (Iran): Many old settlements, June 16, 1923, (pp. 61).
- Kermanshah (Iran), June 21, 1923, (pp. 62-64).
- Taq-i Bustan (Iran): Small grotto: Shapur II and III. Squeezes of textiles of hunting reliefs in large grotto of Khusro II. Notes on Kale-i Khusrawi, June 21-24, 1923, (pp. 64-69).
- Kale i Khosrowi (Iran): Sketch of ruins, June 21, 1923, (p. 67).
- Tell Ciah-i Gulan (Iran), June 21, 1923, (p. 67).
- Hajjiabad and Bisutun (Iran): Column bases and capitals, Sasanian or Arsacid, June 26, 1923, (pp. 69-70).
- Bisutun (Iran): Sasanian capital, Khusro II; Parthian worshipper; relief of Mithradates II; inscriptions of Darius, Mithradates and Gotarzes; 12-13th c. tombstones, June 26, 1923, (pp. 70-72).
- Sunghur (Iran): Imamzadeh in the city and Imamzadeh Malag outside; Kufic tombstones; and comments on the inhabitants, June 25-26, 1923, (pp. 74-76).
- Asadabad (Iran), June 29, 1923, (p. 76).
- Ferman Ferma, owner of Adjin. For rock sculpture of father, Timur Mirza, see under Pul Abginne. In 1905 Ferman Ferma Governor of Kirmanshah, Burujird, Luristan, June 29, 1923, (p. 76).
- Hamadan (Iran): Lion, Esther's tomb. Gumbad-i Alawiyyan, Imamzadeh Baba Tahir, Kufic tombstones in cemetery Sar-i ahl-i qubur, antiquities for sale, July 1-4, 1923, (pp. 77-82).
- Ab-i'arm (Iran), July 4, 1923, (p. 82).
- Qazvin (Iran): Trip from Hamadan to Qazvin via Ab-i Garm. Mosque compared with that in Nejef, July 5-6, 1923, (pp. 83-84).
- Qazvin (Iran) to Teheran (Iran), July 8-9, 1923, (pp. 84-85).
- Teheran (Iran): Visit to photographic studio of Sevruguin, July 9, 1923, (p. 85).
- Teheran (Iran): No diary, July 10 to September 30, 1923.
- Ray (Iran): Camped at Citadel, October 1, 1923, (p. 86).
- Varamin (Iran): Recorded all inscriptions, October 2-3, 1923, (pp. 86-88).
- Qum (Iran): Trip from Waramin via Abarik, Hajjiabad, Karimabad, Sar-i Masila, Muhammadabad, Kadj, Kumrad, Qara Tepe. Treasures of the Shrine. Older grave towers of 761/1359 and 792/1390, October 4-6, 1923, (pp. 88-91).
- Qara Tepe (Iran): Ruin mound on the edge of the salt desert enroute to Qum, October 5, 1923, (p. 90).
- Qum (Iran): Gunbad-i Sabz, inscriptions noted and visit to three sanctuaries, October 7, 1923, (pp. 91-92).
- Daghun (Iran): Stone lions; Imamzadeh Ja'far, restored by Shah 'Abbas I, October 8, 1923, (pp. 92-94).
- Husainabad (Iran) (between Dāghun and Khurha): Trip via Daulatabad, Kal'a Tcham, Deh-i NÅ, October 9, 1923, (pp. 94).
- Khurba (Iran): Notes on temple ruins, graves and ceramics. Sketch: possible plan and sockel of corner column, October 10-12, 1923, (pp. 95-101).
- Dilijan (Iran): From Khurha to Dilijān via Nāin and Āb-i Garm. Popular conception of "antiques" of peasants of Dilijan. Sketch: plan of old bath (inside covers of N-83), October 13, 1923, (pp. 101-102).
- Personal comments on Misc. topics, 1923 Oct. 13. Comments on possible results of current political attitudes in Germany under Streseman, October 13, 1923, (pp. 102-104).
