Search Results

Creator:

Schratter, Marlis, 1919-  Search this

Extent:

1.8 Linear feet ((partially microfilmed on 3 reels))

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1956-2004

Scope and Contents:

The papers of cermaicist Marlis Schratter (1919-2014) measure 1.8 linear feet and date from circa 1956-2004. Included are correspondence, technical notes, business records, scrapbooks, printed material, photographs, a motion picture film, and fired clay samples documenting Schratter's ceramic techniques and her artistic and teaching activities.

REEL 970: Notes concern marketing and methods of attracting customers, record sales and customer reactions, and list supply purchases and prices for her work (1960-1975). The collection also contains 6 letters from Schratter's colleagues (1971-1973), a clipping, and a blueprint for a kiln.

REELS 982-983: Thirty-nine letters to Schratter from colleagues concern her exhibitions and her work (1957-1975). One notebook contains technical information concerning topics related to ceramics (1956- 1974). A second notebook concerning the construction of a gas kiln contains 16 letters, a receipt, and kiln log sheets. Seven letters and miscellaneous notebook pages concern glazes, slab construction, and related topics (1956- 1974). Eight pages from a kiln log contain notes and 5 firing charts recording the kiln's performance. A scrapbook contains clippings, exhibition announcements, and catalogs (1956-1975). Photographs show Schratter's work (1967-1974). The collection also contains 2 resumes and 2 artist's statements.

UNMICROFILMED: Six letters to Schratter from colleagues concern her exhibitions and work (1974-1983). A card file contains glaze and slip recipes. Three notebooks contain technical notes on clay bodies, chemicals, recipes, glazes and teaching (1956-1975), and gas kilns (1965-1975). Nineteen course evaluation sheets are from Schratter's class at the DeCordova Museum (1974- 1975). Printed material consists of a clipping (1972) and an announcement and catalog for the exhibition "The Potter's Wheel" at the DeCordova Museum (1976). Photographs and slides show Schratter and her work. An 8mm motion picture "Pots" by Richard Morehouse shows Schratter teaching a class (1968). Thirty- two fired clay test samples are annotated with formulas. Also included is a three-ring binder containing biographical information, photographs of works of art and of Schratter, Also included are loose sheets of correspondence, newspaper clippings and additional biographical information.

Biographical / Historical:

Marlis Schratter (1919- 2014) was a ceramicist in Baltimore, Maryland and Lincoln, Massachusetts. Born in Germany, Marlis Schratter came to the United States in 1940. In 1954, she began her training as a ceramist at the Baltimore Museum of Art, continuing her studies at the Boston Museum School and the Haystack Mountain School of Crafts in Maine. In addition to participating in many exhibitions, Schratter was on the art faculty of the DeCordova Museum, Lincoln, Massachusetts.

Provenance:

9 letters (reel 982: frames 1042, 1046, 1053, 1058, 1062, 1065, 1066, 1067, and 1087), technical correspondence and notes (reel 982: frames 1092-1200), kiln log (reel 982: frames 1266-1278), and the majority of photographs of works (reel 983: frames 230-373) donated by Marlis SChratter in 1983 and 1985. All other materials were loaned by Marlis Schratter. An additional scrapbook donated in 2022 by Reina SChratter, Marlis Schratter's daughter.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Ceramicists -- Massachusetts  Search this

Art teachers -- Massachusetts  Search this

Topic:

Glazes -- Formulae  Search this

Kilns -- Massachusetts  Search this

Women artists  Search this

Women ceramicists  Search this

Women educators  Search this

Genre/Form:

Scrapbooks

Identifier:

AAA.schrmarl

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c5da156-ddd9-4c85-bcd4-afbb68e847f4

EDAN-URL:

ead_collection:sova-aaa-schrmarl

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2014-06-17T13:07:39.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_Gt3AKhC115M

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

YouTube Videos

Uploaded:

2016-10-06T13:36:14.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_T_M6G5pdaIg

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

YouTube Videos

Uploaded:

2012-12-21T14:30:51.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_e3ckTvhBAg4

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2016-11-02T17:06:30.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_Szh5zcHvF-w

Creator:

Smithsonian Tropical Research Institute  Search this

Type:

YouTube Videos

Uploaded:

2012-05-28T15:52:29.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Tropics;Biology  Search this

See more by:

BocasResearchStation

Data Source:

Smithsonian Tropical Research Institute

YouTube Channel:

BocasResearchStation

EDAN-URL:

edanmdm:yt_cj5PGwFnpNo

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2020-04-14T22:57:42.000Z

YouTube Category:

People & Blogs  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_hhZrz8jccZY

Collection Creator:

Steele, Richard, 1916-1980  Search this

Container:

Box 2, Folder 12

Type:

Archival materials

Date:

1947 - 1947

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Richard Steele Papers, 1948-1963, Archives Center, National Museum of American History

See more items in:

Richard Steele Papers

Richard Steele Papers / Series 2: Ram Incorporated

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8898afe04-d334-484b-8bdd-e560647db170

EDAN-URL:

ead_component:sova-nmah-ac-0080-ref39

Creator:

National Museum of American History (U.S.). Division of Engineering and Industry  Search this

Names:

Ames Iron Works.  Search this

Hendrick Manufacturing Company  Search this

Woodruff and Beach Iron Works.  Search this

Bennett, C.  Search this

Blaisdell, Alfred O.  Search this

Gordon, W. F.  Search this

Reed, James  Search this

Richardson, William J.  Search this

Sheldon, Frank P.  Search this

Snow, J. Parker  Search this

Extent:

0.3 Cubic feet (1 box

)

Type:

Collection descriptions

Archival materials

Technical descriptions

Technical notes

Financial data

Inspections

Lists

Drawings

Shop orders

Notebooks

Date:

1835-1930

Summary:

Collection of personal notebooks of civil engineers.

Scope and Contents note:

Mainly personal notebooks of engineers, although one is a listing of products of a manufacturer of gears and another is a compilation of shop orders for various products of a manufacturer. They generally contain technical descriptions, drawings, specifications, and financial data.

Provenance:

Immediate source of acquisition unknown.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Occupation:

Engineers  Search this

Topic:

Furnaces  Search this

Architecture -- United States  Search this

Bridges  Search this

Boilers  Search this

Mechanical engineering and engineers  Search this

Mills and mill-work  Search this

Kilns  Search this

Engineering: financial accounting  Search this

Engineering notebooks  Search this

Engineering: shop orders  Search this

Piers  Search this

Docks  Search this

Civil engineering  Search this

Engineering  Search this

Railroads  Search this

Railroad car builders  Search this

Steam-engines  Search this

Refrigeration and refrigerating machinery  Search this

Genre/Form:

Technical descriptions

Technical notes

Financial data

Inspections

Lists

Drawings

Shop orders

Notebooks

Citation:

Engineering Notebook Collection, 1835-1930, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0225

See more items in:

Engineering Notebook Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b4c9d0f7-246c-410c-a9e6-591c65a470a5

EDAN-URL:

ead_collection:sova-nmah-ac-0225

Collection Creator:

Yoshida, Ray  Search this

Container:

Box 3, Folder 12

Type:

Archival materials

Date:

circa 1956-circa 1990

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. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.

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:

Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.

See more items in:

Ray Yoshida papers

Ray Yoshida papers / Series 3: Notebooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92c6d9a1f-cdc3-4b76-9a59-14767a6f9519

EDAN-URL:

ead_component:sova-aaa-yoshray-ref35

Medium:

Stoneware with cobalt pigment under clear glaze

Dimensions:

H x Diam: 8 × 11.6 cm (3 1/8 × 4 9/16 in)

Style:

Odo ware

Type:

Vessel

Origin:

Odo kiln, Kochi, Kochi prefecture, Japan

Date:

18th-19th century

Period:

Edo period

Topic:

heron  Search this

Odo ware  Search this

Edo period (1615 - 1868)  Search this

tea  Search this

Japan  Search this

stoneware  Search this

Japanese Art  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1900.69

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3b8d711ce-418c-42ee-90c1-d70476cd01fd

EDAN-URL:

edanmdm:fsg_F1900.69

Creator:

Plumer, James Marshall  Search this

Extent:

1.6 Cubic feet

Type:

Collection descriptions

Archival materials

Photographs

Correspondence

Printed material

Drawings

Maps

Place:

China

Date:

1935-1949

Scope and Contents:

Manuscripts, translations, correspondence, notes, maps, drawings, and black and white photographic prints and negatives related to James Marshall Plumer's work with Chinese ceramics, primarily concerning the location and excavation of a Yue ware kiln site.

