Skip to main content Smithsonian Institution

Search Results

Collections Search Center
1,570 documents - page 1 of 79

Peter Pollack papers

Creator:
Pollack, Peter, 1909-1978  Search this
Names:
Archives of American Art  Search this
Federal Art Project (Ill.)  Search this
South Side Community Art Center  Search this
United States. Works Progress Administration  Search this
Abrams, Harry N.  Search this
Adams, Ansel, 1902-1984  Search this
Brassaï, 1899-  Search this
Cole, Sylvan  Search this
Davis, Charles H. (Charles Harold), 1856-1933  Search this
De Diego, Julio, 1900-  Search this
Florsheim, Richard A., 1916-1979  Search this
Gernsheim, Helmut, 1913-  Search this
Halsman, Philippe  Search this
Harissiadis, Dimitrios  Search this
Karsh , Yousuf, 1908-2002  Search this
Mayer, Grace M.  Search this
Newhall, Beaumont, 1908-1993  Search this
Extent:
6.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1939-1979
Scope and Contents:
Correspondence; photographs; writings and lecture notes; and printed material; and a scrapbook.
Circa 300 personal letters, 1945-1970, to Pollack from painter Richard Florsheim.
Files of correspondence and clippings pertaining to Pollack's career as a curator and photography historian. Most of the files concern Pollack's book "The Picture History of Photography." Other files concern Pollack's work on publications for Harry N. Abrams, Inc., the Worcester Art Museum and the Art Institute of Chicago. Also included are writings and lecture notes; a few letters and clippings from scrapbooks; and miscellany. Correspondents include: Ansel Adams, Gyuia Halasz Brassai, Sylvan Cole, Julio De Diego, Helmut Gernsheim, Philippe Halsman, Dimitrios Harissiadis, Yousuf Karsh, Grace M. Mayer, and Beaumont Newhall.
Personal correspondence, 1954-1976, with Richard Florsheim discussing various career choices and projects, exhibition openings, Florsheim's art dealers, and book projects Florsheim was involved in; project files, 1948-1962, regarding Pollack's position as the New York City-based Public Relations Consultant for the Archives of American Art, the Cincinnati Art Museum, the Guggenheim, and other institutions. Included are letters, news releases, catalogs, announcements and some photographs and clippings of such projects as the International Biennial of Prints and the AAA European art tour trip.
Also included is a scrapbook, 1939-1943, concerning exhibitions and activities of the South Side Community Art Center, Chicago, sponsored by the Illinois Art Project of the WPA-FAP and supervised by Pollack, 1938-1942. The center's purpose was to advance African American art and artists. Included are by-laws; letters from Alain Locke, and Richmond Barthe; photographs of Pollack, Jules Carlen, Horace Pippin, Eldzier Cortor, Canada Lee, Julio de Diego, Jesus Torres, and Eleanor Roosevelt at the dedication of the center, 1941; a typescript of a lecture by Daniel Catton Rich "The Art Museum and the Community Art Center," delivered at the Museum Director's conference, Detroit Institute of Arts, May 1940, newspaper clippings, exhibition announcements and catalogs and other printed material.
Biographical / Historical:
Peter Pollack (1909-1978) was a photographer, curator, historian, and writer in New York, N.Y.
Provenance:
Material on reels 822 and 4886-4887 donated 1974-1977 by Pollack, except for the scrapbook which was donated by Jane de Hart, an art historian at the University of North Carolina at Chapel Hill, who received it from Pollack for her research on African American artists and WPA projects. Material on reels 2385-2390 was lent for microfilming in 1981 by Creilly Pollack, Pollack's widow.
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.
Occupation:
Museum curators  Search this
Photographers -- New York (State) -- New York  Search this
Topic:
Photography  Search this
African American artists  Search this
Function:
Art centers -- Illinois
Identifier:
AAA.pollpete
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99d50daff-d847-4481-a7ea-0b7d7bdeea24
EDAN-URL:
ead_collection:sova-aaa-pollpete

Milton Wolf Brown papers

Creator:
Brown, Milton Wolf (Milton Wolf), 1911-1998  Search this
Names:
Archives of American Art  Search this
Armory Show 50th anniversary exhibition (1963 : New York, N.Y.)  Search this
Brooklyn College -- Faculty  Search this
Century Association (New York, N.Y.)  Search this
City University of New York -- Faculty  Search this
Whitney Museum of American Art  Search this
Brown, Blanche  Search this
Lawrence, Jacob, 1917-2000  Search this
Lozowick, Louis, 1892-1973  Search this
Lynes, Russell, 1910-1991  Search this
Meltzoff, Stanley  Search this
Panofsky, Erwin, 1892-1968  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Extent:
26 Linear feet
0.225 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Travel diaries
Articles
Interviews
Essays
Drafts (documents)
Transcripts
Photographs
Notebooks
Lectures
Scripts (documents)
Date:
1908-1998
Summary:
The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 26.0 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.
Scope and Content Note:
The papers of art historian and educator Milton Wolf Brown date from 1908 to 1998 and measure 25.8 linear feet and 0.225 GB. The collection documents Brown's career through scattered biographical material, correspondence with friends, publishers, colleagues, artists, museums, and art organizations, travel journals, files for the Prendergast Catalogue Raisonne Project, exhibition, research, teaching, and organization files, printed and digital material, and scattered photographs. A large portion of this collection consists of writings by Brown including notebooks, draft writings for books and other publications, lectures, and his writings as a student.

Biographical material includes academic records, travel documents, financial documents, Brown's military records, and a transcript of a 1997 interview. Correspondence is with students, museums, universities, publishers, art organizations, and others. The bulk of these letters document Brown's professional activities, but also found are scattered letters from friends, artists, and colleagues such as Russell Lynes, Stanley Meltzoff, Louis Lozowick, Erwin Panofsky, and Paul Sachs.

This collection also contains 33 detailed travel journals written primarily by Milton Brown's wife, Blanche, documenting their travels in Europe, the United States, and other parts of the world. Within the writings series are notebooks from the period that Brown was a student and while traveling in Europe in 1959 and 1960; book project files, which include draft writings as well as related correspondence, research material, notes, photographs and other material. Files are found for American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography (1979), American Painting, From the Armory Show to the Depression (1955), The Story of the Armory Show (1963, 1988 2nd ed.), and other books. Among the writings are files for lectures written by Brown; essays, articles, and scripts written for various publications; general research notes and student writings; and writings by others sent to Brown for review and feedback.

Brown maintained a set of files documenting his work on the Prendergast Catalogue Raisonne Project, which consist of correspondence, drafts, reports, and research materials, including notes on twenty meetings with Mrs. Prendergast. Exhibition files document Brown's work as curator on several major exhibitions, including a Jacob Lawrence exhibition at the Whitney Museum, and his contributions to others. Also found here are three interviews of Milton Brown and Marcel Duchamp concerning the 50th Anniversary of the Armory Show and anniversary exhibition. Research files include notes, research material, and printed material on various art-related subjects that were maintained by Milton and Blanche Brown for regular use for lectures, teaching, and writing projects. Brown's teaching files contain scattered lecture notes, syllabi, correspondence, faculty records, and other materials from his time at CUNY, Brooklyn College, and other visiting professorships. Organization Files contain correspondence, reports, planning documents, and event materials. These records document his membership or advisory role in various organizations such as the Archives of American Art and Century Association.

This collection also contains printed material, such as exhibition announcements, newsletters, brochures, journals, event programs, and magazine and newspapers clippings compiled by Brown. Scattered photographs include nine photographs of Milton Brown, a few photographs of friends, and photographs of artwork.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, circa 1932-1998 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1908, 1934-1998 (Boxes 1-3; 1.8 linear feet)

Series 3: Travel Journals, 1941-1996 (Boxes 3-4; 1.6 linear feet)

Series 4: Writings, circa 1929-1990s (Boxes 4-13, 25; 8.7 linear feet)

Series 5: Prendergast Catalogue Raisonne Project, circa 1952-1990 (Boxes 13-14, 25; 1.8 linear feet)

Series 6: Exhibition Files, 1962-circa 1997 (Boxes 14-16, 28; 2.0 linear feet, ER01; 0.225 GB)

Series 7: Research Files, circa 1930s-1986 (Boxes 16-19; 3.0 linear feet)

Series 8: Teaching Files, circa 1946-1993 (Boxes 19-21; 2.0 linear feet)

Series 9: Organization Files, 1959-1995 (Boxes 21-22; 1.3 linear feet)

Series 10: Printed Material, 1925-1990s (Boxes 22-24, 26, 27; 3.2 linear feet)

Series 11: Photographs, circa 1956-1990s (Boxes 25, 27; 0.2 linear feet)
Biographical Note:
Milton Wolf Brown (1911-1998) was an art historian and educator in New York City.

