Search Results

Artist:

Fernand Léger, French, 1881 - 1955  Search this

Medium:

Lithograph on white wove paper

Object Name:

Print

Type:

Print

Made in:

France

Date:

1948

Credit Line:

Gift of Cooper Union Art School Library

Accession Number:

1953-184-3

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Drawings, Prints, and Graphic Design Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

EDAN-URL:

edanmdm:chndm_1953-184-3

Publisher:

Ostheimer Brothers  Search this

Medium:

Color lithographs Support: white wove paper, mounted on thick wove paper

Type:

architecture

Album

Object Name:

Album

Place:

Philadelphia, USA

Made in:

USA

Date:

1876

Credit Line:

Gift of Lee S. Luquer

Accession Number:

1958-147-5

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Drawings, Prints, and Graphic Design Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

EDAN-URL:

edanmdm:chndm_1958-147-5

Artist:

L Crusius  Search this

Lithographer:

G. H. Buek & Co., American, active ca. 1899  Search this

For:

The Antikamnia Chemical Co., American  Search this

Type:

graphic design

Calendar

Object Name:

Calendar

Made in:

Europe

Date:

1897

Accession Number:

1968-106-4

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Drawings, Prints, and Graphic Design Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

EDAN-URL:

edanmdm:chndm_1968-106-4

Interviewee:

Putnam, Wallace, 1899-1989  Search this

Interviewer:

Berman, Avis  Search this

Creator:

Mark Rothko and His Times Oral History Project  Search this

Names:

Mark Rothko and His Times Oral History Project  Search this

Avery, Milton, 1885-1965  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

36 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1982 Aug. 13-20

Scope and Contents:

An interview of Wallace Putnam conducted 1982 Aug. 13-20, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Putnam recalls his youth and art training in Boston, Mass., his move to Hartford, Conn., and friendship with Milton Avery, whom he met when they both worked filing policies at Traveler's Insurance Co. He talks about his and Avery's early careers in New York and his first acquaintance with Mark Rothko. He remembers Rothko's early concerns as an artist, his interest in music, and visits to his studio and home (including catsitting for the Rothko's for three weeks).

Biographical / Historical:

Wallace Putnam (1899-1989) was a painter, writer, lithographer, and draftsman from Yorktown Heights, N.Y.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 57 min.

Provenance:

This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.

Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Abstract expressionism  Search this

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

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.putnam82

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-putnam82

Interviewee:

Polos, Theodore C., 1902-1976  Search this

Interviewer:

McChesney, Mary Fuller  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Federal Art Project (Calif.)  Search this

New Deal and the Arts Oral History Project  Search this

Extent:

28 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1965 Jan. 31

Scope and Contents:

An interview of Theodore Polos conducted 1965 Jan. 31, by Mary McChesney, for the New Deal and the Arts Oral History Project. Polos reminisces about his intermittent work on the Easel and Lithography Projects in the San Francisco area between 1937 and 1943. He also compares the artistic climate in America during the 1930's and forties with that of the mid-sixties when he was interviewed.

Biographical / Historical:

Theodore C. Polos (1902-1976) was a watercolor painter and lithographer from Oakland, Calif.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 4 min.

Transcript not entirely accurate. Patrons are encouraged to listen to audio tape along with transcript.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Federal aid to the arts  Search this

Artists -- California -- Interviews  Search this

Painters -- California -- Oakland -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.polos65

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-polos65

Interviewee:

Marden, Brice, 1938-  Search this

Interviewer:

Cummings, Paul  Search this

Names:

Boston University -- Students  Search this

Andre, Carl, 1935-  Search this

Chaet, Bernard  Search this

Geldzahler, Henry  Search this

Katz, Alex, 1927-  Search this

Kay, Reed  Search this

Kertess, Klaus  Search this

Pollack, Reginald  Search this

Rauschenberg, Robert, 1925-2008  Search this

Schueler, Jon, 1916-  Search this

Vicente, Esteban, 1903-2001  Search this

Extent:

90 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1972 Oct. 3

Scope and Contents:

Interview of Brice Marden conducted 1972 Oct. 3, by Paul Cummings, for the Archives of American Art. Marden speaks of his early family life and schools in Briarcliff, N.Y.; the development of his interest in art; his art and theater activities at Florida State Southern College; Boston University and the Boston art scene in the 1950s.