- Dilijan-Isfahan (Iran): Itineraries, October 14, 1923, (p. 104).
- Reflections on what caused the ruin of the Orient, October 14, 1923, (pp. 104-106).
- Quruqtchai (Iran): Trip from Quruqtchai to Wandadeh, October 15 1923, (p. 106).
- General observations on Persian people and politics, October 15, 1923, (pp. 106-108).
- Wandadih (Iran): Trip via Mehme and Djoshagan-i qali. Notes on limestone doors, October 16, 1923, (pp. 108-109).
- Observations on the historic relationships between the Slavs and Western Europe, October 16, 1923, (p. 109-111).
- Comments on donkeys and horses, October 17, 1923, (pp. 111-112).
- Gez (Iran), October 18, 1923, (pp. 113-120).
- Observations on British customs, war memorials and cultural and political conditions in Europe, October 18, 1923, (pp. 113-120).
- Isfahan-Bushire and Shiraz-Bushire, October 18, 1923, (pp. 114-115).
- Isfahan (Iran): Chehel Sutun with reliquaries (pp.124, 126); Masjid-i 'Ali (pp.122, 127); Mashid-i Jum'a (pp.122, 128); Shahristan with minaret "Chan Rustan" (p.127) Masjid-i Shah (p.127); Imamzadeh Isma'il (Jewish Nabi 'Isaya) (pp. 127, 130); Chehel Dukhtaran madrasa (p.128); Chinar-i Dalbati (p.128); Minare-Baba Tuteb (p.129); Baba Sukhta (pp.128, 129); Baghuch Khana (p.129); Tabariq (p.129); Baba Qasim (pp.129, 130); Takht-i Pulad (pp.129, 132); Harun-i Wilaya (p.130); Ja'fariyya (p.130); entrance of Qaisariyya (p.130); Hasht Behisht (pp.130, 132), October 19 to November 7, 1923, (pp. 124-132).
- Isfahan (Iran), October 20-23, 1923, (pp. 120-124).
- Isfahan (Iran): Sketch: Location of paintings, discussion of Chehel Sutun and objects in museum (Korans, Wasf-nāmeh), October 23, 1923, (p. 124).
- Isfahan (Iran), October 25, 1923, (p. 127).
- Pir Bakran (Iran): Sketch of glazed tile, November 6, 1923, (pp. 132).
- Abadeh (Iran): Trip from Isfahan via Marg, Maqsud Beg, Yezdikhast. Conversations with officials in Abadeh, November 7-10, 1923, (pp. 132-133).
- Khan-i Khurra (Iran): Eight-sided Safavid caravansarai between Dehbid and Abadeh, November 11, 1923, (p. 136).
- Qadirabad (Iran): Trip from Dehbid, November 12, 1923, (pp. 138-139).
- Pasargadae (Iran): Sketch: detail of columns and bases; doorway of tomb of Cyrus, November 13-14, 1923, (p. 139-143).
Ernst Herzfeld Papers, Series 1: Travel Journals; Expedition to Persia, Diary 1
Arrangement:
In the original arrangement of the Ernst Herzfeld Archive, Travel Journals were included in a larger body of diverse material acknowledged by Ernst Herzfeld as his study collection. In the early 1970s, Joseph Upton, for research purpose, rearranged the collection and created a specific series (Ernst Herzfeld Papers, Series 1: Travel Journals, 1905-1928) for eight travel journals. For some reason, Upton has given this journal an accession number related to the series he created for the notebooks (Ernst Herzfeld Papers, Series 3: Notebooks, 1904-1946, 1957, n.d.), probably following Herzfeld's original organization.
Local Numbers:
Ernst Herzfeld Papers, N-83
FSA A.6 03.083
FSA A.6 01.04
General:
- Additional information from staff reads, "The handwritten text of the Journal in German was transliterated and reviewed by Ernst Herzfeld's former collaborator, Friedrich Krefter, with the assistance of his wife, Maria Krefter. Please contact the Archives for digital access to the transliterated copy."
