Lassaw, Ibram, 1913-2003 -- Photographs Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Poetry
Date:
1921-1977
Summary:
The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.
Scope and Content Note:
The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.
Biographical material consists of resumes, passports, exhibition files, as well as documentation of her membership and active participation in art organizations, including her work as an officer in the American Abstract Artists group. Also found here are scattered personal financial and legal records. Personal and professional correspondence is with family members, including many detailed letters between her and her husband Warwood, fellow artists, including Paul Kelpe, art organizations, curators, museums, galleries, and others. Professional correspondence generally discusses selection of exhibition and awards, sale of artwork, and art events. Writings and notes, mostly from the 1920s and 1930s, consist of Mason's notes on art history and her creative writings, including poetry and "abstract writing." Also found are a few writings about abstract art and various notes and lists.
Printed material includes news clippings on topics of interest to Mason, and other miscellaneous items such as brochures, and exhibition announcements. Photographs include several portraits of Mason with her artwork, photographs of friends including artist Ibram Lassaw, photographs of an American Abstract Artists exhibition, and artwork by her and others. Original artwork found in this collection includes five sketchbooks belonging to Mason, including two that document her travels through Greece and Italy, and other loose drawings.
Arrangement:
The collection is arranged into 6 series:
Missing Title
Series 1: Biographical Material, 1925-1968 (Box 1, OV 3; 0.2 linear feet)
Series 2: Correspondence, 1922-1977 (Box 1; 0.4 linear feet)
Series 3: Writings and Notes, 1921-1965 (Box 1; 6 folders)
Series 4: Printed Material, 1936-1974 (Box 1; 2 folders)
Series 5: Photographs, 1920s-1967 (Box 1, OV 3; 5 folders)
Series 6: Artwork, 1924-1963 (Box 1-2, OV 3; 0.4 linear feet)
Biographical Note:
Alice Trumbull Mason was born in 1904 in Litchfield, Connecticut. Her mother, Anne Leavenworth Train, was an accomplished artist before she met Alice's father, William Trumbull, a descendent of the Revolutionary War era painter, John Trumbull. Alice spent much of her childhood in Europe with her family. From 1921 to 1922 they lived in Florence and Rome where she studied at the British Academy. In 1923 she continued her studies with painter Charles W. Hawthorne at the National Academy of Design in New York and from 1927 to 1928 attended courses at the Grand Central Art Galleries taught by Arshile Gorky. Gorky inspired her interest in abstract painting, and Mason painted her first non-objective works in 1929. In 1928 she returned to Italy and Greece and was greatly influenced by ancient art, Byzantium, and Italian primitives. She married Warwood Mason, a merchant seaman, in 1930 and her daughter Emily was born in 1932 and her son Jonathan in 1933. During this period she stopped painting and devoted her creative energy to writing poetry inspired by American avant-garde writers.
Mason began painting again in 1934 and was recognized as a key figure of American abstraction. In 1935 she met and became close friends with fellow artist Ibram Lassaw, and they, along with several other artists, began to meet on a regular basis which led to the first American Abstract Artists group exhibition in 1937. Mason remained very active in the group and served as treasurer in 1939, secretary from 1940 to 1945, and president from 1959 to 1963. She was also an activist for abstract art, protesting the decisions of the Museum of Modern Art several times for excluding abstract artists from exhibitions. During the 1940s her paintings and concept of "architectural abstraction" was influenced by the arrival of Piet Mondrian in New York. Also in the 1940s she had two one-woman shows, but throughout her career she felt there was a bias against women in the New York art world and most often she participated in AAA group shows. Her work would be viewed as an important bridge for future abstract and conceptualist artists. In 1958 her son died, and though she continued to paint and participate in exhibitions, she never recovered from this tragedy and in the late 1960s withdrew into seclusion until her death in 1971.
Related Material:
Also found in the Archives of American Art is a collection of interviews by Ruth Bowman of members of the American Abstract Artists group conducted between 1963-1965, that includes an interview with Alice Trumbull Mason. The Archives of American Art also houses 2.3 linear feet of the records of the American Abstract Artists group.
Separated Material:
A portion of the material donated by Alice Trumbull Mason in 1969 relating to her involvement with the American Abstract Artists was separated and filed with the American Abstract Artists records at the Archives of American Art. Files of news clippings and exhibition catalogs were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library after microfilming.