He comments on the impact of a summer in California on his painting style, living in Paris and New York, and changes in his work, including rectangles, one-color panels, paintings over silk-screen proofs, oil and wax. Marden also speaks of his first one-man exhibition, working as Robert Rauschenberg's assistant, his exhibit in Paris, teaching at the School of Visual Arts, his drawings, lithographs and grid drawings, his use of color, paintings as statements and influences on his work. He recalls Henry Geldzahler, Reed Kay, Bernard Chaet, Jon Schueler, Reginald Pollack, Alex Katz, Esteban Vicente, Carl Andre and Klaus Kertess.

Biographical / Historical:

Brice Marden (1938) is a painter from New York, N.Y.

General:

Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 2 hrs., 47 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Painters -- New York (State)  Search this

Topic:

Pop art  Search this

Postmodernism  Search this

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

Painting -- Technique  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.marden72

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-marden72

Interviewee:

Greenwood, Marion, 1909-1970  Search this

Interviewer:

Seckler, Dorothy Gees, 1910-1994  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Federal Art Project  Search this

New Deal and the Arts Oral History Project  Search this

Treasury Relief Art Project  Search this

Extent:

15 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1964 Jan. 31

Scope and Contents:

An interview of Marion Greenwood conducted on 1964 Jan. 31, by Dorothy Seckler, for the Archives of American Art's New Deal and the Arts Oral History Project.

Greenwood speaks of her background and education; her mural work before joining the Treasury Relief Art Project; working on murals for the Red Hook Housing Project in Brooklyn, N.Y.; changing from murals to easel paintings; and her opinions regarding government support for the arts.

Biographical / Historical:

Marion Greenwood (1909-1970) was a painter, lithographer, mosaicist, fresco, and mural painter from New York, N.Y.

General:

Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 11 min.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Topic:

Federal aid to the arts  Search this

Mural painting and decoration  Search this

Lithographers -- New York (State) -- New York -- Interviews  Search this

Mosaicists -- New York (State) -- New York -- Interviews  Search this

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

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

Women artists  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.greenw64

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-greenw64

Interviewee:

Freeman, Don, 1908-1978  Search this

Interviewer:

McGlynn, Betty Hoag  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Art Students League (New York, N.Y.) -- Students  Search this

New Deal and the Arts Oral History Project  Search this

United States. Works Progress Administration  Search this

Henri, Robert, 1865-1929  Search this

Marsh, Reginald, 1898-1954  Search this

Pollock, Jackson, 1912-1956  Search this

Sloan, John, 1871-1951  Search this

Tolegian, Manuel J. (Manuel Jerair), 1911-1983  Search this

Wickey, Harry  Search this

Extent:

1 Sound tape reel (Sound recording, 5 in.)

19 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tape reels

Pages

Sound recordings

Interviews

Date:

1965 June 4

Scope and Contents:

Interview of Don Freeman conducted 1965 June 4, by Betty Hoag McGlynn, for the Archives of American Art, in his home, in Santa Barbara, Calif. Freeman speaks of his childhood in San Diego with his guardian; his high school years spent in St. Louis at a public school Prineipia (and his teacher Kathryn Cherry); the knowledge of his artistic destiny as a child; his move to New York City in 1929; his time spent working as an unbooked trumpet player for jazz orchestras on Broadway; his formative years at the Art Students League under the guidance of John Sloan;

the influence of Robert Henri and "Art Spirit;" his decision to do illustrations for the theater section of the Herald Tribune of ongoing performances; his time spent studying with Harry Wickey (etcher and sculptor); his relationship and marriage to wife Lydia as well as description of life in downtown Manhattan immediately following the stock market crash ; time at Art Students League studying along side with Jackson Pollock, Manuel Tolegian, Whitney Darrel; his decision to work for the WPA in