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Journal ends at Salami, just before Herzfeld reached Mashhad. From Bombay to Mashhad via Kabul, Sistan (Kūh-i Khwāja and Shahristān), Kuhistan (Birjand, Khargird). Journal No.II which would cover the stay in Mashhad and the trip to Tehran via Sangbast, Nishapur, Sabzevar, Damghan, Bistam, Radkan and Simnan is not in the Archive.
- FSA A.6 01.06, on which Joseph Upton's classification mentions "N-85", provides an account of Herzfeld's visits (December 1924 and January 1925) to museums in Bombay and Delhi (India), Kabul (Afghanistan), Karrachi and Peshawar (Pakistan), as well as an account of an expedition (January 25, 1925 to March 21, 1925) from Zahedan, in the province of Sistan and Baluchestan (Iran), to Salami (Iran), a village south of Mashhad (Iran) in the province of Khorasan. During this trip which ultimately led him to Tehran (Iran), Herzfeld visited Kuh-i Khwaja (Iran), Shahristan (Iran), Birjand (Iran), Qa'In (Iran), and Khargird (Iran). Finally, many historical notes are to be found throughout the diary.
- Original handwritten title on cover reads: "Ernst Herzfeld; Afghanistan - Ostpersien I, 1924-1925"
- Taxila (Pakistan): Sketch of temple and tower, October 14-15, 1924, (pp. 1-2).
- Peshawar (Pakistan): Sketch of gray stone dish, "Opferschale", November 16, 1924, (pp. 2-3).
- Kabul (Afghanistan): Notes on objects in Museum, including Korans. Sketch of turban and cap on figures from Kafiristan, December 1, 1924, (pp. 4-6).
- Shahristan (Iran): Description of ruins "more a large fortress, than a city". Believes to be pre-Islamic city "Rāmshehrestān". Sketch: plan of fortress (p.22); plan of domed building (p.23); pottery shapes (pp.25-26); plan of another domed building (p.26), February 11-14, 1925, (pp. 19-27).
- Baghdad (Iraq): Khan Ortuma, 1923, (p. 20).
- Qasimabad (Iran): Notes on tower, inscription etc. Sketch: knotted character of Kufic script (p.37), February 15-16, 1925, (pp. 35-38).
- Bishapur (Iran): Returned from Qasimabad, January 1, 1925, (p. 38).
- Bishapur (Iran): Again at Kuh-i Khwaja, February 25, 1925, (p. 70).
- Kaleh-i dukhtar (near Ribāt-i Safīd) (Iran): Sketch of fire-temple at Kale-i dukhtar, also plans of fire-temples at Hatra, Shahristan, Qasr-i Shirin, Farrashband, Kuh-i Khwaja and Samarra, February 25, 1925, (pp. 70a-71).
- Khunik (Iran): Types of domed house construction in Sistan. Sketch: plans and elevations of typical examples, March 5, 1925, (p. 102).
- Neh (Iran): Sketch of vertical windmill, March 5, 1925, (p. 103).
- Personal comments, speculations on the great political events of the past 100 years; and appeals for the recognition of culture, knowledge and art as the bases of civilization, February 25, 1925, (pp. 104-108).
- Qa'in (Kuhistan, Iran): Mosque inscription of Qādī Shams al-dīn al-Qārāni, c. 770 H., March 9, 1925, (p. 119).
- Birjand (Kuhistan, Iran): Notes on types of house plans and domes between Birjand and Dastgird. Sketches of plans, March 9, 1925, (pp. 119-121).
- Sehdeh (Kuhistan, Iran): Notes on Ismailite fortresses in area, March 13, 1925, (p. 126).
- Abuzar (Kuhistan, Iran): Ruins of Ismaili fortress with shrine, March 15, 1925, (pp. 130-131).
- Abuzar (Kuhistan, Iran): Notes on fortress. Sketch: section of plan of fortress, March 15, 1925, (pp. 130-131).