Known to his friends as "Mainey," Brown was born in Brooklyn, New York, in 1911. At a young age he intended to be a painter and studied with Louis Lozowick. However, instead of attending art school, he entered New York University to study education and eventually received his master's and doctorate in art history from the Institute of Fine Arts. While there he took courses with Walter Friedlander, Erwin Panofsky, and Mayer Schapiro. He also received fellowships to the Courtauld Institute of Art in 1934 and Brussels in 1937, and studied from 1938-1939 at the Fogg Art Museum at Harvard University. In 1938 he married fellow student Blanche Levine. After serving in World War II, he began teaching in the art department at Brooklyn College in 1946. There he developed a specialization in American art history and his doctoral dissertation, American Painting from the Armory Show to the Depression, was published in 1955. In 1963 he participated in the fiftieth anniversary exhibition of the 1913 Armory Show. The publication of his book Story of the Armory Show coincided with this event.

In 1971 Brown established the graduate program in Art History at the City University of New York, which became preeminent in the areas of modern art and American art history. During the 1980s he remained a resident professor at CUNY, though he retired in 1979, and he held visiting professorships at Hebrew University in Jerusalem and the Center for Advanced Study in the Visual Arts at the National Gallery of Art. From 1983 to 1987 he had a senior fellowship at Williams College for the Prendergast Catalogue Raisonne Project.

Over the course of his career Brown curated exhibitions, including an exhibition on the works of Jacob Lawrence and The Modern Spirit: American Painting and Photography, 1908-1935, and wrote for numerous publications. He also served as an active member of several professional societies. Brown was close friends with art scholars and artists, such as Jack Levine, Moses and Raphael Soyer, Ad Reinhardt, and Paul Strand. In 1991 he returned to painting landscape watercolors, and had the opportunity to exhibit his work before his death in 1998.
Related Material:
Also at the Archives of American Art is an oral history interview with Milton Wolf Brown, conducted in 1976 by Paul Cummings.
Provenance:
The Milton Wolf Brown papers were donated in 2000 and 2001 by Blanche R. Brown, Brown's widow. Three reel-to reel sound recordings were lent for duplication to cassette and transcript in 1986 by Milton Brown. A cassette copy of the Martha Deane interview was donated in 2006 by Milton Brown's estate, via Naomi Rosenblum. Additional material was donated in 2002 and 2004 by Naomi Rosenblum, executor for the estate of Blanche R. Brown, who died in 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Art, American History Sources  Search this
Genre/Form:
Travel diaries
Articles
Interviews
Essays
Drafts (documents)
Transcripts
Photographs
Notebooks
Lectures
Scripts (documents)
Citation:
Milton Wolf Brown papers, 1908-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.browmilt
See more items in:
Milton Wolf Brown papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c2f1a099-bc53-4b03-a5fd-61e0feca9db8
EDAN-URL:
ead_collection:sova-aaa-browmilt
Online Media:

Leo H. Baekeland Papers

Creator:
Baekeland, L. H. (Leo Hendrik), 1863-1944  Search this
Names:
Bakelite Corporation  Search this
Nepera Chemical Co.  Search this
Extent:
15 Cubic feet (49 boxes)
Type:
Collection descriptions
Archival materials
Professional papers
Clippings
Laboratory notes
Personal correspondence
Photographs
Notebooks
Diaries
Date:
1976
1863 - 1968
Summary:
The papers document Leo H. Baekeland, a Belgian born chemist who invented Velox photographic paper (1893) and Bakelite (1907), an inexpensive, nonflammable, versatile plastic. The papers include student notebooks; private laboratory notebooks and journals; commercial laboratory notes; diaries; patents; technical papers; biographies; newspaper clippings; maps; graphs; blueprints; account books; batch books; formula books; order books; photographs; and correspondence regarding Baekeland, 1887-1943.
Scope and Contents:
Baekeland documented his life prolifically through diaries, laboratory notebooks, photographs, and correspondence. These constitute the bulk of the collection. The Bakelite company history is also incompletely documented in this collection through Baekeland's correspondence, the commercial laboratory notebooks, and some company ledgers.
Arrangement:
Series 1: Reference Materials, 1863-1868 and undated

Subseries 1.1: Biographical, 1880-1965

Subseries 1.2:Company History, 1910-1961

Subseries 1.3: Related Interests, 1863-1968 and undated

Series 2: Published and Unpublished Writings (by Leo H. Baekeland), 1884-1945

Series 3: Correspondence, 1888-1963 Subseries 3.1: Personal Correspondence, 1916-1943

Subseries 3.2: Charitable Donations, 1916-1938

Subseries 3.3: Family Correspondence, 1888-1963

Subseries 3.4: Clubs and Associations, 1916-1943

Series 4: Diaries, 1907-1943

Series 5: Reading and Lecture Notes, 1878-1886

Series 6, Laboratory Notebooks, 1893-1915

Series 7: Commercial Laboratory Notebooks, 1910-1920

Series 8: Bakelite Company, 1887-1945

Series 9, Patents, 1894-1940

Series 10: Bakelite Corporation Ledgers, 1910-1924; 1935; 1939

Series 11: Photographs, 1889-1950 and undated

Subseries 11.1: Photographs, 1889-1950 and undated

Subseries 11.2: Film Negatives, 1900-1941 and undated

Subseries 11.3: Photoprints, 1894-1941

Subseries 11.4: Stereographs, 1888-1902 and undated

Subseries 11.5: Film and Glass Plate Negatives, 1899-1900 and undated

Series 12: Audio Materials, 1976
Biographical / Historical:
Leo Hendrik Baekeland was an industrial chemist famous for his invention of Bakelite, the first moldable synthetic polymer, and for his invention of Velox photographic paper. Baekeland's career as an inventor and innovator was punctuated by an urge to improve existing technologies and a willingness to experiment both meticulously and daringly. Born in Ghent, Belgium in 1863, Baekeland was a distinguished chemistry student and became a young professor at the University of Ghent. He had a long standing interest in photography and sought to further photographic technology with his expertise in chemistry. In 1887 he obtained his first patent for a dry plate which contained its own developer and could be developed in a tray of water. With the support of a business partner/faculty associate, Jules Guequier, he formed a company named Baekeland et Cie to produce the plate, but the venture failed due to lack of capital.

On August 8, 1889, he married Celine Swarts, daughter of his academic mentor Theodore Swarts, Dean of the Faculty of Sciences at the University of Ghent. After his wedding he travelled to different countries using a traveling scholarship he had been awarded two years previously. His travels ended in the United States where he was offered a job researching chemical problems associated with manufacturing bromide papers and films with A. and H.T. Anthony and Company, a photographic supply producer. Leo and Celine Baekeland had three children: George, Nina and Jenny (1890-1895).

He left Anthony and Company in 1891 to be a consulting chemist. During that time he invented a photographic print paper using silver chloride which could be developed in artificial light instead of sunlight and thus offered more flexibility and consistency to photographers. In 1893, with financial support from Leonard Jacobi, a scrap metal dealer from San Francisco, he formed the Nepera Chemical Company in Yonkers, New York, to manufacture "gaslight" paper under the trade name Velox. The paper became quite popular and the company expanded its operations after its first three years. Finally, George Eastman bought the company for a reported $750,000 which afforded Baekeland the time to conduct his own research in a laboratory he set up on his estate, "Snug Rock," in Yonkers.

Baekeland worked on problems of electrolysis of salt and the production of synthetic resins. He was hired as a consultant to work with Clinton P. Townsend to perfect Townsend's patented electrolytic cell. Baekeland's work there contributed to the success of the Hooke Electrochemical Company which began in operations in Niagara Falls in 1905.