Yüeh (sometimes Yueh) was the common romanization at the time of creation and is used extensively in this finding aid to reflect its usage in the original materials. Yue is preferred now. All other obsolete romanizations reflect usage in the original materials.

Arrangement:

Organized into two series: Series 1: Yüeh File Series 2: Photographs

Biographical / Historical:

James Marshall Plumer (1899-1960) , scholar of Asian art. After receiving his B.A. from Harvard, Plumer served as an administrative officer with the Chinese Government Service in Maritime Customs. From 1935 until his death, he taught art history at the University of Michigan while continuing to visit and work in China and Japan. In 1935 and 1937, Plumer discovered ancient kiln sites in the Chinese provinces of Fukien (Fujian) and Chekiang (Zhejiang). He wrote extensively on Chinese ceramics and edited the 'Far Eastern Ceramic Bulletin' from 1950 to 1958.

Related Materials:

James M. Plumer papers, Bentley Historical Library, University of Michigan

Restrictions:

Collection is open for research.

Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the National Museum of Asian Art's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Topic:

Ceramics -- China  Search this

Ceramics -- Japan  Search this

Kilns -- China -- Fujian  Search this

Kilns -- China -- Zhejiang  Search this

Genre/Form:

Photographs

Correspondence

Printed material

Drawings

Maps

Citation:

James Marshall Plumer Collection, FSA.A.14. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Caroline I. Plumer.

Identifier:

FSA.A.14

See more items in:

James Marshall Plumer Collection

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc395f4d2fb-4ed5-472d-8410-b5f0ab3d55a3

EDAN-URL:

ead_collection:sova-fsa-a-14

Creator:

Wildenhain, Frans, 1905-1980  Search this

Names:

School for American Crafts  Search this

Herzger, Walter, 1901-1985  Search this

Wildenhain, Marguerite  Search this

Extent:

8.2 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Scrapbooks

Drawings

Sketchbooks

Interviews

Date:

circa 1890-1991

Summary:

The papers of ceramicist, sculptor, and educator Frans Wildenhain measure 8.2 linear feet and date from circa 1890 to 1991. The papers document his career in Europe and the United States through biographical material, correspondence, diaries and notebooks, writings and notes, subject files, project files, printed material, three mixed media scrapbooks, artwork and sketchbooks, and photographic materials.

Scope and Contents:

The papers of ceramicist, sculptor, and educator Frans Wildenhain measure 8.2 linear feet and date from circa 1890 to 1991. The papers document his career in Europe and the United States through biographical material, correspondence, diaries and notebooks, writings and notes, subject files, project files, printed material, three mixed media scrapbooks, artwork and sketchbooks, and photographic materials.

The bulk of Wildenhain's correspondence is from family and friends including Walter Herzger and Marguerite Wildenhain. Twelve diaries and notebooks include general diary entries but may include notes on art, sketches, kiln logs, and designs. Of note is a diary kepy by Wildenhain during his drive from New York City to Guerneville, California upon his arrival in the United States in 1937. Project files contain records relating to four murals completed by Wildenhain on the east coast. Three scrapbooks contain clippings, exhibition materials, and photographs concerning his teaching career at the School for American Craftsmen and exhibitions. Eleven sketchbooks date from the 1930s to 1979 and mostly contain pencil sketches. Photographs depict Wildenhain, family, his wives Marguerite, Marjorie, and Lili, homes, studios, exhibitions, and works of art by Wildenhain and others.

Arrangement:

The collection is arranged as 10 series.

Series 1: Biographical Material, 1930-circa 1980 (Box 1; 0.5 linear feet)

Series 2: Correspondence, 1895-1981 (Box 1; 0.4 linear feet)

Series 3: Diaries and Notebooks, 1930-1978 (Box 1-2; 0.7 linear feet)

Series 4: Writings and Notes, 1940-1980 (Box 2-3; 0.4 linear feet)

Series 5: Subject Files, 1951-1985 (Box 3; 0.2 linear feet)

Series 6: Project Files, 1950-1975 (Box 3, 10; 0.7 linear feet)

Series 7: Printed Material, 1930-1991 (Box 3-4; 0.8 linear feet)

Series 8: Scrapbooks, 1934-1965 (Box 4; 0.3 linear feet)

Series 9: Artwork and Sketchbooks, 1930-1979 (Box 4-5, 11; 1.0 linear feet)

Series 10: Photographs, circa 1890-1979 (Box 5-11; 3.1 linear feet)

Biographical / Historical:

Frans Wildenhain (1905-1980) was a German-born ceramicist, sculptor, and educator active in Rochester, New York.