Provenance:
A portion of this collection was donated by Alice Trumbull Mason in 1969. Additional material was donated from 1972 to 1977 by Mason's daughter, Emily Mason Kahn.
Restrictions:
The collection is partially microfilmed. Use of material not microfilmed requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.
Scope and Content Note:
The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.
Biographical material includes a birth certificate, school work, and passports. General correspondence includes letters from several artists including Rhys Caparn, Sue Fuller and Lee Gatch, and from art galleries, including the Museum of Modern Art, Albright-Knox Art Gallery and the Whitney Museum of American Art. Additional correspondence is found in the Subject Files.
Business records include an account book, lists of expenses and prices of art works, and sales records. Notes and writings include Teller's notes about art and travel, artists' statements, autobiographical writings, and a compilation of many artists' statements regarding "The Nine Bean Question."
Artwork includes three sketchbooks, 30 sketches and three prints primarily depicting nature and sculpture designs.
Five scrapbooks contain clippings, exbition announcements and catalogs. Additional printed material includes magazines, exhibition announcements and catalogs, a booklet by Teller entitled Art, Age and the River, published posthumously by her husband, and a manuscript of Poems or Poetic Expressions of Sculptors, collected by L. Lamis.
Subject files are arranged by name or subject and may contain letters, photographs, and printed material. Many of the files focus on galleries and museums, including the Montclair Art Museum, the Newark Museum, Noyes Museum, Parma Gallery, the Princeton Gallery of Fine Art and the Squibb Gallery. There are also subject files for associations, travel, projects, and colleagues including Margaret K. Johnson, Reuben Kadish, Ibram Lassaw, Aaron Siskind and Dorothy Dehner.
Photographs and slides depict Teller, her friends, works, gallery installations, and travels. Also included are photographs of trees, bark, and other natural formations used by Teller in her work.
The audio-visual materials include several sound recordings, videocassettes and 16 mm motion picture films. The videocassettes include television programs in which Teller, printmaker Judith Brodsky and actor Harry Hamlin are interviewed, a retrospective at Skidmore College and a film featuring Teller speaking for the National Council on Aging. Sound recordings include two interviews and a "Talk on Malta" by Teller and Joan Needham. The 16 mm films are black and white footage of Teller's first Parma Gallery show.
Arrangement:
The collection is arranged as 11 series. Records are generally arranged by material type and chronologically thereafter.
Missing Title
Series 1: Biographical Material, 1911-1985 (Box 1; 4 folders)
Series 2: Correspondence, 1956-1991 (Box 1; 0.3 linear feet)
Series 3: Business Records, 1961-1990 (Box 1; 5 folders)
Series 4: Notes, 1960-1987 (Box 1; 13 folders)
Series 5: Writings, 1960-1989 (Boxes 1 and 9; 5 folders)
Series 6: Artwork, circa 1950s (Boxes 1 and 9; 6 folders)
Series 7: Scrapbooks, 1948-1990 (Boxes 1-2; 0.7 linear feet)
Series 8: Printed Material, 1957-1991 (Boxes 2-3 and 9; 0.6 linear feet)
Series 9: Subject Files, 1951-1990 (Boxes 3-5; 2.5 linear feet)
Series 10: Photographs, 1934-1985 (Boxes 5-9; 2.5 linear feet)
Series 11: Audio-Visual Materials, 1961-1989 (Box 8, FC 10-12; 0.6 linear feet)
Biographical Note:
Jane Teller (1911-1990) worked as a printmaker and sculptor primarily in New Jersey. She specialized in working with wood and studied at the Rochester Institute of Technology, Skidmore College, and Barnard College. She also attended Federal Works Progress Administration (W.P.A.) classes in New York City, studying sculpture with Aaron J. Goodelman and wood carving with Karl Nielson. She later studied welding in the studio of Ibram Lassaw. She was also a lifelong friend of photographer Aaron Siskind. In 1960, she was awarded the Mary and Gustave Kellner Prize at the National Association of Women Artists Annual Exhibition at the National Academy of Design in New York, and in 1966 the Sculpture Prize at the Fiftieth Anniversary Exhibition, Philadelphia Art Alliance in Philadelphia. She exhibited mainly in New York and New Jersey and was married to author and editor Walter Teller.
Provenance:
The Jane Teller papers were donated by Jane Teller in 1990 and in 1991 by Walter Teller, widower of Jane Teller.
Restrictions:
Use of original papers requires an appointment. Use of archival 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.
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, sound and video recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.