Simultaneously, in 1902 Baekeland began researching reactions of phenol and formaldehyde, and by 1907 was able to control the reactions and produce a moldable plastic (oxybenzylmethylenglycolanhydride) which he named Bakelite. Although the process was not perfected for another couple of years, Baekeland applied for a patent for Bakelite right away. He announced his discovery to the scientific community in 1909, and in 1910 formed the General Bakelite Company. Bakelite was a thermosetting resin that, unlike Celluloid became permanently solid when heated. It was virtually impervious to heat, acids, or caustic substances. It could be molded into a wide variety of shapes and was an excellent electric insulator that came to replace hard rubber and amber for electrical and industrial applications. It was also suitable for a wide variety of consumer products such as billiard balls, jewelry, pot handles, telephones, toasters, electric plugs, and airplane instrument knobs. Two companies challenged Bakelite with significant competition, Condensite Corporation of America and Redmanol Chemical Products Company. Bakelite finally merged with these two companies in 1922 to become the Bakelite Corporation. Union Carbide finally bought the corporation in 1939.

Baekeland sustained his interest in photography by taking numerous photographs throughout his lifetime. He also devoted much of his spare time to professional societies and received various honorary degrees and awards such as the Perkin Medal. He had several hobbies such as boating, wine and beer making, and, exotic plants. He also traveled extensively throughout the world, which is documented in his diaries and photographs.

Baekeland spent his final years mostly in his Coconut Grove, Florida home where he became increasingly eccentric until his mind failed him and he was institutionalized. He died in 1943 at the age of eighty.

Scope and Content: Baekeland documented his life prolifically through diaries, laboratory notebooks, photographs, and correspondence. These constitute the bulk of the collection. The Bakelite company history is also incompletely documented in this collection through Baekeland's correspondence, the commercial laboratory notebooks, and some company ledgers.
Related Materials:
Materials in the Archives Center

Albany Billiard Ball Company Records (AC0011)

Celluloid Corporation Records (AC0009)

J. Harry DuBois Collection on the History of Plastics (AC0008)

Materials at Other Organizations

The Hagley Museum and Library, Manuscripts and Archives Department in Delaware also several related collections including: the Directors of Industrial Research Records, 1929 -982; the Du Pont Viscoloid Company, Survey of the Plastics Field, 1932; The Society of the Plastics Industry, 1937-1987; the Roy J. Plunkett Collection, 1910-1994 (inventor of Teflon); and the Gordon M. Kline Collection, 1903.
Separated Materials:
The National Museum of American History, Division Medicine and Science has several artifacts associated with Baekeland including the original "Bakalizer" the apparatus in which Bakelite was first made. See accession numbers: 1977.0368; 1979.1179; 1981.0976; 1982.0034; 1983.0524; 1984.0138.
Provenance:
The bulk of the collection was donated to the National Museum of American History's Division of Physical Sciences in November, 1981, by Celine Karraker, Leo H. Baekeland's granddaughter.
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.
Topic:
Phenolic resins  Search this
Travel -- Photographs  Search this
Chemists -- 1880-1970  Search this
Inventors -- 1880-1970  Search this
Plastics -- 1880-1970  Search this
Chemistry  Search this
Genre/Form:
Professional papers -- 1880-1970
Clippings -- 1880-1970
Laboratory notes
Personal correspondence -- 1880-1970
Photographs -- Black-and-white negatives -- Glass -- 19th-20th century
Notebooks -- 1880-1970
Diaries -- 1880-1970
Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century
Photographs -- Black-and-white negatives -- Nitrate -- 19th-20th century
Citation:
Leo Baekeland Papers, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0005
See more items in:
Leo H. Baekeland Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep846e88df6-033d-4805-99e2-b308002a75f4
EDAN-URL:
ead_collection:sova-nmah-ac-0005
Online Media:

Axtell, Flowerdew Hundred Lecture Notes

Container:
Box 17 of 27
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 00-002, National Museum of American History, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 17
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa00-002-refidd1e6911

West Lake Hills -- David-Peese Garden

Photographer:
Druse, Kenneth  Search this
Designer:
David, James deGrey  Search this
Peese, Gary  Search this
Architect:
Coote, James Robert  Search this
Lamb, Paul  Search this
Lawrence, Mell  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
David-Peese Garden, (West Lake Hills, Texas)
United States of America -- Texas -- Travis -- West Lake Hills
Scope and Contents:
The folder includes worksheets, a planting list, lecture notes, and articles featuring the property of James David.
General:
This two-acre garden in West Lake Hills, a suburb of Austin, Texas is based on classical and Texas garden traditions and designed by a professional landscape architect and horticulturist. The garden has evolved and expanded since its inception in 1978. The garden mixes formal and informal, modern and traditional elements through a series of garden rooms. Strong directional paths and architectural elements unify an otherwise eclectic style.
Features include a swimming pool, greenhouse, dovecote, gravel terrace, pond with limestone terrace bisected by a runnel leading to it, dining terrace, lawn, French-inspired garden and a vegetable garden. Plantings include agaves, bambusa, clematis, ilex, and pollarded sycamores.
Persons associated with the garden include: Robert James Coote (architect, 1979); Paul Lamb (architect, 1988); Mell Lawrence (architect, 2003 and 2007); James deGrey David (owner, landscape architect, 1978- ); Gary R. Peese (owner, 1978 - ).
Related Materials:
David-Peese Garden related holdings consist of 2 folders (48 slides; 325 transparencies; 36 digital images)
See others in:
Ken Druse garden photography collection 1978-2005.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Texas -- West Lake Hills  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File TX115
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Texas
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb612a14276-14d6-46ff-9468-4911de6f19bc
EDAN-URL:
ead_component:sova-aag-gca-ref13523

Lecture Notes and Slide List

Collection Creator:
Fuller, Diana Burgess  Search this
Container:
Box 66, Folder 7
Type:
Archival materials
Date:
2002-2003
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Diana Fuller papers and gallery records
Diana Fuller papers and gallery records / Series 7: Diana Fuller Personal and Professional Papers / 7.2: Parallels and Intersections: Art/Women/California, 1950-2000, Book and Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90d276289-e769-4710-9d53-b1011e9e612c
EDAN-URL:
ead_component:sova-aaa-fulldian-ref1849

Administrative Records

Collection Creator:
Susan Cummins Gallery  Search this
Extent:
0.5 Linear feet (Box 1)
Type:
Archival materials
Date:
1984-2001
Scope and Contents:
Printed materials consist of clippings about Susan Cummins Gallery, the gallery's exhibits, artists, and other art-related topics, mostly concerning jewelry; and one catalog from the exhibition, Beyond the Obvious: Rethinking Jewelry (2000), held at the San Francisco Craft and Folk Art Museum and curated by Cummins. Group show exhibition files include two cassette tapes from Why Painting? (1992), and from The Weight of Gold (1993), artist statements, exhibition labels, correspondence, and price lists. Cummins's professional papers include lecture notes, transcripts, writings, and press releases. Susan Cummins' Panel and lecture files include transcripts, notes, reference material, and scant correspondence.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Susan Cummins Gallery records, 1984-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.susacumg, Series 1
See more items in:
Susan Cummins Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90310fc51-f5f8-488b-b495-314466a6b3e4
EDAN-URL:
ead_component:sova-aaa-susacumg-ref9

Lillian and Frederick Kiesler papers

Creator:
Kiesler, Lillian, 1910?-2001  Search this
Names:
Anthology Film Archives  Search this
Hans Hofmann School of Fine Arts  Search this
John Simon Guggenheim Memorial Foundation  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
University of Iowa, Museum of Art  Search this
Whitney Museum of American Art  Search this
Adnan, Etel  Search this
Andres, Jo  Search this
Arnaud, Leopold, 1895-1984  Search this
Bartos, Armand P., 1910-  Search this
Bultman, Fritz, 1919-1985  Search this
Buscemi, Steve, 1958-  Search this
Castelli, Leo  Search this
Copley, Alfred L.  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Hawkins, Erick  Search this
Hodges, Alice  Search this
Hofmann, Hans, 1880-1966  Search this
Holtzman, Harry  Search this
Howe, George, 1886-1955  Search this
Kamler, Richard  Search this
Kiesler, Frederick  Search this
MacIver, Loren, 1909-  Search this
Meredith, Burgess, 1907-1997  Search this
Milius, Tom  Search this
Miller, Henry, 1891-  Search this
Mondrian, Piet, 1872-1944  Search this
Montgomery, Chandler  Search this
Owen, Jane Blaffer, 1915-2010  Search this
Purdy, James  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
49.1 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Date:
circa 1910s-2003
bulk 1958-2000
Summary:
The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
Scope and Content Note:
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.
Arrangement:
The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-57; 41.1 linear feet, ER01; 0.001 GB)