the graphics department completing lithographs (1933-1934); "Freedom of the Press," a painting completed around the same time and the possible influence of Reginald Marsh; his interest in a project called "Paint for the People" (a public works project for the New York Subway system); time spent illustrating for the WPA theater magazine "The Living Magazine;" his opinions concerning acetate and stone as well as the use of mezzotint; his personal magazine which he published for four years (name unknown); a general summary of his feelings towards the WPA as an artistic force; his separation from the Union Uprisings due to his success within the program;

his work on "Our Flying Navy" a series of illustrations (now compiled as a book) used for advertisement for the Navy; his participation in the Association of American Artists before his term spent in the Army during WWII; his budding career as a children's books writer and illustrator (Barton Press); his illustrations for William Soroyan"s The Human Comedy; his move back west and his son Roy; and his current occupation of giving "Chalk Talks" around the country, speaking with students about art, music, theater.

Biographical / Historical:

Don Freeman (1908-1978) was an Illustrator from New York, N.Y. Went to New York City at the age of 21. Studied with John Sloan and Harry Wickey at the Art Students League.

General:

An unrelated interview of Ben Messick conducted by B. Hoag McGlynn is also on this tape.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Illustrators -- California -- Interviews  Search this

Federal aid to the arts  Search this

Artists' materials  Search this

Illustration of books  Search this

Prints -- Technique  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.freema65

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-freema65

Interviewee:

Engard, Robert Oliver, 1915-2003  Search this

Interviewer:

Bestor, Dorothy K., 1913-  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

New Deal and the Arts Oral History Project  Search this

Spokane Art Center  Search this

Extent:

26 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1965 November 26

Scope and Contents:

An interview of Robert Engard conducted 1965 November 26, by Dorothy Bestor, for the Archives of American Art New Deal and the Arts Project. Engard discusses the Spokane Art Center where he taught lithography in 1939 and 1941.

Biographical / Historical:

Robert Oliver Engard (1915-2003) was a painter and printmaker from Spokane, Washington.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 42 min.

Provenance:

This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Federal aid to the arts  Search this

Printmakers -- Washington (State) -- Interviews  Search this

Lithographers -- Washington (State) -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.engard65

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-engard65

Interviewee:

Adams, Clinton, 1918-2002  Search this

Interviewer:

Cummings, Paul  Search this

Names:

Tamarind Lithography Workshop  Search this

University of New Mexico. College of Fine Arts  Search this

Adams, Kenneth M.  Search this

Antreasian, Garo Z., 1922-2018  Search this

Berman, Eugene, 1899-1972  Search this

Charlow, Jean  Search this

Funk, Joseph, 1917-1981  Search this

Grosman, Tatyana, 1904-1982  Search this

Hollander, Irwin  Search this

Horak, Bohuslav, 1914-2004  Search this

Kistler, Lynton R., , 1897-1993  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Ray, Man, 1890-1976  Search this

Sommers, John, 1927-  Search this

Tyler, Kenneth E.  Search this

Viesulas, Romas, 1918-  Search this

Wayne, June, 1918-2011  Search this

Extent:

49 Pages (Transcription)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1974 March 29

Scope and Contents:

An interview of Clinton Adams conducted 1974 March 29, by Paul Cummings, for the Archives of American Art.

Adams speaks of how he got involved with the Tamarind Lithography Workshop; how and why Tamarind came about; the lack of artists doing lithographs; the need for the artist to collaborate with the printmaker in order to make a good print; writing a book about the workshop; how in order to interest American Artists into making lithographs, there needs to be a market for it; how it was difficult collecting works of art for the University of New Mexico (UNM); the current art scene in Albuquerque; the arts programs at UNM; moving the workshop to UNM in order to make Tamarind a permanent institute and get more funding; and how more women are becoming printers. He recalls June Wayne, Lynton R. Kistler, Man Ray, Jean Charlow, Eugene Berman, Stanton Macdonald-Wright, Garo Antreasian, Joe Funk, Romas Viesulas, Tatyana Grosman, Irwin Hollander, Ken Tyler, Julie Duristo, Bohuslav Horak, Kenneth Adams, John Sommers, and many others.