Scope and Content Note:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, audio/visual recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.
Biographical material includes educational records from high school through his studies at the Ozenfant School of Fine Arts using G.I. benefits. Birth, marriage,and death certificates are also found, along with Richenburg family memorabilia. There is a digital video recording of Robert Richenburg's memorial service.
Correspondence consists mostly of family letters, including some illustrated letters and many handmade cards featuring original artwork. Condolence letters addressed to Marggy Kerr are from friends, relatives, colleagues, neighbors, and acquaintances.
Subject files contain various combinations of correspondence, printed material, photographs, writings and notes relating to Richenburg's professional career and personal life. They document exhibitions, gallery representation, gifts of art work to museums and individuals, memberships, teaching activities, former students, friendships, and other aspects of his life. Files of significant interest are: The Club, Tina Dicky and Madeline Amgott, Former Students (particularly Raphael Montanez Ortiz), Bonnie L. Grad and Lynne Moulton, Hans Hofmann, Ibram Lassaw, Philip Pavia, Pratt Institute, Hilla Rebay and the Museum of Non-Objective Painting, Tibor De Nagy Gallery, and Veterans Administration.
Writings by Richenburg consist of notes, reviews, artist's statements, and the text of a speech. Also included are quotations compiled over the years by Marggy Kerr of Richenburg's comments on art and life. Among the writings by others are student papers, reviews, and poems.
Sound and visual recordings include interviews with Robert Richenburg, often conducted as research for exhibitions. Videocassettes document events such as panel discussions, and artist gatherings; a few were produced in conjunction with museum exhibitions. Also found are videotapes by video artist Raphael Montanez Ortiz, Richenburg's friend and former student.
Printed material includes items that are specifically about Robert Richenburg as well as items that incidentally mention him. The majority consist of exhibition catalogs and announcements.
Photographs show art work by Richenburg, exhibition openings and other events, and a variety of people and places. Among the events recorded is the "Artists Roundtable on Art of the '50s." Moderated by Dore Ashton, the panel included Herman Cherry, Sidney Geist, Ibram Lassaw, Mercedes Matter, and David Slivka. There are photographs of Richenburg's boyhood home in Roslindale, MA, and his house in Ithaca, NY. He is pictured with others including family members, dealers, and curators. Of particular interest are photographs of Richenburg in Provincetown, MA, 1952-1953, with friends, including: Giorgio Cavallon, Franz Kline, Ibram and Ernestine Lassaw, and Philip and Marcia Pavia. World War II photographs consist of images of art work (not by Richenburg), Richenburg and other individuals taken in France and England; a number include views of Shrivenham American University.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material, circa 1910s-2006 (Box 1; 0.1 linear ft., ER01; 1.66 GB)
Series 2: Correspondence, 1940-2007 (Box 1; 0.4 linear ft.)
Series 3: Subject Files, 1942-2008 (Boxes 1-3, OV 7; 2.25 linear ft.)
Series 4: Writings, circa 1950-2006 (Box 3; 0.1 linear ft.)
Series 5: Sound and Video Recordings, 1996-2006 (Boxes 3-4; 0.75 linear ft., ER02; 2.66 GB)
Series 6: Printed Material, 1947-2008 (Boxes 4-5; 1.25 linear ft.)
Series 7: Photographs, circa 1923-2006 (Boxes 5-6; 0.45 linear ft.)
Biographical Note:
Robert Bartlett Richenburg (1917-2006) was a painter and educator in New York City, Ithaca, New York, and East Hampton, New York.
At age 13, Bob Richenburg's artistic talent earned him a place in a daily class for Boston Public School students at the Museum of Fine Arts. Most classes focused on copying; of far greater benefit to the young art student was the opportunity to wander through the museum and look at art nearly every day of his high school career.
Richenburg's father was an architect who also ran a stained glass lampshade business; neither endeavor was profitable, so the family endured very hard times during the Depression. To help support the family, after school and on weekends, Bob delivered ice and coal with an older brother, a job he continued while attending night school courses in liberal arts at Boston University. He studied at George Washington University in Washington, DC, 1937-1939, often working as many as four part-time jobs to cover tuition and living expenses; during summers and school vacations, he returned to Boston to work with his brother. Due to his difficult financial situation, Richenburg's college career ended before he earned a degree.