- Qa'in (Kuhistan, Iran): Notes on mosque, March 15, 1925, (p. 134).
- Khargird (Iran): Detailed notes on Nizāmiyya mosque and Ghiyāthiyya madrasa. Sketch: section plan of mosque (p.138); Ghiyāthiyya inscriptions (p.139); tile panel of madrasa (p.141); painted tile (p.142); door inscription of madrasa (p.143), March 20-21, 1925, (pp. 137-143).
Ernst Herzfeld Papers, Series 1: Travel Journals; Diary of Expedition from Kabul (Afghanistan) to Mashhad (Iran)
Arrangement:
In the original arrangement of the Ernst Herzfeld Archive, Travel Journals were included in a larger body of diverse material acknowledged by Ernst Herzfeld as his study collection. In the early 1970s, Joseph Upton, for research purpose, rearranged the collection and created a specific series (Ernst Herzfeld Papers, Series 1: Travel Journals, 1905-1928) for eight travel journals. For some reason, Upton has given this journal an accession number related to the series he created for the notebooks (Ernst Herzfeld Papers, Series 3: Notebooks, 1904-1946, 1957, n.d.), probably following Herzfeld's original organization.
Local Numbers:
Ernst Herzfeld Papers, N-85
FSA A.6 03.085
FSA A.6 01.06
General:
- Additional information from staff reads, "Only part of the handwritten text of the Journal in German was transliterated and reviewed by Ernst Herzfeld's former collaborator, Friedrich Krefter, with the assistance of his wife, Maria Krefter. Please contact the Archives for digital access to the transliterated copy."
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
An interview of Isamu Noguchi conducted 1973 Nov. 7-Dec. 26, by Paul Cummings, for the Archives of American Art.
NOVEMBER 7, 1973 session: Noguchi discusses his family background; growing up in Japan; returning to the United States in 1917; his identity as an artist; Gutzon Borglum; Columbia University and studying pre-med; attending Leonardo da Vinci Art School; apprenticing to Onorio Ruotolo; quitting Columbia to become a sculptor; Guggenheim Fellowship in 1927; J.B. Neumann; Alfred Stieglitz; George Grey Barnard; James Earle Fraser; Brummer and the Brummer Gallery; studying at Chaumiere and Collarosi; working with Brancusi; meeting Sandy Calder in Paris; Stuart Davis; Morris Kantor; Andrée Ruellan; his work, "Sphere"; reacting against Brancusi; Eugene Schoen's; his Carnegie Hall studio; Michio Ito; Martha Graham; Buckminster Fuller; traveling in China and Japan; meeting Chi Pai Shi; John Becker; his works, "Play Mountain," "Monument to the Plow," "Monument to Ben Franklin," and "Orpheus" for Balanchine; designing for the stage; Audrey McMahon; Harry Hopkins; Holger Cahill; Mexico; Diego Rivera; Miguel Covarrubias; and the Artists Union.
DECEMBER 10, 1973 Session: His reaction to the Spanish Civil War- avoided direct involvement; Stuart Davis; Gorky; Andre Breton; David Hare; Marcel Duchamp; John Graham; Julien Levy; his artist friends dying at the peak of their success; Leger; Stirling Calder; associating himself with the laboring class; Buckminster Fuller; being American; expanding the possibilities of sculpture; his Associated Press Building project in Rockefeller Center, it being done in stainless steel instead of bronze; John Collier; Japanese-American Citizens League; organizing Nisei Artists and Writers Mobilization for Democracy; Jeanne Reynal; going to Poston, Ariz. to assist with American Indian Service camp under John Collier and becoming an internee there; returning to New York in 1942; Bollingen Foundation; trip around the world in 1949; and Philip Guston.