Biographical / Historical:

Clinton Adams (1918-2002) was a printmaker, painter, and art administrator from Albuquerque, New Mexico.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 57 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Arts administrators -- New Mexico -- Albuquerque -- Interviews  Search this

Topic:

Painting, Modern -- 20th century  Search this

Printmakers -- New Mexico -- Albuquerque -- Interviews  Search this

Painters -- New Mexico -- Albuquerque -- Interviews  Search this

Art -- Study and teaching -- New Mexico -- Albuquerque  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the transcription of this interview provided by the Smithsonian Institution's Women's Committee.

Identifier:

AAA.adams74

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-adams74

Creator:

Bryson, Bernarda  Search this

Names:

Calder, Alexander, 1898-1976 -- Photographs  Search this

Hayes, Helen, 1900-1993  Search this

Javitz, Jacob  Search this

Knight, Gwendolyn  Search this

Lionni, Leo, 1910-  Search this

Lynes, Russell, 1910-1991  Search this

Osborn, Robert Chesley, 1904-1994  Search this

Robbins, Warren M.  Search this

Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this

Shahn, Ben, 1898-1969  Search this

Shahn, Jonathan, 1938-  Search this

Extent:

14.6 Linear feet

5.88 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Scrapbooks

Sketches

Diaries

Photographs

Drawings

Sketchbooks

Watercolors

Date:

1872-2004

bulk 1904-2004

Summary:

The papers of painter, printmaker, and illustrator Bernarda Bryson Shahn measure 14.6 linear feet and 5.88 GB and date from 1872 to 2004, with the bulk of the materials dating from 1904-2004. Found within the papers are family and biographical materials, correspondence, writings including sound recordings of lectures by the Shahns, some in digital format, voluminous notebooks, five diaries, exhibition files, personal business records, printed material, seven scrapbooks, one sketchbook and other art work, and photographs. Although the bulk of the collection documents Bernarda's work, there are materials about or created by Ben Shahn scattered throughout the collection. There is a 2.7 linear foot unprocessed addition to this collection donated in 2011 that includes administrative files regarding Bernarda Shahn's work on the board of Skowhegan correspondence of both Bernarda and Ben Shahn; an inventory ledger with names of works of art by Ben Shahn; a scrapbook regarding Ben Shan's work in Japan; photographs of Ben and Bernarda Shahn and images of works of art by Ben Shahn; sketchbooks and notebooks by Ben and Bernarda Shahn; and printed material.

Scope and Content Note:

The papers of painter, printmaker, and illustrator Bernarda Bryson Shahn measure 11.9 linear feet and 5.88 GB and date from 1872 to 2004, with the bulk of the materials dating from 1904-2004. Found within the papers are family and biographical materials, correspondence, writings including sound recordings of lectures by the Shahns, voluminous notebooks, five diaries, exhibition files, personal business records, printed material, seven scrapbooks, one sketchbook and other art work, and photographs. Although the bulk of the collection documents Bernarda's work, there are materials about or created by Ben Shahn scattered throughout the collection. There is a 2.7 linear foot unprocessed addition to this collection donated in 2011 that includes administrative files regarding Bernarda Shahn's work on the board of Skowhegan correspondence of both Bernarda and Ben Shahn; an inventory ledger with names of works of art by Ben Shahn; a scrapbook regarding Ben Shan's work in Japan; photographs of Ben and Bernarda Shahn and images of works of art by Ben Shahn; sketchbooks and notebooks by Ben and Bernarda Shahn; and printed material.

Biographical material includes biographical accounts for Bernarda and Ben Shahn, identification cards, membership cards, awards, appointment books and calendars, address books, and a video recording.

Correspondence is primarily between Bernarda Bryson Shahn and publishers, educational institutions, and colleagues and friends including Leo Lionni, Russell Lynes, Robert Osborn, and Warren Robbins.