After learning that the Corcoran School of Art charged no tuition, Richenburg returned to Washington in 1940 to study painting and sculpture. Although uninformed about the art world, he realized that New York was a better place for an aspiring artist. In 1941, he began studying with George Grosz and Reginald Marsh at the Art Students League. On his own, he studied materials and techniques and copied paintings at the Metropolitan Museum Art.
With war looming and the near certainty of being drafted, Robert Richenburg and Libby Chic Peltyn (always called Chic) married in November 1942; two weeks later, he entered the army. Richenburg spent three years in England and France as a combat engineer, transporting explosives and instructing troops in the demolition of mines and booby traps. In England, he managed a photo lab and taught drawing in the fine arts section of Shrivenham American University, a school run by the U. S. Army.
Once discharged, Richenburg returned to New York and took advantage of the G.I. Bill to continue studying painting (and for the subsistence allowance that provided modest support for his family - son Ronald was born in 1947). Richenburg studied at the Ozenfant School, 1947-1949, where he developed a life-long friendship with fellow student Ibram Lassaw.
He continued his art education with Hans Hofmann in New York and Provincetown, 1949-1951. During this period, Richenburg taught drawing, painting, and art history classes sponsored by the Extension Division of City College of New York and held at venues such as Brooklyn's Central YMCA, and branches of the New York Public Library. Richenburg quickly discovered that he liked teaching and enjoyed the students.
In 1951, Richenburg joined the Pratt Institute faculty and taught studio courses at night; soon, he was teaching full time during the day. Richenburg began to achieve recognition as the youngest of the Abstract Expressionists and by the early 1960s his career was well established. Tibor De Nagy Gallery in New York and Dwan Gallery in California represented Richenburg, and a number of paintings were sold to museums and private collectors. As Richenburg experimented with new ideas and materials, his work began changing. He was a popular instructor at Pratt with several promising students who also began experimenting. In 1964, when the unorthodox work of one student in particular caught the attention of Pratt administrators, Richenburg was asked to change his approach to teaching. This roused student protests, and press coverage focused on the specific situation and academic freedom in general. He chose to resign rather than alter his teaching philosophy.
Richenburg secured a position at Cornell University. The confluence of his absence from New York City and the ascendance of Pop Art were damaging, and his career was derailed when De Nagy and Dwan dropped him from their rosters a few years later. After it was clear that he would not secure tenure at Cornell, Richenburg returned to New York in 1967 and began teaching at Hunter College. Daily life in New York was harder than he remembered and, for him, the City had lost its allure.
When offered the chairmanship of the Ithaca College art department, the Richenburgs were delighted to return to tranquil Ithaca, New York. Chic died in 1977, and Bob remained at Ithaca College until retiring in 1983. In addition full-time teaching and handling administrative activities as department chairman, Richenburg made time to work in his studio practically every day. He created a large body of work in a wide variety of media and styles, moving on to new ideas and experiments after exhausting his possibilities or interest.
Beginning in 1949 with a loan exhibition organized by The Museum of Non-Objective Art, Richenburg participated in a wide range of group shows. His first solo exhibition was held in 1953 at the Hendler Gallery, Philadelphia. Over the years, he enjoyed other solo exhibitions at venues such as: David Findlay Jr. Fine Art, Dwan Gallery, Hansa Gallery, Ithaca College Museum of Art, McCormick Gallery, Rose Art Museum (Brandeis University), Santa Barbara Museum of Art, Sidney Mishkin Gallery (Baruch College), and Tibor De Nagy Gallery. In the 1960s and 1970s, Richenburg's work was seldom shown, but from the mid-1980s onward there has been renewed interest.
Richenburg's work is represented in the permanent collections of many museums including Hirshhorn Museum, Museum of Modern Art, Philadelphia Museum of Art, and Whitney Museum of American Art. In addition, his work was acquired by many highly regarded private collectors including Larry Aldrich, Walter P. Chrysler, Jr., Joseph H. Hirshhorn, J. Patrick Lannon, and James A. Michener.
Robert Richenburg and Margaret (Marggy) Kerr, a painter and sculptor living in Ithaca, were married in 1980. Ms. Kerr is known for "brick rugs" made from cut bricks forming designs for site specific sculpture and garden walks. Richenburg became close to his stepfamily of three children, Marggy's grandchildren and her mother. After he retired from Ithaca College, Bob and Marggy moved to Springs in East Hampton, New York.
Although Richenburg suffered from Parkinson's disease during the last six years of his life, he continued to work in his home studio until physically unable to produce art. He died on October 10, 2006.