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)
Biographical Note:
Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.
Related Material:
The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Separated Material:
Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.
Provenance:
The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.
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.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Set designers -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Performance artists -- New York (State) -- New York  Search this
Art patrons -- New York (State) -- New York  Search this
Topic:
Architects -- New York (State) -- New York  Search this
Exhibition designers  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Women performance artists  Search this
Function:
Art schools -- Massachusetts
Art Schools -- New York (State)
Genre/Form:
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Citation:
Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kieslill
See more items in:
Lillian and Frederick Kiesler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915
EDAN-URL:
ead_collection:sova-aaa-kieslill
Online Media:

Timothy Asch papers

Creator:
Asch, Timothy, 1932-1994  Search this
Correspondent:
Albert, Bruce  Search this
Andrews, Scott  Search this
Balikci, Asen, 1929-  Search this
Beidelman, Tom  Search this
Bermudez, Beatrice  Search this
Brigard, Emilie de  Search this
Cardozo, Jesus  Search this
Carpenter, Edmund, 1922-2011  Search this
Chagnon, Napoleon A., 1938-  Search this
Connor, Linda  Search this
Fox, James  Search this
Freeman, Derek  Search this
Harrison-Pepper, Sally  Search this
Heider, Karl  Search this
Homiak, John P. (John Paul), 1947-  Search this
Jules-Rosette, Benneta  Search this
Kamerling, Lenny  Search this
Lewis, Doug  Search this
Lizot, Jacques  Search this
Loizos, Peter  Search this
Mead, Margaret, 1901-1978  Search this
Mello, James F., 1936-  Search this
Middleton, John  Search this
Piault, Collette  Search this
Preloran, Jorge, 1933-2009  Search this
Rouch, Jean  Search this
Ruby, Jay  Search this
Smith, Patrice  Search this
Storas, Frode  Search this
Tax, Sol, 1907-1995  Search this
Wayang, Mark  Search this
Wayang, Mary  Search this
Young, Tao  Search this
Extent:
62 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Correspondence
Manuscripts
Photographs
Place:
Venezuela
Date:
1947-1995
Summary:
Timothy Asch was an anthropologist and ethnographic film maker who devoted his professional life to using film as a recording and teaching medium. His papers cover the period from 1966 until his premature death in 1994 and reflect his active career in the field. A large portion of the files relates to his work among the Yanomami people of Venezuela and to his concern with bias in film making.
Scope and Contents:
The papers of Timothy Asch document his career as an anthropologist, educator, photographer and filmmaker through correspondence, photographs, research files (articles and notes), and teaching materials (course information and lecture notes). The files relating to Asch's film projects include articles, field notes, and reviews. The major correspondents in this collection are Patsy Asch, Tom Beidelman, Napoleon Chagnon, James Fox, Robert Gardner, Douglas Lewis, Peter Loizos, David & Olga Sapir, and Minor White.
Arrangement:
The collection is arranged into the following 13 series:

Series 1) Correspondence (1953-1994)

Series 2) College and graduate School (1955-1965)

Series 3) Teaching materials (1964-1993)

Series 4) Film projects (1964-1991)

Series 5) Articles and reviews (1972-1994)

Series 6) Alpha-Subject (1955-1989)

Series 7) Conferences, film festivals, and film organizations (1963-1993)

Series 8) Grants (1962-1993)

Series 9) Other people's work (1952-1995)

Series 10) Personal and family (1951-1994)

Series 11) Photographs (1947-1991)

Series 12) Sound recordings (bulk 1960s-1970s)

Series 13) Note slips, rolodexes, and business cards (1987, undated)
Biographical note:
Asch studied photography at the California School of Fine Arts in San Francisco. While serving in the United States Army in Japan from 1951-55 he spent his off-duty hours photographing rice production and household activities in remote Japanese villages. After his military service, he enrolled in Columbia University graduating in 1959 with an undergraduate degree in Anthropology. After graduation, he went to work at the Peabody Museum at Harvard as an assistant editor to John Marshall on the Kung Bushmen film project. In 1964, he received a Masters Degree in Anthropology from Boston University where he studied in the African Studies Progam and read Anthropology with T.O. Beidelman at Harvard. In 1968, Asch and Marshall founded Documentary Educational Resources, a film distribution company. Anthropologist Napoleon Chagnon approached Asch in 1968 to film among the Yanomammmi people of Venezuela. This collaboration led to a major project resulting in over thirty films.

Chronology

1950-1951 -- California School of Fine Arts and Apprenticeships with photographers Minor White, Edward Weston and Ansel Adams

1953-1954 -- Military Service in Korea

1959 -- B.S. in Anthropology Columbia University

1959-1962 -- Ethnographic film consultant, Harvard University's Peabody Museum

1964 -- M.A. in Anthropology Harvard University

1965-1966 -- Curriculum Consultant, Ethnographic studies and the Bushmen Social Studies Curriculum Project (initially Educational Services, Inc., later called Educational Development Center)

1966-1968 -- Lecturer in Anthropology and Theater Arts, Brandeis University

1966-1968 -- Anthropology Curriculum and Media Consultant to the Newton Public Schools

1967-1994 -- Co-Founder and Director of Documentary Educational Resources, Watertown, Massachusetts, a non-profit curriculum development corporation distributing educational media

1968-1970 -- Visiting Assistant Professor, Anthropology Department, New York University

1969-1973 -- Lecturer, Department of Anthropology, Brandeis University

1973-1979 -- Research Fellow in Ethnographic film, Peabody Museum of Archaeology and Ethnology, Harvard University

1974-1976 -- Lecturer, Department of Anthropology, Harvard University

1975 -- Research Cinematographer, National Anthropological Film Center, Smithsonian Institution, Washington, D.C.

1976-1981 -- Senior Research Fellow, Department of Anthropology, Institute of Advanced Studies, the Australian National University, Canberra, Australia

1982 -- Visiting Research Scholar, Department of Anthropology at Macquarie University, Sydney, Australia

1983-1994 -- Director, Center for Visual Anthropology, Department of Anthropology, University of Southern California
Related Materials:
The Human Studies Film Archives holds 93,000 feet (43 hours) of original film footage and the accompanying sound as well as the edited films from the 1968 and 1971 film projects by Timothy Asch and Napoleon Chagnon documenting the Yanomamo Indians of southern Venezuela and northern Brazil (between the Negro and Upper Orinoco rivers).
Provenance:
Donated to the National Anthropological Archives by Patsy Asch in 1996.
Topic:
Anthropology  Search this
Film -- theory  Search this
Language and languages -- Documentation  Search this
Genre/Form:
Sound recordings
Correspondence -- 1953-1994
Manuscripts
Photographs -- 1947-1991
Citation:
Timothy Asch papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.1996-16
See more items in:
Timothy Asch papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3ebe64d9d-33d2-4af7-9417-8f21f639c754
EDAN-URL:
ead_collection:sova-naa-1996-16