DECEMBER 18, 1973 session: Best work in studio; reaction against expressionism; artists protesting against the Establishment; his objection to the WPA, influenced by William Zorach; exhibiting in group show called, "Fourteen Americans at the Museum of Modern Art"; show at Egan Gallery in 1949; accepting art in its most aesthetically pure form without reference to social issues; movement in Japan since war to get away from refinement of Japan; Yoshiro Hiro responsible for Gutai and the happenings; his work, "Monument to Heroes," using bones; his work takes years to do; materials used in his work; his work, "Cronos"; doing theater stage sets for the Library of Congress including, "Appalachian Spring" and "Herodiade"; wants a given space which he can call his own and do something with it, has to be a work of art.
DECEMBER 26, 1973 Session: Show with Charles Egan in 1948 arranged by de Kooning; applying to the Bollingen Foundation to write a book on leisure, which was never written; traveling to Italy, Egypt, and India for two years; being removed from the New York scene with Franz Kline and de Kooning; his light objects; sculpture as environment; respect for material; Mondrian and his art deriving from nature; his time in Japan in 1931; visiting Japan in 1951; working in stone; projects in Japan; Taniguchi; Antonin Raymond; designing Japanese gardens; discovery of Zen; Hasegawa Saburo; Skidmore; Hans Knoll; Edison Price; Italy in the 1960s; Peter Gregory; Henry Moore; Louis Kahn; UNESCO; Noguchi Foundation and Plaza Company; Shoji; Eleanor Ward; and his autobiography, "A Sculptor's World."
Biographical / Historical:
Isamu Noguchi (1904-1988) was a Japanese American sculptor based in Long Island City, New York.
General:
Originally recorded on 4 sound tape reels. Reformatted in 2010 as 7 digital wav files. Duration is 6 hrs., 25 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
India -- Social life and customs -- Pictorial works
India -- Description and Travel -- views
India -- Union Territory
Date:
[1840?]
Scope and Contents:
A series of watercolor pictures depicting Tamil men and women of various trades and castes. These ethnographic studies may have been rendered for a French official or merchant as identification aides by a local Indian artist in Pondicherry, as the area was under French control as part of the French Indian Territories during this time. The name "Company School" has been attached to suggest the similarity between these drawings and those typically commissioned by the East India Company, especially during the early 18th century.
The format generally consists of a drawing of an individual with information identifying the subject's caste and the activity depicted. Not all drawings are accompanied by identifying information. It may be notable that, while not all of the male subjects are identified in the above manner, none of the female subjects are identified by caste or activity. The regularity of size and shape and numbering of the sheets would seem to indicate that these drawings may have been used to illustrate a bound monograph. Captions are in French. Several sheets are watermarked "J. Whatman. Balston & Co." with dates 1822-1825.
Arrangement:
Organized by subject.
Biographical / Historical:
Thomas L. Hughes was a prominent official in the U.S. Department of State and visited India during the 1960s; he also maintained collegiate relations with Chester Bowles, a former U.S. Ambassador to India and an influential advocate for Third World aid programs in Washington.
Local Numbers:
FSA A1993.10
Provenance:
The collection was donated to Sackler Gallery Study Collection in 1984 by Thomas L. Hughes and moved to the Archives on December 13 and 22, 1993.
French India Company School Drawings. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Thomas L. Hughes, 1984-1985.
Identifier:
FSA.A1993.10
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
The papers of New York and California based interior designer, architect, collector and painter Lockwood de Forest measure 3.8 linear feet and date from 1858 to 1980, bulk dates 1870 to 1930. The collection includes correspondence, writings, diaries, journals, exhibition files, personal business records, printed material, sketchbooks, drawings, and photographs.
Scope and Contents:
The papers of New York and California based interior designer, architect, collector and painter Lockwood de Forest measure 3.8 linear feet and date from 1858 to 1980, bulk dates 1870 to 1930. The collection includes correspondence, writings, diaries, journals, exhibition files, personal business records, printed material, sketchbooks, drawings, and photographs.