Related Material:
An oral history interview of Robert Richenburg was conducted by Dorothy Seckler for the Archives of American Art, circa 1968.
Provenance:
Donated in 2008 by Margaret Kerr, widow of Robert Richenburg, on behalf of herself and his son Ronald Richenburg.
Restrictions:
Use of original material requires an appointment. Use of audiovisual material 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.
Topic:
Educators -- New York (State) -- East Hampton Search this
1 Linear foot ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
1910-1982
Scope and Contents:
Biographical information; correspondence; photographs; exhibition catalogs and announcements; monograph; scrapbooks; sketchbook; clippings; three small palettes on linen.
REELS N68/60-N68/61: Biographical information; personal letters and postcards; business correspondence; a list of owners of Cavallon's paintings; exhibition catalogs and announcements; articles about Cavallon; several drawings with notes; a letter of explanation and drawing for an easel invented by Cavallon; photographs of his paintings and personal photos; and a scrapbook, containing mostly printed material. A portion of these papers were also filmed on Reel D359.
REEL D359: Postcards; a drawing of an easel that Cavallon invented with a letter of explanation; photographs of Cavallon including a tintype, 1920, and one taken by Evelyn Hofer, 1956, his family, and friends, including photographs of Ilya Bolotowsky, Carlo Holesch, Ibram Lassaw, Sylvia and Charles Pollock, and of Charles Hawthorne instructing an art class; magazine articles; and a scrapbook, containing clippings, photographs of art work, exhibition announcements and catalogs.
UNMICROFILMED: A sketchbook from Italy; letters and postcards received by Cavallon and his wife Linda Lindeberg; a notebook and notebooks; photographs of Cavallon and others; a photograph of Cavallon's work; exhibition catalogs and announcements; clippings; three scrapbooks; scattered writings; a drawing by Cavallon; and a small amount of Linda Lindeberg's (Cavallon's wife) papers and photographs.
Biographical / Historical:
Painter; New York, N.Y.; d. December 22, 1989.
Provenance:
Reels N68/60-N68/61 and D359 were lent in 1968 for microfilming; a portion on reel D359 was subsequently donated July 1969 by Giorgio Cavallon. Additional unmicrofilmed material was donated 1980-1982 by Cavallon.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
The interviews are of artists, educators, art administrators, and dealers. Topics covered include the Federal Art Project, the Artists' Union, the Club, the influence of French emigre artists, and political activism among artists. The transcripts range from 1 to 4 pages in length.
Interviewees include: Mildred Baker, Will Barnet, Emanuel Benson, James Brooks, Paul Burlin, Giorgio Cavallon, Willem de Kooning, Jimmy Ernst, Sidney Geist, Adolph Gottlieb, Balcomb Greene, Robert Gwathmey, Seymour Hacker, Carl Holty, Harry Holtzman, Reuben Kadish, Lee Krasner, Joe Lasker, Ibram Lassaw, Jack Levine, Conrad Marca-Relli, George McNeil, Dorothy Canning Miller, George L.K. Morris, Reuben Nakian, Phillip Pavia, Louis Schanker, Ben Shahn, Theodoros Stamos, Eugene Victor Thaw, Jack Tworkov, and Esteban Vincente.
Provenance:
Donated in 1985 by Anne Bowen Parsons' son, Randall T. Parsons.
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 original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
Authorizatin to publish, quote or reproduce requires written permission from Lenore Seroka. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- New York (State) -- Great Neck Search this
Peter Agostini (1913-1993) was a sculptor from New York, New York.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 28 digital wav files. Duration is 10 hrs., 37 min.
Transferred from 4 3" reels.
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.
Topic:
Sculptors -- New York (State) -- New York -- Interviews Search this
An interview of V. V. Rankine conducted 1990 Mar. 2-22, by Liza Kirwin, for the Archives of American Art.