Midtown Galleries records

Creator:
Midtown Galleries  Search this
Names:
Midtown-Payson Galleries  Search this
Betts, Edward H., 1920-  Search this
Bishop, Isabel, 1902-1988  Search this
Cadmus, Paul, 1904-1999  Search this
Coiner, Charles T., 1897-  Search this
Davis, Gladys Rockmore, 1901-1967  Search this
Etnier, Stephen, 1903-1984  Search this
Etting, Emlen, 1905-1993  Search this
Fiene, Ernest, 1894-  Search this
Gruskin, Alan D. (Alan Daniel), 1904-1970  Search this
Gruskin, Mary J.  Search this
Guston, Philip, 1913-1980  Search this
Hale, Nathan Cabot  Search this
Healey, Francis C.  Search this
Kingman, Dong, 1911-  Search this
Lahm, Ren'ee, 1897-1945  Search this
Magafan, Ethel, 1916-1993  Search this
Maldarelli, Oronzio, 1892-1962  Search this
Mangravite, Peppino, 1896-  Search this
Martin, Fletcher, 1904-1979  Search this
Meyer, Fred  Search this
Moller, Hans, 1905-  Search this
Nagler, Edith Kroger, 1890-1986  Search this
Nagler, Fred, 1891-1983  Search this
Palmer, William C., 1906-  Search this
Parsons, Betty  Search this
Peirce, Waldo, 1884-1970  Search this
Reinhardt, Siegfried, 1925-1984  Search this
Rosenthal, Doris Patty, 1889-1971  Search this
Saarinen, Lilian Swann, 1912-1995  Search this
Schoener, Jason  Search this
Sepeshy, Zoltan, 1898-1974  Search this
Shulkin, Anatol, 1899-1961  Search this
Simkhovitch, Simka, 1893-1949  Search this
Sokole, Miron, 1901-  Search this
Soyer, Isaac, 1902-1981  Search this
Taubes, Frederic, 1900-  Search this
Thon, William, 1906-2000  Search this
Varga, Margit, 1908-2005  Search this
Vickrey, Robert, 1926-2011  Search this
Wingate, Arline, 1906-1998  Search this
Extent:
86.82 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Video recordings
Date:
1904-1997
Summary:
The records of Midtown Galleries measure 86.82 linear feet and date from 1904 to 1997. The collection documents the operation and general administration of the business and includes artist records, exhibition material, inventories, financial records, photographs, and printed material.
Scope and Content Note:
Records of Midtown Galleries [including the addition], circa 1904-1997, comprise 86.82 linear feet on 117 microfilm reels. Records are sparse for the early years when the gallery was operated as a cooperative. As the business expanded and became profitable, recordkeeping was more systematic and thorough. Records consist of administrative correspondence, 1927-1989 and undated; exhibition records, 1934-1982 and undated; inventories and sales records, 1946-1980 and undated; financial records, 1933-1957; miscellaneous, 1934-1985 and undated; photographs, circa 1925-circa 1980; printed matter, 1932-1982 and undated; personal papers of Alan D. and Mary J. Gruskin, 1932-1983 and undated; and Papers of Francis C. Healey, 1932-1935 and undated An addition, represents scattered material, 1932-1997 and undated, that remained after the gallery closed in 1995. It includes administrative records, 1934-1995 and undated; photographs circa 1938-1988 and undated; artists records, 1932-1993 and undated; exhibitions, 1958-1993 and undated; videotapes, 1977-1988; and oversize printed matter, 1973-1977 and undated Because microfilmimg of the Midtown Galleries records was already underway when this material was received, it could not be integrated with the main portion of the collection.

Administrative correspondence is categorized as General Correspondence, Artists Correspondence, and Artists Applications. General Correspondence is with clients, collectors, museums and galleries, arts organizations, and businesses providing services to Midtown Galleries, and concerns routine business matters. Artists Correspondence contains both personal and business letters since the Gruskins were close friends of many artists represented by Midtown Galleries. Artists Applications consists of correspondence with artists seeking representation by Midtown Galleries. Both accepted and rejected artists are included in this subseries.

Exhibition records includes schedules and general correspondence about cooperative exhibitions and traveling shows. Exhibition files, arranged by title, contain correspondence concerning arrangements for each show.

Inventories include listings by artist and by warehouse location; also, lists of paintings on consignment, paintings returned to artists, loan/shipping log, and "traffic cards." Sales records include "groups totals,: artists account ledger, and sales slips.

Financial records consist of bills paid, banking records, accounting records, and tax returns with related documentation.

Miscellaneous items include manuscripts of Isabel Bishop Catalogue Raisonne and Biography by Karl Lunde and The Art of Philip Guston by Lester D. Longman. Also included are legal documents such as Act of Incorporation, partnership agreement, and leases; 32 guest registers, 1924-1985 and undated, and 15 samples of artist-designed fabrics produced by Onandoga Silk Co., 1946-1947.

Photographs of people include founders Alan D. Gruskin and Francis C. Healey, Mary J. Gruskin (Mrs. Alan D.) and many artists affiliated with Midtown Galleries. Photographs of works of art are by Midtown artists and others. Also, illustrations for Painting in the U.S.A. by Alan D. Gruskin; 2 albums of photographs of the work of Waldo Peirce, circa 1925-1930s (probably compiled by Peirce). Photographs of exhibitions include Midtown Galleries exhibitions and shows elsewhere featuring works by Midtown artists. Miscellaneous photographs include: Gruskin's Department Store (Pa.); models used by artists Julien Binford, Henry Koerner, and Doris Rosenthal; properties owned by Julien Binford and Hans Moeller; Anatol Shulkin's travel pictures of the Soviet Union; store window displays featuring Midtown artists, and fashion models at Midtown Galleries.

Printed matter includes material produced by Midtown Galleries: exhiition catalogs, 1932-1983 and undated; news releases, 1932-1983 and undated; Midtown News, 1965-1970; and miscellaneous items, 1943-1970 and undated Printed matter produced by others includes is comprised of artists files consisting mainly of newsclippings; also, articles about Midtown Galleries and the Gruskins.

Personal papers of Mary J. and Alan D. Gruskin contain biographical information, correspondence, financial records, miscellaneous items, calendars, and writings of Alan D. Gruskin. Correspondence, 1931-1970 and undated, with family and friends concerns personal business; also, letters of condolence on the death of Alan D. Gruskin, 1970. Financial records include personal finances and documentation of gifts of artwork to institutions, with appraisals and tax information. Calendars, 1939-1983, record both personal engagements and some business appointments. Writings of Alan D. Gruskin include manuscripts and drafts of columns, short stories, a screenplay, radio broadcasts, and lecture notes from courses at Harvard.

Papers of Francis C. Healey are comprised of correspondence that relates to both gallery and ersonal business. Also included are scripts and drafts for radio broadcasts, printed matter, press releases, and proposals for radio programs.

Administrative records received with the addition include general correspondence, correspondence with clients, and correspondence regarding gifts, sales and purchases. Records concerning the sale of Midtown Galleries to John Whitney Payson include Gruskin's and Payson's inventories. Also, included is a history of the gallery.

Photographs are of the Gruskins, their friends, and country house; also, views of Midtown exhibitions, openings, artists, and individual works of art.

Artists records are comprised mainly of artists files, largely containing printed matter. Among the artists records are a file of holiday cards by various artists, many with original artwork. Also included are catalogs of group shows featuring Midtown artists at other galleries

Exhibition materials include announcements, news releases, catalogs, miscellaneous printed matter, and a guest book. A small number of these items are dated after Payson's purchase of Midtown Galleries.

Videotapes of William Palmer, Isabel Bishop, and Robert Vickrey, as well as oversize printed matter relating to Midtown artists, complement the artists records.
Arrangement:
The collection is arranged into 10 series. A detailed explanation of the arrangement of each series is provided with the series descriptions. Each series is subdivided, often by record type, with categories usually arranged chronologically; exceptions are noted. Administrative correspondence (Series 1) is arranged alphabetically, as are many inventories sales records (Series 3). Photographs of people, exhibitions, and works of art (Series 6) are arranged alphabetically, as are the artists files and exhibition clippings portions of the printed matter (Series 7). The addition is described separately in Appendix A; and, wherever possible, reel and frame numbers of related materials received and filmed with the addition have been included in the main text's series descriptions.

Missing Title

Series 1: Administrative Correspondence, 1927-1989, undated (51 linear ft.)

Series 2: Exhibitions, 1932-1982, undated (4 linear feet)

Series 3: Inventories and Sales Records, 1932-1980, undated (5.3 linear ft.)

Series 4: Financial Records, 1933-1957 (3.5 linear feet)

Series 5: Miscellaneous, 1934-1985, undated (2 linear feet)

Series 6: Photographs, circa 1925-circa 1980 (6.5 linear feet)

Series 7: Printed Matter, 1932-1990, undated (7.25 linear ft.)