There are four linear feet of notes, notebooks, typescripts, and other writings by Bernarda Bryson Shahn and others, many of which concern Ben Shahn. Included are numerous files of research notes for published and planned books about Ben Shahn, notebooks concerning art-related topics, card files of art work, lists, sound recordings of lectures by the Shahns and Gwen Knight, some in digital format, and many typescripts of writings about art and Ben Shahn, among other topics. There is also a folder of notes by Ben Shahn for the Mural for the Rural Rehabilitation Program. Five of Bernarda Shahn's diaries contain very brief daily entries and some illustrations. The 1972 diary contains much more elaborate illustrations.

The exhibition files contain letters, notes, and printed material concerning exhibitions of art work by Ben Shahn.

Personal business records include files concerning property, the Skowhegan School of Painting and Sculpture, miscellaneous contracts, files concerning publishing, art price lists, and other scattered legal and/or financial records.

Printed material includes clippings, exhibition announcements and catalogs, press releases for Bernarda Bryson Shahn, Ben Shahn, and others, books including A Partridge in a Pear Tree, illustrated by Ben Shahn, and printed reproductions of art work. Seven scrapbooks also contain printed materials, notes, and photographs. Scrapbooks 1-4 document the creation of the Franklin Delano Roosevelt Memorial for which Jonathan Shahn created the large portrait bust. Scrapbooks 5-7 concern a book by Bernarda Bryson Shahn, and scrapbook 8 contains obituaries for Ben Shahn.

Art work includes a sketchbook with annotations, drawings, a portfolio of drawings, lettering designs, watercolor sketches, and layouts for publications.

Photographs are of unidentified and identified Shahn family members, Ben Shahn, Ben Shahn with friends and colleagues including Alexander Calder, Helen Hayes, Senator Jacob Javitz, and Nelson Rockefeller, Ben Shahn's studio, exhibition installations, and art work by Bernarda Bryson Shahn, Ben Shahn, and others. There are also travel photographs.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1937-1999 (Box 1, 13; 35 folders)

Series 2: Correspondence, 1934-2004 (Box 1-5, 13, OV 14; 3.6 linear feet)

Series 3: Notes and Writings, 1946-2001 (Box 5-9; 4.0 linear feet, ER01-ER09; 5.88 GB)

Series 4: Diaries, 1965-1985 (Box 9; 5 folders)

Series 5: Exhibition Files, 1955-2000 (Box 9; 5 folders)

Series 6: Personal Business Records, 1932-2001 (Box 9, 10; 0.8 linear feet)

Series 7: Printed Material, 1904-2004 (Box 10-11, 13, OV 14-15; 1.2 linear feet)

Series 8: Scrapbooks, 1945-1978 (Box 11, 13, OV 15; 30 folders)

Series 9: Art Work, 1970-2002 (Box 11-13, OV 14; 70 folders)

Series 10: Photographs, 1872-1985 (Box 12; 34 folders)

Series 11: Unprocessed Addition, circa 1904-2004 (Box 16-19, OV 20; 2.7 linear feet)

Biographical Note:

Bernarda Bryson Shahn (1903-2004) worked primarily in New Jersey as a painter, printmaker, and illustrator. She was married to Ben Shahn and often collaborated with him.

Bernarda Bryson was born on March 7, 1903 in Athens, Ohio, the daughter of the owner-editor of newspaper The Athens Morning Journal. After receiving early drawing and painting lessons from her mother, Bryson attended a private girls' school where she continued her studies in art and art history.

At Ohio University, Bryson majored in philosophy and attended art classes in which David Smith was a classmate. She later attended the Cleveland Art School where she studied printmaking.

Following graduation, Bryson taught etching and lithography at the art school of the Columbus Gallery of Fine Art. She also wrote for The Ohio State Journal and became editor of community paper The South Side Advocate. While in New York City to interview Diego Rivera, she met Ben Shahn who was assisting Rivera in painting the mural at Rockefeller Center. Bernarda Bryson and Ben Shahn were married in 1935.

Bernarda Bryson Shahn moved to New York and helped organize the Artists' Union and exhibited at the Whitney Gallery on Eighth Street. She then went to Woodstock to study lithography with Bolton Brown and was invited to set up a lithographic shop for the Resettlement Administration in Washington, D.C.