Rankine discusses the evolution of her nickname, V.V.; discovering her dyslexia; growing up in Boston; auditioning for a part in, "The Philadelphia Story"; her art studies with Amedee Ozenfant from 1944 to 1946; her studies at Black Mountain College with Josef Albers and Willem De Kooning in 1947; her friendship with Morris Louis and watching him work; living with her brother-in-law Arshile Gorky, in New York City; her first one-woman show at the David Herbert Gallery in New York in 1962; exhibiting at the Betty Parsons Gallery in New York and at the Jefferson Place Gallery in Washington, D.C.; Robert Richman and the Institute of Contemporary Arts; the relationship between her painting and her sculpture; favorite shapes and materials; and her summer home in East Hampton and artist friends there. Rankine also recalls Robert Rauschenberg, Jack Youngerman, Manoucher Yektai, Betty Parsons, Ibram Lassaw, Buckminster Fuller, Elaine De Kooning, Arthur Penn, Richard Leopold, John Cage, Merce Cunningham, Ken Noland, Morris Louis, Ray Johnson, Kenneth Snelson, David Hare, Frederick Kiesler, Raphael Soyer, Moses Soyer, Jean Renault, Agnes Gorky, Esther Magruder, James Johnson Sweeney, Jim Brooks, John Graham, Phillip Guston, Duncan Phillips, Theresa Helburn, Augustine Duncan, Tom Downing, Gene Davis, Alice Denney, Nesta Dorrance, Kevin Merrill, Sam Gilliam, Dylan Thomas, Kay Halle, Kit Kennedy, Naum Gabo, President Lyndon B. Johnson, Anne Truitt, Wretha Nelson, Franz Bader, Louise Nevelson, Andy Warhol, Jackson Pollock, Bonnie Newman, Alexander Russo, Walt Sheridan, Gilbert Kinney, Saul Sherman, Steve Pace, Lee Krasner, and others.
Biographical / Historical:
V.V. Rankine (1920-2004) was a painter and sculptor from Washington, D.C. Variable forms of the artist's name are notably E. R. (Elvine Richard) Rankine, Vivian Scott Rankine, and her married name, Mrs. Paul Scott.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 53 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
The papers of American New York School painter Ludwig Sander measure 2.8 linear feet and date from 1910 to 1975. Found are biographical materials primarily consisting of army records; correspondence with family and colleagues discussing exhibitions and other art-related activities; diaries; personal scattered business records; address books and art history typescripts; sketchbooks and illustrations for magazines; photographs of Sander, his colleagues, his travels, and exhibition openings; and miscellaneous printed material. The collection documents Sander's career and interactions with some of the most important modern artists of twentieth century.
Scope and Content Note:
The papers of American New York School painter Ludwig Sander measure 2.8 linear feet and date from 1910 to 1975. Found within the collection are biographical materials primarily consisting of army records; correspondence with family and colleagues discussing exhibitions and other art-related activities; diaries containing brief annotations of daily activities; personal business records including studio leases, teaching contracts, and miscellaneous receipts; notes and writings including address books and art history typescripts; art work consisting primarily of sketchbooks and illustrations for magazines; photographs of Sander, his colleagues, his travels, and exhibition openings; and miscellaneous printed material. The collection Sander's career and interactions with some of the most important artists of 20th century modern art.
Chronological correspondence primarily consists of letters from Sanders to his mother during his army service, and letters from his colleagues discussing exhibitions and other art-related activities. Correspondents include Clement Greenberg, Philip Guston, Yvonne Hagen, Gottfried Honegger, Sam Kootz, and Vaclav Vytlacil. There are single letters from Georgi Daskaloff, Philip Johnson, Richard Neutra, George Plimpton, and Maximilian Schell, and an invitation to a croquet party from Willem and Elaine De Kooning, Sander, Nancy Ward, and Franz Kline.
Arrangement:
Missing Title
Series 1: Biographical Material, 1927-1969 (Box 1, 4; 9 folders)
Series 2: Correspondence, 1931-1975 (Box 1; 28 folders)
Series 3: Diaries, 1931-1973 (Box 1; 11 folders)
Series 4: Personal Business Records, 1953-1974, undated (Box 2; 4 folders)
Series 5: Notes and Writings, 1951-1960, undated (Box 2; 8 folders)
Series 6: Art Work, circa 1930s-1970s (Box 2, 4; 18 folders)
Series 7: Photographs, 1910-1973, undated (Box 2, 4; 34 folders)
Series 8: Printed Material, 1926-1975, undated (Box 2-5; 30 folders)
Biographical Note:
American painter Ludwig Sander was born on July 18, 1906 in Staten Island, New York. After independent studies with Boardman Robinson and Alexander Archipenko, he attended the Art Students' League from 1928 to 1930. From 1931 to 1932, Sander studied art in Paris and with Hans Hofmann in Munich. While in Europe, he befriended many other artists including Balcomb Greene, Reuben Nakian, and Vaclav Vytlacil.