Wildenhain was born in Leipzig, Germany to a family of craftsmen. He began his study of art with drawing and design. For formal training, he enrolled at the Bauhaus where he studied in the pottery studio with Gerhard Marcks, Max Krehan, and his future wife, Marguerite Friedlaender Wildenhain. The Wildenhains moved to Burg Giebichenstein, Halle, Germany to teach at the State School of Applied Art.

In 1933, due to Marguerite's Jewish ancestry, they moved to the Netherlands and set up a studio called Het Kruikje (Little Jug). Marguerite later emigrated to the United States however Frans was unable to follow. He moved to Amsterdam but was drafted into the German Army which he deserted. He followed Marguerite to the United States in 1947 after a seven year separation.

Upon his arrival in the United States, Frans drove from New York City to Geurneville, California where Marguerite had settled at an artist colony, Pond Farm. Their marriage did not last and Frans Wildenhain accepted a position at the School for American Craftsmen at the Rochester Institute of Technology in Rochester, New York. He stayed in that position for over twenty years. He co-founded a cooperative gallery called Shop One, in Rochester, New York.

In 1952, he married Marjorie McIlroy and after her death, married Elisabeth (Lili) Brockkardt.

Franz Wildenhain was a Guggenheim Fellow and exhibited his works around Europe and the United States. His pottery is included in the collections of the Rochester Institute of Technology, Smithsonian Institution, Luther College, and Stedelijk Museum in Amsterdam, Netherlands.

Related Materials:

The Archives of American Art also holds an oral history interview of Frans Wildenhain conducted 1978 April 10-1979 July 28, by Robert Brown for the Archives of American Art; the Marguerite Wildenhain papers, 1930-1982; a Frans Wildenhain grant application, 1974 for the National Endowment for the Arts; Letters from Frans Wildenhain to Virginia Cartwright Katz, 1968-1979; Robert Johnson slides of works by Frans Wildenhain, circa 1978; the Kitty C. L. Fischer papers relating to Frans Wildenhain, 1940-1981; and an interview with Elisabeth (Lili) Wildenhain conducted 1995 August 22, by Robert F. Brown. Also found are the Ron Meyers papers relating to Frans Wildenhain, circa 1967-1979; the Roy Cartwright letters from Frans Wildenhain, 1966-1979; and the Gerhard Marcks letters from Frans Wildenhain, 1950-1979 on reel 2435.

Provenance:

Elisabeth Wildenhain donated her husband's papers in 1989 and 1998.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Ceramicists -- New York (State) -- Rochester  Search this

Sculptors -- New York (State) -- Rochester  Search this

Educators -- New York (State) -- Rochester  Search this

Genre/Form:

Diaries

Scrapbooks

Drawings

Sketchbooks

Interviews

Citation:

Frans Wildenhain papers, circa 1890-1991. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.wildfran

See more items in:

Frans Wildenhain papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b4547616-3e1c-46e1-ab19-a3fa682e557c

EDAN-URL:

ead_collection:sova-aaa-wildfran

Creator:

Schwarcz, June, 1918-2015  Search this

Names:

Austin, Carole  Search this

Di Mare, Dominic, 1932-  Search this

Slemmons, Kiff  Search this

Solberg, Ramona  Search this

Stocksdale, Kay Sekimachi  Search this

Extent:

7.6 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Drawings

Date:

1932-2014

Summary:

The papers of enameler June Schwarcz measure 7.6 linear feet and date from 1932 to 2014. The collection comprises biographical material including an interview, correspondence, gallery files, professional files documenting Schwarcz's activities outside of her work with galleries including files for her exhibition June Schwarcz: Forty Years/Forty Pieces, project and travel notebooks, personal business records, and printed materials. Also found are photographic materials including photographs, slides, and digital photographs of Schwarcz, works of art, exhibitions, events, and friends including Merry Renk, Kay Sekimachi, and Dominic di Mare.