Lockwood de Forest's professional correspondence includes letters regarding de Forest's wood carving business in India. Notable correspondents from friends and colleagues include Stewart Culin, Alfred Korzybski, and Purushottam M. Hutheesing & Sons. Also included are two letter books which contain copies of letters written by de Forest. There is a fair amount of correspondence with family members, especially de Forest's parents, his brother Robert, and his wife Meta Kemble. There are also a few folders of Meta Kemble de Forest's correspondence with family.
Writings include drafts of Lockwood de Forest's book Indian Domestic Architecture, along with essays and notes. Essays by de Forest are on assorted topics such as art, education, museums, furniture construction, and psychic research. There is also a draft of a Lockwood de Forest biography by Anne Lewis.
Diaries and journals kept by Lockwood de Forest and his wife Meta focus on travels abroad to Europe, the Middle East, and India.
Exhibition files consist of materials related to a Lockwood de Forest exhibition (1976) at the Heckscher Museum in New York and the Santa Barbara Museum of Art in California. Documentation includes correspondence, exhibition lists, inventories, and loan forms.
Personal business records include a wide range of financial and legal records. Financial records consist of ledgers, account records, receipts, invoices, and shipping records. Legal records include contracts, certificates, and deeds related to assets, properties, and businesses.
Printed material consists of exhibition catalogs, auction catalogs, magazines, books, announcements, event invitations, and clippings. Most of the material is about Lockwood de Forest, but there are some clippings and publications about his brother Robert and other subjects.
There are numerous sketchbooks usually depicting places de Forest visited in Europe and the Middle East. There are also a few loose drawings.
Photographs are of Lockwood de Forest, his wife, family, friends, colleagues, paintings, houses, wood carvings, and art objects.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Correspondence, 1858-1931 (0.9 linear feet; Boxes 1, 4)
Series 2: Writings, 1881-1976 (0.8 linear feet; Boxes 1-2, OV 5)
Series 3: Diaries and Journals, 1868-1890 (0.2 linear feet; Box 2)
Series 4: Lockwood de Forest Exhibition Files, 1974-1978 (0.1 linear feet; Box 2)
Series 5: Personal Business Records, 1869-1931 (0.3 linear feet; Box 2, OV 6)
Series 6: Printed Material, 1867-1980 (0.5 linear feet; Boxes 2-3)
Series 7: Sketchbooks and Drawings, 1869-1881 (0.4 linear feet; Box 3)
Series 8: Photographs, circa 1870-circa 1932 (0.2 linear feet; Box 3)
Biographical / Historical:
Lockwood de Forest (1850-1932) was an architect, interior designer, collector, landscape painter, and writer based in New York City and Santa Barbara, California.
Lockwood de Forest was born in New York City in 1850. His parents were Julia Weeks and Henry Grant de Forest. He was one of four children. In 1869, he went to Rome, Italy and began studying art under the tutelage of the American painter Frederic Edwin Church whom he met during his trip. Church continued to be de Forest's mentor after they returned to America. De Forest set up a studio in New York City and first exhibited his work in 1872. From 1875-1878, he went on two more trips abroad to Europe, the Middle East, and Africa.
In 1878, de Forest cofounded Associated Artists in New York along with Louis C. Tiffany, Candace Wheeler, and Samuel Coleman. The design firm closed around 1882 but was tremendously influential. He married Meta Kemble the same year that he began Associated Artists and the couple traveled to India where they stayed for the next two years. During that trip, de Forest met philanthropist Muggunbhai Hutheesing and together they established a woodcarving company and supplied Associated Artists with furniture and architectural objects.
Around 1882, De Forest opened his own business in New York City that managed the design and production of furniture and architectural accents, along with importing similar objects from India. In 1887, he purchased a house on 7 East 10th Street that he elaborately decorated with furnishings from India.
De Forest began spending winters in Santa Barbara, California starting in 1889. He eventually purchased a house and relocated there around 1922. While in California, he resumed painting with fervor and created many landscapes of the West Coast shorelines. De Forest died in Santa Barbara in 1932.
Provenance:
The Lockwood de Forest papers were donated in 1982 by Mrs. Lockwood de Forest III, daughter-in-law of Lockwood de Forest.