Series 8: Personal Papers of Alan D. and Mary J. Gruskin, 1904-1990, undated (4.5 linear feet)

Series 9: Papers of Francis C. Healey, 1932-1935, undated (0.5 linear ft.)

Series 10: Addition, 1932-1997, undated (2.5 linear feet)
Historical Note:
Alan D. Gruskin (1904-1970) hoped to become an artist, but while still a student realized that his talents were better suited to art administration than painting. Following graduation from Harvard University, he worked at a New York gallery that specialized in old masters, returning home to Pennsylvania after a year to pursue a writing career that ultimately proved unsuccessful. Gruskin returned to New York and opened Midtown Galleries at 559 Fifth Avenue in 1932. Specializing in work by living American artists, Midtown was one of a rather small number of commercial galleries in New York City that showed contemporary American art. Midtown Galleries represented academic and realist painters, and purposely avoided abstract art.

Founded during the Depression, Midtown Galleries was a shoe-string operation in its early years. Originally operated as a cooperative, Midtown Galleries' participating artists contributed to the costs and work of presenting exhibitions. Between 1932 and 1935, Gruskin served as "Art Director" of the gallery and his business partner, Francis C. Healey was "Publicity Director." Healey appears to have been responsible for weekly broadcasts on NBC radio designed to interest people in visiting the gallery. The 15-minute programs consisted of discussions with museum directors, curators, artists, writers, and musicians about a broad range of cultural topics. Copies of the scripts were offered for a dime, and the payments mailed by radio listeners bought Gruskin's meals. During this period, Gruskin lived in the gallery. After Healey's departure in 1935, Midtown Galleries ceased to be run as a cooperative.

Midtown Galleries usually represented approximately two dozen artists, and many remained with the gallery for decades. They included: Julien Binford, Isabel Bishop, Paul Cadmus, Gladys Rockmore Davis, Emlen Etting, Maurice Freedman, Dong Kingman, Oronzio Maldarelli, William C. Palmer, Waldo Peirce, Doris Rosenthal, Zoltan L. Sepeshy, Frederic Taubes, William Thon, Margit Varga, and Robert Vickrey.

Gruskin worked to educate and interest the public in American art and to promote the artists he represented. In addition to countless reviews, articles, and catalog essays, he wrote three books: Painting in the U.S.A. (1946), The Watercolors of Dong Kingman and How the Artist Works (1958), William Thon: The Artist and His Technique (1964). Gruskin advocated the use of fine art in advertising and industry, obtaining commissions for his artists and at the same time assisting clients in building corporate collections. A prime example is the Upjohn Company which, at Gruskin's urging, included reproductions of paintings in "Your Doctor Speaks," a series of public service announcements. Many of the paintings were purchased subsequently, forming the basis of the Upjohn Collection. A traveling exhibition, The Upjohn Company Collection of Contemporary American Paintings, was circulated by Midtown Galleries and featured in a Life magazine article about fine art and advertising. Another example is the fabric patterns, based on paintings by several of Midtown Galleries' artists, commissioned by the Onandoga Silk Company; the fabrics were used for dresses by popular designers, with fashion shows and window displays of paintings by the participating artists at selected department stores throughout the country. Working closely with architects and interior designers, Gruskin and Midtown Galleries were innovators in the use of domestic and business settings to showcase art with Art In Interiors, a series of exhibitions held annually between 1952 and 1961.

Midtown Galleries was a pioneer in circulating traveling exhibitions to colleges and art associations in communities distant from major art museums and commercial galleries. Beginning in 1936 and or more than 35 years, Midtown Galleries circulated 8-10 shows throughout the country each year; most were group shows organized around a theme, though occasional solo exhibitions were offered. Other important exhibitions off the premises were the Central Illinois Art Exposition, 1939, and the contemporary American art exhibition at the New York World's Fair, 1964-1965. The 1939 show organized by Gruskin for the Bloomington, Illinois, Art Association was a large exhibition of American art borrowed from a variety of institutions; the very well-publicized show was heavily attended, drawing visitors from a large area of the rural Midwest, many of whom had never visited a museum or seen original art.

Missing Title

1932 -- established as a cooperative gallery at 559 Fifth Ave. by Alan D. Gruskin (Art Director) and Francis C. Healey (Public Relations Director); Midtown Galleries presented programs on contemporary American art broadcast by NBC radio

1934-1935 -- Tudor City Art Galleries at 8 Prospect Place, New York City, featuring works by Midtown Galleries' artists and others, administered by Gruskin and Healey

1935 -- departure of Francis C. Healey; gallery moved to 605 Madison Ave.; gallery ceased to be run as a cooperative

1936 -- began traveling exhibitions to universities, museums, and regional art associations

1939 -- Central Illinois Art Exposition (Bloomington, Ill.)

1946 -- San Francisco branch opened and closed; publication of Painting in the U.S.A. by Alan D. Gruskin

1951 -- gallery moved to 17 East 57th Street

1958 -- publication of The Watercolors of Dong Kingman and How the Artist Works by Alan D. Gruskin

1962 -- gallery moved to 11 East 57th Street

1964 -- exhibition of contemporary American art at the New York World's Fair, organized by Midtown Galleries; shown in American Interiors Pavilion, this was the only exhibit of its kind at the Fair; publication of William Thon: The Artist and His Technique by Alan D. Gruskin

1966 -- loan of Midtown Galleries' records for microfilming by the Archives of American Art; this small selection, along with many other gallery records, was donated by Mary Gruskin to the Archives between 1972 and 1991, with an additional gift in 1997

1970 -- death of Alan D. Gruskin (1904-1970); Mary J. Gruskin assumes position of Director

1972 -- first portion of Midtown Galleries' records donated to the Archives of American Art by Mrs. Gruskin

1985 -- sale of Midtown Galleries to John Whitney Payson; Bridget Moore, Director, and Mary J. Gruskin, Director Emerita

1986 -- majority of Midtown Galleries' records acquired by the Archives of American Art

1990 -- name changed to Midtown-Payson Galleries; gallery moved to 745 Fifth Ave.

1991 -- additional gift of records by Mrs. Gruskin

1992 -- records arranged, described, and prepared for microfilming

1993 -- microfilming began; continued sporadically, in small segments

1995 -- Midtown-Payson Galleries closed

1997 -- additional gift of records by Mrs. Gruskin

1999 -- microfilming completed
Provenance:
Midtown Galleries loaned a small number of records consisting of news releases, 1939-1966, and exhibition schedules to the Archives of American Art for microfilming in 1966. Subsequently, Mary J. Gruskin donated this material, along with many other gallery records, to the Archives in several installments between 1972 and 1991; an additional gift was received in 1997. The portion loaned in 1966 is now integrated with the main records and has been refilmed in sequence. Unfortunately, the addition of 1997 was received in Washington, D.C. after microfilming was well underway. The addition has been microfilmed and described separately as Series 10. Wherever possible, the main text has been annotated with reel and frame numbers for related items contained in the addition.
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:
Art, Modern -- 20th century -- United States  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Photographs
Video recordings
Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
Identifier:
AAA.midtgall
See more items in:
Midtown Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw914dd4711-6742-49ca-86c0-2e99aad538ea
EDAN-URL:
ead_collection:sova-aaa-midtgall

Robert Pincus-Witten papers

Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Names:
Gagosian Gallery  Search this
Bochner, Mel, 1940-  Search this
Hecht, Leon  Search this
Hesse, Eva, 1936-1970  Search this
Twombly, Cy, 1928-  Search this
Extent:
12.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Drawings
Interviews
Sound recordings
Date:
1942-2017
bulk 1962-2005
Summary:
The papers of art historian, critic, and curator Robert Pincus-Witten measure 12.4 linear feet and date from 1942-2017. The collection consists of biographical material; color and black and white photographs and negatives; writings by Pincus-Witten; teaching files and printed material; journals; sketches by Pincus-Witten; professional files related to curatorial work; correspondence; artist files maintained by Pincus-Witten; and audiovisual and born digital materials.
Scope and Contents:
The papers of art historian, critic, and curator Robert Pincus-Witten measure 12.0 linear feet and date from 1942-2017. The collection consists of biographical material; color and black and white photographs and negatives; writings by Pincus-Witten; teaching files and printed material; journals; sketches by Pincus-Witten; professional files related to curatorial work; correspondence; artist files maintained by Pincus-Witten; and audiovisual and born digital materials.