Scope and Contents:

The papers of enameler June Schwarcz measure 7.6 linear feet and date from 1932 to 2014. The collection comprises biographical material including an interview, correspondence, gallery files, professional files documenting Schwarcz's activities outside of her work with galleries including files for her exhibition June Schwarcz: Forty Years/Forty Pieces, project and travel notebooks, personal business records, and printed materials. Also found are photographic materials including photographs, slides, and digital photographs of Schwarcz, works of art, exhibitions, events, and friends.

Biographical materials include datebooks, resumes, a transcript of an interview with Nancy Sarvis and "Visit with June" digital recordings, a photograph album and handmade book commemorating Schwarcz's 90th birthday, and a book of poems written by Schwarcz as a teenager. Correspondence is with Carole Austin, Dominic and Margaret di Mare, Bob Ebendorf, Deborah Krupenia, Forrest Merrill, Hal Nelson and Bernard Jazzar, Sarah Perkins, Brigitte Peterhans, Kay Sekimachi, Kiff Slemmons, Ramona Solberg, Paul Soldner, and others. Gallery files consist of correspondence, exhibition forms and related material, and a digital recording of an interview with Schwarz and images of works of art. Professional files document Schwarcz's activities outside of her work with galleries including files for her exhibition June Schwarcz: Forty Years/Forty Pieces, memberships, notebooks for projects and travel, and supply and procedure files. Also found are personal business records consisting of financial and legal records including several ledgers and record books with pricing and inventory information; printed materials that include catalogs and announcements for Schwarcz's exhibitions, clippings, and other material related to the craft community; and photographic materials containing photographs, slides, and born-digital material of Schwarcz, works of art, exhibitions, and snapshots of events and friends including Merry Renk, Kay Sekimachi, and Dominic di Mare.

Throughout the collection, but particularly in correspondence and photographic materials, researchers may find notes that were handwritten onto items by Schwarcz describing events depicted and relationships to people who appear in the collection. Schwarcz also developed an inventory numbering system for her artworks. Inventory numbers are referenced throughout the collection. Information on which works of art correspond to each inventory number can be found in the ledgers and record books in Series 5.

Arrangement:

The collection is arranged as seven series.

Series 1: Biographical Material, 1932-2012 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1956-2014 (2.0 linear feet; Boxes 1-3)

Series 3: Gallery Files, 1964-2012 (0.6 linear feet; Boxes 3-4)

Series 4: Professional Files, 1953-2013 (1.5 linear feet; Boxes 4-5)

Series 5: Personal Business Records, 1956-2013 (1.0 linear feet; Boxes 5-6)

Series 6: Printed Materials, 1956-2011 (1.0 linear feet; Boxes 6-7)

Series 7: Photographic Materials, circa 1935-2013 (1.0 linear feet; Boxes 7-9)

Biographical / Historical:

June Schwarcz (1918-2015), a long-time resident of Sausalito, California, was one of the preeminent contemporary enamelers in the United States.

Schwarcz was born in Denver, Colorado to Percy and Mary Morris. From 1939 to 1941, she studied industrial design at Pratt Institute. Soon after graduating she married Leroy Schwarcz, an engineer, and the couple moved to Baltimore, Maryland and had two children, Carl and Kim. The family lived in Brazil in the early 1950s before returning to Denver in 1954 for a brief period. While in Denver, Schwarcz learned about enameling through the books of Kenneth Bates. She acquired her first kiln and began creating enamels. Looking to nature for inspiration, she began enameling readymade copper vessels and soon began hammering her own bowls. Eventually she developed a signature method of drawing paper patterns and creating pieces from a lightweight, flexible copper foil that was amenable to folding and sewing like textiles. The work was then immersed into an electroforming bath for several days. The resulting enameled or oxidized vessels represented a unique development in enamel-on-metal technique, one that distinguished her among her fellow American craft artists.

Schwarcz died in 2015 in Sausalito, California.

Related Materials:

Also found in the Archives of American Art is an oral history interview of June Schwarcz conducted January 21, 2001 by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Schwarcz's home and studio, Sausalito, California.