During the 1950s and 1960s, Bernarda Bryson Shahn executed illustrations for Harper's Magazine, Scientific American and Fortune in addition to random assignments from Life, Sports Illustrated and other publications. She illustrated many books including Wuthering Heights and Pride and Prejudice as well as writing and illustrating her own books Gilgamesh, The Twenty Miracles of Saint Nicolas, and The Zoo of Zeus. Following the death of her husband in 1969, she wrote and designed a large monograph Ben Shahn, published by Abrams.

In the mid-1970s, Bernarda Bryson Shahn won further recognition when she returned to painting.

Bernarda Bryson Shahn died on December 12, 2004 in Roosevelt, New Jersey.

Related Material:

Also found in the Archives of American Art are two oral histories with Bernarda Bryson Shahn, one completed in 1983 by Liza Kirwin and another in 1995 by Pamela Meecham. The Archives also holds the Ben Shahn papers.

Provenance:

Donated 1983 by Bernarada Bryson Shahn and in 2005 and 2011 by Bernarda Brsyon Shahn estate via Jonathan Shahn and Abigail Shahn, co-executors.

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:

Painters -- New Jersey -- Roosevelt  Search this

Printmakers -- New Jersey -- Roosevelt  Search this

Illustrators -- New Jersey -- Roosevelt  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Genre/Form:

Sound recordings

Scrapbooks

Sketches

Diaries

Photographs

Drawings

Sketchbooks

Watercolors

Citation:

Bernarda Bryson Shahn papers, 1872-2004, bulk 1904-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.brysbern

See more items in:

Bernarda Bryson Shahn papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-brysbern

Creator:

Bry, Edith  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1914-1969

Summary:

The papers of Edith Bry measure 1.3 linear foot and date from 1914 to 1969. The papers document her art career and her activities with the Federation of Modern Painters and Sculptors through biographical material, correspondence, writings and notes, personal business records, printed material, photographs, artwork, and two scrapbooks.

Scope and Contents:

The papers of Edith Bry measure 1.3 linear foot and date from 1914 to 1969. The papers document her art career and her activities with the Federation of Modern Painters and Sculptors through biographical material, correspondence, writings and notes, personal business records, printed material, photographs, artwork, and two scrapbooks.

Correspondence from friends and colleagues largely discusses Bry's artwork and activity within committees and organizations. Correspondents include John Taylor Arms, Alfred H. Barr, Marc Blitzstein, Adolf Dehn, Alma Dettinger, George Gershwin, Adolph Gottlieb, Marsden Hartley, Ruth Lembeck, Abraham Rattner, Sigmund Romberg, C. L. Sulzberger, Louis Untermeyer, John von Wicht, Stow Wengenroth, Harold Weston, and others.

Writings include notes on various techniques and materials used by Bry in her artwork. An etching is by Hermann Struck and a doodle is by Adolph Gottlieb. Two mixed media scrapbooks contain newspaper clippings and exhibition announcements and catalogs spanning Bry's career from 1922 to 1967.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Series 1: Edith Bry papers, 1914-1967 (Boxes 1-3; 1.0 linear feet)

Biographical / Historical:

Edith Bry (1898-1991) was an assemblage artist, collagist, painter, and lithographer active in New York City, New York.

Edith Bry was born in 1898 in St. Louis, Missouri and moved to New York City to study art. She began her career making batik and went on to produce oil paintings, enamels, mosaics, jewelry, lithographs, stained glass, collages, assemblage works, woodcuts and silkscreen prints. Later in life, she became an officer with the Federation of Modern Painters and Sculptors.

Bry married Maurice Shevelson Benjamin and together they had one child, Bry Benjamin. Edith Bry died in 1991 at her apartment located in the Beresford along Central Park in New York City, New York.

Provenance:

Edith Bry loaned her papers for microfilming and later donated them to the Archives of American Art from 1969 to 1976.