After Army service from 1942 to 1945, Sander returned to school, earning a B.A. in Art History from New York University in 1952. He taught at various schools including the Art Students' League, the School of Visual Art, and the University of Pennsylvania. He was also a charter member of The Club, a postwar group of New York artists famous for its polemic discussions.
From 1959, Sander regularly exhibited his art work and had solo exhibitions at prominent galleries including the Leo Castelli Gallery, Kootz Gallery, and the Knoedler Gallery. His work is in the permanent collections of the Art Institute of Chicago, the Guggenheim Museum, and the Whitney Museum of American Art.
Ludwig Sander died July 3, 1975 in New York City.
Separated Materials:
Also available at the Archives of American Art are materials lent for microfilming (reel 32) consisting of printed material including catalogs and announcements, a biography, and reviews and articles by and about Sander, including excerpts from Sander's column in Saturday Review. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Ludwig Sander loaned printed material for microfilming in 1970. The Ludwig Sander papers were donated by the artist's widow, Kate Sander, in 1975.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York Search this
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Genre/Form:
Photographs
Sketches
Exhibition catalogs
Sketchbooks
Citation:
Ludwig Sander papers, 1910-1975. Archives of American Art, Smithsonian Institution.
Documentaries about American abstract expressionists, produced and directed by Thomas Herskovic, and edited by Marika Herskovic; one is an interview of Ibram Lassaw conducted by Fred Licht. Each of the artists participated in the 1951 exhibition in New York, "The 9th Street Show" (May 21- June 10, 1951 at 60 E. 9th St.), organized and juried by the artists themselves. Each video includes a biographical summary of the artist, and is from 15 to 25 minutes in length. The artists include: James Brooks, Nicolas Carone, Perle Fine, Albert Kotin, Ibram Lassaw, Conrad Marca-Relli, and Joe Stefanelli. With the exception of Stefanelli, the artists participated in the following five "Artists Annuals" exhibitions.
Biographical / Historical:
Thomas Herskovic is a medical doctor and Marika Herskovic is a molecular biologist. Both have an interest in the abstract expressionist movement and are friends with the artists chosen for interviews.
Provenance:
The Herskovics produced the videotapes to document the recollections of the artists involved in abstract expressionism. The selection of the artists was based on participation in the "Artists Annuals" between 1951 (9th Street Show) and 1957. They are friends with many of the artists. Additional interviews have been and will be conducted; it is expected these will also be donated.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art, Abstract -- New York (State) -- New York -- History -- Sources Search this
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Scope and Contents:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.
Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.
Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.
Arrangement:
This collection is arranged as 5 series:
Missing Title
Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)
Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)
Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)
Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)
Biographical / Historical:
Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.
A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.
In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.
Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.
Provenance:
Donated by Ruth Bowman in 2004.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Ibram Lassaw and Laurie Lisle. Interview with Ibram and Ernestine Lassaw, 1983 February 10. Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Ibram Lassaw, 1968 Aug. 26. Archives of American Art, Smithsonian Institution.
The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.
Scope and Contents:
The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.
Biographical material includes Art Students League records, address books and business cards, artist statements and resumes, an interview transcript and sound cassette, and other miscellaneous documents.
Correspondence is with family, friends, colleagues, artists, galleries, and museums. The bulk of the correspondence is with daughter Sandra Fisher and husband Seymour Kott. Notable correspondents include Will Barnet, Keith Coleborn, Elaine Ehrenkranz, Rafael Fernandez, Henry Pearson, and others. There are also greeting cards and postcards, inluding numerous illustrated cards from Fisher to her husband Seymour.
Writings mostly consist of annotated appointment calendars and travel diaries along with some writings by others, such as a travel diary by Keith Coleborn and a graduate thesis by Keri Jones.
Project files include correspondence, grant applications, printed and digital material, and publication agreements for art projects, commissions, studio tours, auctions, and speaking engagements. Notable projects include material on the NBC-TV film Family Ties, art loans for the Showtime movie Town of the Eighties, and teaching material from Brentwood Art Center.
Exhibition files contain exhibition announcements, catalogs, publicity, reviews, correspondence, exhibition lists, price lists of artwork, and other material for Ethel Fisher's group and solo shows.
Artists' files include printed material about and limited correspondence with various artists in which Fisher was interested or with whom she was friends, including Stanley Boxer, Irving Fine, Ilse Getz, Ibram Lassaw, and Paul Thek.