Provenance:

The June Schwarcz papers were donated in 2001 and 2013 by June Schwarcz.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Enamelers -- California  Search this

Topic:

Women artists  Search this

American studio craft movement  Search this

Genre/Form:

Interviews

Drawings

Citation:

June Schwarcz papers, 1932-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.schwjune

See more items in:

June Schwarcz papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9057a85fc-3194-4411-b52c-f08b32dbcce6

EDAN-URL:

ead_collection:sova-aaa-schwjune

Creator:

Poor, Henry Varnum, 1887-1970  Search this

Names:

Montross Gallery  Search this

Skowhegan School of Painting and Sculpture  Search this

Benton, William, 1900-1973  Search this

Biddle, George, 1885-1973  Search this

Billing, Jules  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Caniff, Milton Arthur, 1907-1988  Search this

Ciardi, John, 1916-  Search this

Czebotar, Theodore  Search this

Deming, MacDonald  Search this

Dickson, Harold E., 1900-  Search this

Dorn, Marion, 1896-1964  Search this

Duchamp, Marcel, 1887-1968  Search this

Esherick, Wharton  Search this

Evergood, Philip, 1901-1973  Search this

Garrett, Alice Warder  Search this

Houseman, John, 1902-1988  Search this

Marston, Muktuk  Search this

Meredith, Burgess, 1907-1997  Search this

Mumford, Lewis, 1895-1990  Search this

Padro, Isabel  Search this

Poor, Anne, 1918-  Search this

Poor, Bessie Breuer  Search this

Poor, Eva  Search this

Poor, Josephine Graham  Search this

Poor, Josephine Lydia  Search this

Poor, Peter  Search this

Sargent, Elizabeth S.  Search this

Smith, David, 1906-1965  Search this

Steinbeck, John, 1902-1968  Search this

Watson, Ernest William, 1884-1969  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Date:

1873-2001

bulk 1904-1970

Summary:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Scope and Content Note:

The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)

Biographical Note:

Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.

Related Material:

An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.

Provenance:

Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 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. Use of audiovisual recordings with no duplicate access copy requires advance notice.

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:

War artists  Search this

Educators -- New York (State) -- New York  Search this

Ceramicists -- New York (State) -- New York  Search this

Muralists -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Designers -- New York (State) -- New York  Search this

Topic:

Architects -- New York (State) -- New York  Search this

World War, 1914-1918  Search this

Pottery -- New York (State) -- New York  Search this

Genre/Form:

Motion pictures (visual works)

Diaries

Drawings

Sketchbooks

Citation:

Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.poorhenr

See more items in:

Henry Varnum Poor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516

EDAN-URL:

ead_collection:sova-aaa-poorhenr

Creator:

Daley, William, 1925-2002  Search this

Names:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Philadelphia College of Art -- Faculty  Search this

Chihuly, Dale, 1941-  Search this

Howard, Robert Boardman, 1896-1983  Search this

Schreckengost, Viktor, 1906-  Search this

Extent:

26.3 Linear feet

Type:

Collection descriptions

Archival materials

Transcripts

Drawings

Photographs

Interviews

Date:

1905-2016

bulk 1951-2001

Summary:

The papers of ceramist William P. Daley measure 26.3 linear feet and date from 1905-2016 (bulk 1951-2001). The collection documents Daley's career as both artist and teacher through biographical information, correspondence, exhibition files, project files, material on workshops, seminars, and lectures, teaching files, artist files, reference files, printed material, photographs, financial files, and artwork.

There is an 11.1 linear foot unprocessed addition to this collection donated in 2022 that includes project, exhibition and book files; photographs and slides of works of art, Daley and events; printed material; writings; awards and honors; lectures; drawings; kiln logs; notebooks; audio cassettes, CDs and DVDs; files on artists and miscellany regarding William P. Daley. Materials date from circa 1959-2016.

Scope and Content Note:

The papers of ceramist William Daley measure 26.3 linear feet and date from 1905-2016 (bulk 1951-2001). The collection documents Daley's career as both artist and teacher through biographical information, correspondence, exhibition files, project files, material on workshops, seminars, and lectures, teaching files, artist files, reference files, printed material, photographs, financial files, and artwork.