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:
Architects -- California -- Santa Barbara Search this
Interior decorators -- California -- Santa Barbara Search this
Painters -- California -- Santa Barbara Search this
Topic:
Architects -- New York (State) -- New York Search this
Art -- Collectors and collecting -- New York (State) -- New York Search this
Interior decorators -- New York (State) -- New York Search this
Art -- Collectors and collecting -- California -- Santa Barbara Search this
Painters -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Daniel Varney Thompson, 1974 September 25-1976 November 2. Archives of American Art, Smithsonian Institution.
Boulder (Colo.).. Parks & Recreation Department Search this
Type:
Interviews
Sound recordings
Place:
Boulder (Colo.)
India -- description and travel
Mexico -- description and travel
Netherlands -- description and travel
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Betty Woodman, 2003 April 22 and 29. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Harlan Butt, 2009 July 27-28. Archives of American Art, Smithsonian Institution.
An interview of Betty Woodman conducted 2003 April 22 and 29, by John Perreault, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in New York, New York.
Woodman speaks of frequent moves with her family during her childhood; her father's woodworking skills; gaining an interest in arts and crafts at four when she made a tablecloth with crayon drawings; attending summer camps, including Girl Scout Camp, where she participated in arts and crafts activities; being the first girl to take shop in her middle school; making model airplanes for air raid wardens during World War II; her interest in making functional objects; her introduction to clay and hand-building in high school; attending the School for American Craftsmen in New York City; collaborating with fellow students; her early desire to be a "craftsperson and not an artist"; her work with silk-screen fabric for The Fabric Workshop in Philadelphia and glass at CIRVA in Marseille, France; teaching at the University of Colorado and the City of Boulder Recreation Department; working at the European Ceramic Work Center in Den Bosch, Holland, and the Bellagio Study Center in Italy; her studios in New York, Colorado, and Italy; her travels to India, The Netherlands, and Mexico; living in New Mexico, New York, Colorado, and Italy; her business Roadrunner Pottery in New Mexico with partner Elenita Brown; collaborative projects with Joyce Kozloff, Cynthia Carlson, Bud Shark, Judith Solodkin, and her husband George Woodman; developing a following in New York; how being a woman has affected her work and how she enjoys working with other women artists; the change of market for American crafts; Italian, Greek, and Etruscan influences; teaching experiences; the importance of getting reviews in art magazines; and the strong support from her husband George, a painter. Betty Woodman recalls Lynn Feelyn, Olan Wassen, Bernard Leach, Peter Voulkos, Shoji Hamada, Bob Kushner, Richard Serra, Wayne Higby, and others.
Biographical / Historical:
Betty Woodman (1930-2018) was a ceramist from New York, New York. John Perreault (1937- ) is an independent critic and curator from New York, New York.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 55 min.
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 administrators.
Occupation:
Ceramicists -- New York (State) -- New York Search this
An interview of Daniel Varney Thompson conducted 1974 September 25-1976 November 2, by Robert F. Brown, for the Archives of American Art.
Thompson speaks of authenticating a painting by Leonardo Da Vinci; teaching at Harvard University with Edward Waldo Forbes; his 1923-1925 expedition to India and China with Langdon Warner and Fogg Art Museum personnel to study cave paintings; setting up the art history department at Yale with Everett Meeks and teaching tempera painting; his studies in Europe and work at the Courtauld Institute in London; and translating manuscripts dealing with medieval painting techniques and media. He recalls Bernard Berenson and William Mills Ivins.
Biographical / Historical:
Daniel V. Thompson (1902-1980) was an art historian, conservator, professor, and chemist engineer. Thompson studied techniques of medieval and Renaissance painting. He was a professor at the Courtald Institute, London, 1938-1947.
General:
Originally recorded on 4 sound tape reels. Reformatted in 2010 as 7 digital wav files. Duration is 6 hr., 55 min.
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 is available on the Archives of American Art's website.