The collection includes biographical material such as passports, address books, calendars, report cards, diplomas, and other academic ephemera; journals that document Pincus-Witten's daily personal and professional activities; drafts of articles, essays and other writings by Pincus-Witten; correspondence with friends and colleagues; teaching files from City University of New York that include lecture notes, slide lists, and student correspondence; research files on artists from the circa 1970s-1996; professional files that document Pincus-Witten's work at Gagosian Gallery and other curatorial activities; and photographs and negatives of family, friends, events and works of art. Also included are audio visual material consisting of two reel-to-reel tape recordings and seventeen sound cassettes documenting panels that featured Pincus-Witten, artist interviews, and Pincus-Witten dictating essays; born digital material including a CD-R from Rose Cabot's "The Marks Project" and 5.25 floppy disk(s) that include Pincus-Witten's writings; pencil, ink, and watercolor sketches and sketchbooks; and printed material consisting of exhibition announcements and invitations, pamphlets, press releases, event programs, newsletters, flyers, and clippings.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1942-circa 2010s (1.00 linear feet; Box 1)

Series 2: Correspondence, 1952-2015 (1.60 linear feet, Box 1, 2, 4)

Series 3: Journals, 1958-2015 (3.30 linear feet, Box 3, 12-18)

Series 4: Writing, 1953-2016 (1.50 linear feet, Box 4-5)

Series 5: Artist Files, 1950-2016 (1.60 linear feet, Box 5-7)

Series 6: Professional Files, 1959-2009 (1.50 linear feet, Box 7-8)

Series 7: Teaching Files, circa 1970s-1996 (0.50 linear feet, Box 8-9)

Series 8: Printed Material, 1962-2017 (0.95 linear feet, Box 9-10)

Series 9: Artwork, 1959-1996 (0.25 linear feet, Box 10)

Series 10: Unidentified Born Digital Materials, 1980s-2000s (0.2 linear feet, Box 10)
Biographical / Historical:
Robert Pincus-Witten (1935-2018) was an art historian, educator, critic, and curator in New York, New York.

Born in the Bronx, Pincus-Witten attended PS4, the New York High School of Music and Art, and The Cooper Union. During this time Pincus-Witten met his husband, Leon Hecht, who lived on the same block and was in the same kindergarten class at PS4. He also formed a lifelong friendship with high school classmate and artist, Ray Johnson. Pincus-Witten received a Master of Fine Arts and PhD from the University of Chicago and lived abroad in the late 1950s and early 1960s. Pincus-Witten became interested in art at a very early age and received recognition in the Regional and National Scholastic Art Awards in 1950 and 1952.

While living abroad and finishing his doctorate, Pincus-Witten accepted a teaching position at Queens College, part of the City University of New York (CUNY) network, where he taught art history courses until his retirement in 1991. Coining the term, "postminimalism," Pincus-Witten played a central role in explicating postmodern art as it emerged between 1960 and his death in 2018. He exhaustively documented his daily life on the front lines of the art world as a contributing editor for Artforum for nearly fifty years, including a stint as senior editor from 1973-1974. In addition to his long teaching career at the CUNY, Pincus-Witten worked for Larry Gagosian and Robert Mnuchin, curating exhibitions and writing catalog essays for their galleries. He was the author of several books, including Postminimalism (1977).
Related Materials:
Also found in the Archives of American Art is an oral history interview with Robert Pincus-Witten conducted by Francis M. Naumann, March 23-24, 2016.
Provenance:
The papers were donated in 2019 by Leon Hecht, Robert Pincus-Witten's husband.
Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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: Robert Pincus-Witten's journals.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
LGBTQ+  Search this
Postmodernism  Search this
Genre/Form:
Diaries
Drawings
Interviews
Sound recordings
Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
Identifier:
AAA.pincrobe
See more items in:
Robert Pincus-Witten papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw901f20149-a4b4-48e1-99b6-38e9f74f4d40
EDAN-URL:
ead_collection:sova-aaa-pincrobe

Teaching Files

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Extent:
0.5 Linear feet (Box 8-9)
Type:
Archival materials
Date:
circa 1970s-1996
Scope and Contents:
Teaching files include student correspondence regarding thesis projects and references; handwritten lecture notes with slide descriptions and photocopies of slides from the 1970s; student artwork slides from 1990; a copy of a circa 1989 early modern art class final; annotated draft lectures; clippings; notes for a twentieth century art and theory course; bibliographies; essays written by Pincus-Witten; Sotheby's American Arts course materials from 1988-1989 including faculty lists, teaching assignments, correspondence, meeting minutes, and a copy of Southeby's grading system; CUNY slide lists for lectures; a John Baldessari exhibition checklist; and a description of CUNY's art history doctoral program with proposed curriculum.
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
Identifier:
AAA.pincrobe, Series 7
See more items in:
Robert Pincus-Witten papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96fd8a91b-a27e-48f2-935e-d6d89e624cbd
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref21

Lecture Notes and Lecture Slide Descriptions

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 8, Folder 28
Type:
Archival materials
Date:
1971-1976
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 7: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91c0753e1-49b2-4189-8c64-6fb0851e2b27
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref303

Lecture Notes and Lecture Slide Descriptions

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 8, Folder 29
Type:
Archival materials
Date:
1971-1988
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 7: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ae76b7dd-a9f4-414b-a6d1-9c060be3d109
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref304

Lecture Notes and Lecture Slide Descriptions

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 9, Folder 1
Type:
Archival materials
Date:
1971-1979
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 7: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw997bb0206-34e7-4ffb-a58a-9330474cd3be
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref305

Lecture Notes and Lecture Slide Descriptions

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 9, Folder 2
Type:
Archival materials
Date:
1975-1982
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 7: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90e2c97b1-62d4-4082-8db5-b18bf38ca769
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref306

Lectures, Lecture Slide Descriptions, and Lecture Notes

Collection Creator:
Pincus-Witten, Robert, 1935-2018  Search this
Container:
Box 9, Folder 3
Type:
Archival materials
Date:
1980-1989
Collection Restrictions:
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Collection Citation:
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
See more items in:
Robert Pincus-Witten papers
Robert Pincus-Witten papers / Series 7: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d3da87ad-8347-4ae7-815a-f30124c869da
EDAN-URL:
ead_component:sova-aaa-pincrobe-ref307

Edward Laning papers

Creator:
Laning, Edward, 1906-1981  Search this
Photographer:
Peter A. Juley & Son  Search this
Names:
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Benton, Thomas Hart, 1889-1975  Search this
Lucioni, Luigi, 1900-1988  Search this
Marsh, Reginald, 1898-1954  Search this
O'Connor, Francis V.  Search this
Extent:
2.2 Linear feet ((on 3 microfilm reels))
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Sketchbooks
Date:
1880-1983
Scope and Contents:
Identification cards and a resume; an eleven page Laning family genealogy; correspondence with Francis V. O'Connor and others, undated and 1925-1983; photographs of family members and ancestors, of Laning, including one of him with his self-portrait taken by Peter A. Juley & Son, ca. 1943, and of his work; writings, including lecture notes, articles on Reginald Marsh and on Thomas Hart Benton, and an account of his experiences as a muralist for the Treasury Section; Laning's sketchbook; a print by Luigi Lucioni; business and financial records, memberships in organizations; awards and certificates; typescript of an interview with Laning; and printed matter.
Biographical / Historical:
Painter and muralist, died in 1981. Born in Petersburg, Ill. Studied at Art Institute of Chicago, the University of Chicago, and the Arts Students League with Max Weber, Boardman Robinson, and John Sloan. Worked extensively on the WPA Federal Art Project and the Treasury Section.
Provenance:
Material donated in 1972 by Edward Laning, and in 1973, 1983 and 1984 by his widow, Mary Fife Laning, through Laning executor Jack Henderson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters  Search this
Topic:
Art, American  Search this
Mural painting and decoration -- 20th century  Search this
Painting, Modern -- 20th century  Search this
Muralists  Search this
Genre/Form:
Interviews
Scrapbooks
Sketchbooks
Identifier:
AAA.laniedwa
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eeb6759b-00a2-4ce0-ad3d-07368160c7ff
EDAN-URL:
ead_collection:sova-aaa-laniedwa