Biographical files encompass items from Daley's early life including family, education, and military materials, as well as files on awards he has earned, and interviews he has given during his career. Correspondence includes general correspondence with family, friends, artists, colleagues, and schools, as well as named files on correspondence with galleries, organizations, and individuals. The largest series in the collection, Exhibition Files, spanning a fifty year period, contain materials on group and solo exhibitions in which Daley participated, and also includes Auction Files and Exhibition Juror Files. Project Files contain materials related to public and private commissions.

Workshops, Seminars, and Lectures, documents the numerous events at which Daley taught or spoke on topics of art, ceramics, and/or education. Many of these topics are also found in Writings, which include drafts of writings by Daley and others. Within this series Daley's personal address lists and calendars are also found. The Teaching Files provide insight into Daley's teaching methods, primarily at the Philadelphia College of Art, from materials such as curriculum plans, lesson notes, and assignments. Also within this series are general teaching notes which contain many hand drawn diagrams. The Artist Files that Daley created house materials concerning artists who were friends, former students, co-workers, and colleagues. Daley also compiled Reference Files containing materials on various topics for use in teaching and projects. Topics include the art of various countries, formulas and tables for ceramics, essays on art and education, and other general subjects. Printed Material provides information, primarily on ceramics, through press clippings, exhibit announcements, catalogs and journals, as well as other miscellaneous materials. Also found are reviews of Daley's work. While photographs are included throughout the collection, the Photographs series contains additional photographs of Daley in the studio or in the classroom, as well as photographs of artwork by others. Also found in the collection are copies of drawings Daley completed throughout his career.

There is an 11.1 linear foot unprocessed addition to this collection donated in 2022 that includes project, exhibition and book files; photographs and slides of works of art, Daley and events; printed material; writings; awards and honors; lectures; drawings; kiln logs; notebooks; audio cassettes, CDs and DVDs; files on artists and miscellany regarding William P. Daley. Materials date from circa 1959-2016.

Arrangement:

The collection is arranged into fourteen series. Each series is arranged either in rough chronological or alphabetical order.

Missing Title

Series 1: Biographical Files, 1905-2003 (Box 1; 0.5 linear feet)

Series 2: Correspondence, 1957-2001, undated (Boxes 1-2; 1.5 linear feet)

Series 3: Exhibition Files, 1949-1999, undated (Boxes 3-5; 2.7 linear feet)

Series 4: Project Files, 1956-2000 (Boxes 5-6; 1.0 linear foot)

Series 5: Workshops, Seminars, and Lectures, 1958-1998, undated, (Boxes 6-8; 2.3 linear feet)

Series 6: Writings, 1951-2003, undated (Box 9; 0.6 linear feet)

Series 7: Teaching Files, 1951-1998, undated (Boxes 9-10; 1.3 linear feet)

Series 8: Artist Files, 1938-2001, undated (Boxes 10-12; 2.1 linear feet)

Series 9: Reference Files, 1951-2001, undated (Box 13; 1.0 linear foot)

Series 10: Printed Material, 1936-2004 (Boxes 14-15; 1.9 linear feet)

Series 11: Photographs, 1953-2001, undated (Box 15; 5 folders)

Series 12: Financial Files, 1962-1997, undated (Box 16; 4 folders)

Series 13: Artwork, 1954-2003, undated (Boxes 15-16; 3 folders)

Series 14: Unprocessed Addition, circa 1959-2016 (Boxes 17-27; OV 28)

Biographical Note:

Born in Hastings-on-Hudson, New York, in 1925, William P. Daley developed an interest in art at an early age, and was encouraged by his parents William and Alice. In 1943 Daley finished high school and enlisted in the Army Air Corps. When the war ended, he returned home, and with the help of the G.I. Bill, completed a B.S. in Art Education from Massachusetts College of Art, and a M.A. from the Teachers College at Columbia University. While at the Massachusetts College of Art he met and married fellow student Catherine Stennes. They had three children together, Barbara, Charlotte, and Thomas.