Personal business records include consignments, price lists, loan agreements, receipts, donations, and sales documentation.
Printed material includes exhibition catalogs, announcements, magazines, and clippings about Ethel Fisher and other artists. There are also books inscribed to Fisher.
The artwork series includes sketchbooks, drawings, watercolors, and loose sketches.
Photographic material consists of photographs, digital photographs, slides, and negatives of Ethel Fisher, her artwork, exhibitions, events, family, friends, artists, studios, and travel. There are also "reference photos" of people, places, and objects which Fisher used for her portraits and paintings.
Arrangement:
The collection is arranged as 10 series.
Missing Title
Series 1: Biographical Material, 1939-2014 (0.3 linear feet; Boxes 1, 13)
Series 2: Correspondence, 1930-2017 (5.4 linear feet; Boxes 1-6, 13, 15)
Series 3: Writings, 1965-2014 (0.8 linear feet; Boxes 6-7, 13)
Series 4: Project Files, 1954-2011 (0.5 linear feet; Boxes 7, 12, 0.128 GB; ER01)
Series 5: Exhibition Files, 1945-2006 (0.6 linear feet; Boxes 7-8)
Series 6: Artists' Files, 1952-2010 (0.4 linear feet; Boxes 8, 12)
Series 7: Personal Business Records, 1959-2017 (0.3 linear feet; Boxes 8, 13)
Series 8: Printed Material, 1940-2016 (1.0 linear feet; Boxes 8-9, 12-13)
Series 9: Artwork and Sketchbooks, 1944-2014 (1.0 linear feet; Boxes 9, 12-15, OV16)
Series 10: Photographic Materials, 1942-2014 (2.2 linear feet;Boxes 9-11, 14, 0.430 GB; ER02)
Biographical / Historical:
Ethel Fisher (1923-2017) was a painter who lived in Pacific Palisades, California.
Ethel Fisher was born in Galveston, Texas in 1923. She studied art at the University of Houston, University of Texas, and Washington University in St. Louis, Missouri. After college, she moved to New York City and attended The Art Students League on scholarship from 1943-1946. In New York, she studied with painter Will Barnet, Morris Kantor, and Robert Beverly Hale, and befriended many people in the art world. She married Gene Fisher and their first daughter Sandra was born. Sandra also became a painter and later married artist R. B. Kitaj.
Fisher and her family moved to Miami in 1948 where her daughter Margaret was born. Upon her divorce, Fisher travelled in Europe for about a year before returning to New York City in the early 1960s, where she continued to paint and maintained 2 studios for her artwork. She married art historian Seymour Kott in 1963.
In 1970, Fisher and her husband moved to Pacific Palisades in Los Angeles, California. Throughout her career as a painter, Ethel Fisher has had solo and group exhibitions at galleries in Havana, Cuba; West Palm Beach, Florida; Atlanta, Georgia; New York City, New York; and San Francisco and Los Angeles, California. She has been the recipient of numerous awards and continues to paint. In 2003, Fisher had solo exhibit of portraits at Platt Gallery in Los Angeles.
Provenance:
The Ethel Fisher papers were donated by Ethel Fisher in two installments in 1997 and 2015.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate 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:
Painters -- New York (State) -- New York Search this
Ibram Lassaw and Joan French Seeman. Interview with Ibram Lassaw, between 1973-1981. Joan Seeman papers, 1973-1981. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Ibram Lassaw, 1964 Nov. 1-2. Archives of American Art, Smithsonian Institution.
73 Items (Letters, written in ink, ball point, graphite, typewriter)
26 Items (Stamps)
3 Items (Photographs)
Type:
Collection descriptions
Archival materials
Correspondence
Place:
USA -- Tennessee -- Nashville
Date:
1831-1979
Scope and Contents:
This collection is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American Art. Included in the collection is a significant portion of letters from Abbott Thayer to correspondents from his circle of family, friends and art world figures such as Maria Oakey Dewing and Samuel Coleman.
Arrangement:
Organized alphabetically by author.
Biographical / Historical:
Beginning in his youth Thomas Brumbaugh collected autographed correspondence. Mr. Brumbaugh's collecting instincts resulted in a unique collaborative collection providing a glimpse into the lives of a variety of 19th and 20th century American artists, such as Abbott Thayer. Brumbaugh was a professor of fine arts at Vanderbilt University in Nashville, and author of many articles on American art and artists.
Local Numbers:
FSA A2009.06
Other Archival Materials:
Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