Laurence E. Schmeckebier papers, 1909-1988

Creator:
Schmeckebier, Laurence Eli, 1906-1984  Search this
Subject:
Grosz, George  Search this
Lebrun, Rico  Search this
Meštrović, Ivan  Search this
Nordhausen, A. Henry  Search this
Orozco, José Clemente  Search this
Refregier, Anton  Search this
Rood, John  Search this
Roysher, Hudson  Search this
Schreckengost, Viktor  Search this
Dehn, Adolf  Search this
Evergood, Philip  Search this
Gropius, Walter  Search this
Type:
Scrapbooks
Citation:
Laurence E. Schmeckebier papers, 1909-1988. Archives of American Art, Smithsonian Institution.
Topic:
Art in universities and colleges -- New York (State) -- Syracuse  Search this
Mural painting and decoration, American -- New York (State) -- Syracuse  Search this
Mural painting and decoration, Mexican  Search this
Muralists  Search this
Greeting cards  Search this
Latino and Latin American artists  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8724
(DSI-AAA_SIRISBib)210905
AAA_collcode_schmlaur
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210905

Katharine Lane Weems papers

Creator:
Weems, Katharine Lane, 1899-1989  Search this
Names:
Brookgreen Gardens  Search this
World's Columbian Exposition (1893 : Chicago, Ill.) -- Photographs  Search this
Cornell, Katharine, 1893-1974  Search this
Cresson, Margaret French, 1889-1973  Search this
Gildersleeve, Basil L. (Basil Lanneau), 1831-1924  Search this
Grafly, Charles, 1862-1929  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Huntington, Anna Hyatt, 1876-1973  Search this
Kroll, Leon, 1884-1974  Search this
Lane, Gardiner M., 1859-1914  Search this
Lane, Katharine Ward, 1862-1893  Search this
Manship, Paul, 1885-1966  Search this
Marans, Moissaye, 1902-1977  Search this
Monjo, Enric, 1895-1976  Search this
Putnam, Brenda, 1890-1975  Search this
Weinman, Adolph A. (Adolph Alexander), 1870-1952  Search this
Wong, Anna May, 1905-1961  Search this
Extent:
14.8 Linear feet
3 Items (rolled docs)
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Place:
Saranac Lake N.Y. -- Photographs
Date:
1865-1989
Scope and Contents:
Biographical material, extensive diaries, correspondence, notes, writings, business records, sketchbooks and drawings, project files, scrapbooks, printed materials, photographs and slides, motion picture film, and videotape relating to Weem's education and career as a sculptor. Also included are ca. 1 foot of papers of Weems' aunt, watercolorist Katharine Ward Lane (1862-1893), including letters, diaries, sketchbooks and photographs.
REEL 724: Biographical sketch, 1974; letters from Frederic Bartlett, George Demetrios, Walker Hancock, Leon Kroll, Lee Lawrie, Moissaye Marans, Adolph Alexander Weinman, and others; four sketchbooks, 1954-1965, containing pencil drawings of animals; a scrapbook of clippings, 1924-1941; and printed material.
UNMICROFILMED: Biographical material includes sketches and documents, and biographical information on Weems grandfather, Basil Lanneau Gildersleeve, and father, Gardiner Lane. Diaries (74 v.), 1906-1983, contain entries relating to art studies and her development as a sculptor; some include clippings and photographs. Correspondence, 1898-1989, includes letters from Gifford Beal, Margaret French Cresson, Charles Grafly, John Gregory, Walker Hancock, Malvina Hoffman, Anna Hyatt-Huntington, Paul Manship, Brenda Putnam, Gurdon Tarbox, and Adolph Weinman, discussing Weems' work and participation in various sculpture organizations. There are four notebooks on art history; recipes for clay and plaster; notes on patinas for bronze; lecture notes; lists of Weems' works and exhibitions; an exhibition guest book, 1931-1957; poems, 1933-1981; invoices and receipts, 1919-1981; copyright records, 1928-1978; and art work, including 15 v. of sketchbooks, 1913-1964, drawings and tracings of animal figures. and a copper printing plate mounted on a wood block.
Fourteen project files contain letters, drawings, photographs, and printed material on: an enlarging machine, the Saltus Medal for Merit, the frieze and Rhinoceros sculpture for the Biological Laboratories at Harvard, 1930-1942, including 7 reels of 16mm motion picture film (with script transferred to VHS), the Lotta Fountain, 1939-1974, Legion of Merit Medal, 1949-1952, War Department project, 1946, Goodwin Medal, 1949-1952, Wallace Goodrich Plaque, 1954, Hospital Teaching Clinic, 1955, Boston Museum of Science, 1964-1965, "Dolphins by the Sea" for the New England Aquarium, 1969-1979, Heredities Limited, 1971-1974, and the Museum School, 1977.
Included are two scrapbooks, one of clippings about the work of other artists and one containing poems, clippings of landscapes, animals, works by others, and autographed photographs of actresses Katharine Cornell and Anna May Wong and sculptor Brenda Putnam. Printed material includes clippings, 1911-1989; exhibition announcements and catalogs, 1922-1981; bulletins, programs, brochures on artists, organizations, Brookgreen Gardens, and supplies; reproductions of art works, and the books, Odds Were Against Me (1985, Weems autobiography, and Enrique Monjo (1955), inscribed by Mongo.
Photographs and slides, 1902-1988, are of Weems, family members, artists Charles Grafly, Walker Hancock, and Anna Hyatt-Huntington, Weems' house "The Chimneys," her studio, gardens, animals, works of art by Weems and others, exhibit installations, and views of New York City, Washington, D.C., Monticello, the University of Virginia, and Brookgreen Gardens. Nine albums, 1920-1980, contain photographs of an art class, Weems in her studio, her home, her friends, scenic views, and works of art. Videos and film include a videotape (5 min., U-matic) of an interview of Weems; a film, "From Clay to Bronze," showing the creation of Weems' sculpture "Dark Warrier" (transferred to VHS); motion picture film of the making of the sculpture "Rhinoceros" (transferred to digital betacam, VHS and DVD), and a home movie of a day at the beach, circa 1935.
The papers' of Weems' aunt, Katharine "Kitty" Ward Lane (d. 1893), include Lane's letters, 1898-1893, to her brother (Weems' father) and to other family members; a travel diary from Germany, 1886; notes; financial records, 1891-1892; 10 sketchbooks; printed material; and photographs, 1865-1893, of Lane, early views of Saranac Lake, and 9 views of the Columbia Exposition, 1893.
Biographical / Historical:
Sculptor; Boston, Mass. Died 1989. Specialized in animal sculpture. Studied at the School of the Museum of Fine Arts, Boston under Charles Grafly, Anna Hyatt-Huntington, George Demetrios, and Brenda Putnam. She married F. Carrington Weems in 1947. Named after her aunt, watercolor painter Katharine Ward Lane, who died in 1893.
Provenance:
Material on reel 724 lent for microfilming by Weems, 1974. The four sketchbooks on reel 724 were subsequently donated in 1989. Unmicrofilmed papers were donated 1975 and 1982 by Weems, and in 1989 by her estate. Eighteen diaries (1961-1965, 1967-1976 [1969 not included], 1978, and 1981-1983) and an apppointment book for 1966 donated by the Schlesinger Library, Radcliffe College, 1991.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Animal sculptors -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Watercolorists -- Massachusetts -- Boston  Search this
Topic:
Art -- Study and teaching -- Massachusetts -- Boston  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Animal sculpture  Search this
Genre/Form:
Sketchbooks
Video recordings
Identifier:
AAA.weemkath
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96c1a0919-a71e-4b49-9b63-7e7e27c9052f
EDAN-URL:
ead_collection:sova-aaa-weemkath

Modify Your Search







or


Narrow By