Originally intending to focus on painting, Daley discovered his love for ceramics while in art school. Much of his early work after graduation consisted of architectural and sculptural commissions. From 1961 to 1965 he held teaching positions as a ceramics instructor at the University of Northern Iowa, State University of New York at New Paltz, Philadelphia College of Art and Design, and the State University of New York at Fredonia. In 1965 he settled in Elkins Park, Pennsylvania and returned to the Philadelphia College of Art and Design, University of the Arts. There he taught in both the Industrial Design and Craft Department until his retirement from the college in 1990. When not teaching in the classroom, and even after retirement, Daley traveled extensively giving workshops and lectures at art centers, high schools, colleges, and universities. He has won several awards for teaching in the arts, including the College Art Association of America Distinguished Teaching of Art Award in 1991.

Daley became an active member of the crafts movement in Philadelphia, co-founding the Philadelphia Council of Professional Craftsmen. The Helen Drutt Gallery opened in Philadelphia in 1974 and gave Daley his first one man show there. Later, the gallery would become Daley's primary dealer. A self-proclaimed "mud man" and maker of "cosmic pots," Daley has focused throughout his career on the issues of the ceramic vessel, using drawings to explore his ideas. In 1994 the Renwick Gallery held a retrospective entitled, "William Daley: Ceramic Works and Drawings" which featured thirty years of his work. William Daley continued producing new work until his death in 2022.

Provenance:

The William P. Daley papers were donated by William Daley in 2003 and by Thomas Daley in 2022.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.

Occupation:

Ceramicists  Search this

Topic:

Potters  Search this

Pottery -- Study and teaching -- Pennsylvania  Search this

Art -- Study and teaching  Search this

Sculptors -- Pennsylvania  Search this

Glazes -- Formulae  Search this

Pottery  Search this

Genre/Form:

Transcripts

Drawings

Photographs

Interviews

Citation:

William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.

Identifier:

AAA.dalewill

See more items in:

William P. Daley papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e5ae17b1-d9ff-41d6-81ec-fd4137cbdf42

EDAN-URL:

ead_collection:sova-aaa-dalewill

Collection Creator:

Museum of the American Indian, Heye Foundation  Search this

Collection Director:

Heye, George G. (George Gustav), 1874-1957  Search this

Container:

Box 232, Folder 13

Type:

Archival materials

Date:

1917 - 1924

Collection Restrictions:

Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Collection Rights:

Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.

Collection Citation:

Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

See more items in:

Museum of the American Indian/Heye Foundation records

Museum of the American Indian/Heye Foundation records / Series 6: Collectors

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv441c8edd4-a9c0-4752-8fb9-a74bf0ab32d1

EDAN-URL:

ead_component:sova-nmai-ac-001-ref6817

Biogeographical Region:

73 - Northwestern U.S.A.  Search this

Collector:

T. Skurski  Search this

Min. Elevation:

2196  Search this

Place:

Dubois, Lime Kiln Gulch, 2 mi. S of Dubois SW off US-287. T41 R106 S18, Fremont, Wyoming, United States, North America

Taxonomy:

Plantae Dicotyledonae Asterales Asteraceae Asteroideae

Published Name:

Artemisia frigida Willd.

Barcode:

03477847

USNM Number:

3750100

See more items in:

Botany

Flowering plants and ferns

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3c70dcefe-9a5d-4605-91a7-01ae3531207d

EDAN-URL:

edanmdm:nmnhbotany_16619184

Collection Creator:

Kent, Rockwell, 1882-1971  Search this

Container:

Reel 5244, Frame 686-927

Type:

Archival materials

Date:

1938-1943, 1953

Scope and Contents note:

(correspondence concerning developing a line of dinnerware decorated with Moby Dick and Salamina themes; orders and royalty accounts; advertisements)

Collection 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.

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:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

See more items in:

Rockwell Kent papers

Rockwell Kent papers / Series 1: Alphabetical Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw906d7e9ba-8521-4def-bec4-282629421a76

EDAN-URL:

ead_component:sova-aaa-kentrock-ref3970

Collection Creator:

Kent, Rockwell, 1882-1971  Search this

Container:

Reel 5255, Frame 1456-1461

Type:

Archival materials

Date:

circa 1938-1943

Collection 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.

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:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

See more items in:

Rockwell Kent papers

Rockwell Kent papers / Series 6: Photographs / 6.4: Works of Art

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99adce8e5-7752-4d24-856c-642a71b7fbe4

EDAN-URL:

ead_component:sova-aaa-kentrock-ref4663