Restrictions:

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

Occupation:

Assemblage artists -- New York (State) -- New York  Search this

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

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

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

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Citation:

Edith Bry papers, 1914-1969. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bryeditp

See more items in:

Edith Bry papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-bryeditp

Creator:

Brod, F. (Fritzi), 1900-  Search this

Extent:

0.4 Linear feet ((on 2 microfilm reels))

Type:

Collection descriptions

Archival materials

Date:

1932-1977

Scope and Contents:

Photographs, clippings, books and exhibition catalogs documenting Fritzi Brod's career and the Chicago art scene from the early 1920s to the early 1950s.

Reel 376: A career resume, 22 photographs of Brod's works and the cover and title page of A CHILD'S BOOK OF BIRDS by W. J. Beecher (Brod, Platt & Munk: New York, 1951), illustrated by Brod. The remainder of this book and Brod's DECORATIVE DESIGN (Brod, Platt & Munk: New York, 1958) have not been microfilmed.

Reel 4190: A scrapbook of clippings (1932-1952, 1967, 1977) on Brod, her activities, and the Chicago art scene, exhibition announcements (1932-1967), five exhibition catalogs (1938-1977) and a 1944 press release on Brod's watercolor exhibition at the Norlyst Gallery.

Biographical / Historical:

Painter, lithographer, writer, and illustrator. Born in Prague, Czechoslovakia, Brod came to Chicago in 1924 after studying art in Prague and Vienna. Already an accomplished designer of textiles in the "modern manner", she continued her work with Raymond Katz in his "Little Gallery". Brod's work was critically acclaimed at Chicago's first outdoor art fair in 1932, and she was featured in C. J. Bulliet's column, "Artists of Chicago" in 1936. Brod died in 1952.

Provenance:

Donor Oswald Brod was married to Fritzi Brod. His second wife, Rose Brod, also donated materials to the collection.

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 -- Illinois -- Chicago  Search this

Illustrators -- Illinois -- Chicago  Search this

Lithographers -- Illinois -- Chicago  Search this

Textile designers -- Illinois -- Chicago  Search this

Authors -- Illinois -- Chicago  Search this

Topic:

Decorative arts  Search this

Art, Modern  Search this

Women artists  Search this

Women painters  Search this

Women authors  Search this

Women textile artists  Search this

Identifier:

AAA.brodf

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-brodf

Collection Creator:

Brown, David M.  Search this

Container:

Box 33, Folder 1

Type:

Archival materials

Date:

1968-69

Collection Restrictions:

No restrictions on access.

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

David M. Brown Papers, Acc. 2006-0013, National Air and Space Museum, Smithsonian Institution.

See more items in:

David M. Brown Papers

David M. Brown Papers / Series 2: Professional Papers / 2.16: Oversized Materials

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-2006-0013-ref393

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2011-06-28T19:47:37.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_VIwDSDu6Tvo

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2011-04-07T23:28:01.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_YABR74utGps

Creator:

Blanch, Lucile Lundquist, 1895-1981  Search this

Blanch, Lucile Lundquist, 1895-1981  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Theme:

Women  Search this

Lives of American Artists  Search this

Audio - Visual  Search this

Record number:

(DSI-AAA_CollID)8890

(DSI-AAA_SIRISBib)211075

AAA_collcode_blanluci

Theme:

Women

Lives of American Artists

Audio - Visual

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211075

Author:

Deane, James 1801-1858  Search this

Author:

Bouvé, Thomas T (Thomas Tracy) 1815-1896  Search this

Bowditch, Henry I (Henry Ingersoll) 1808-1892  Search this

Field, Roswell 1804-  Search this

Gould, Augustus A (Augustus Addison) 1805-1866  Search this

Hitchcock, Charles H (Charles Henry) 1836-1919  Search this

Smithsonian Institution  Search this

Printer:

Allen and Farnham  Search this

Lithographer:

T. Sinclair's Lith.  Search this

Physical description:

61 pages, 46 [that is, 50] leaves of plates illustrations (some color) 31 cm

Type:

Electronic resources

Photoprints

Place:

Connecticut River Valley

United States

Massachusetts

Date:

1861

Topic:

Footprints, Fossil  Search this

Paleontology  Search this

Call number:

QE845 .D28

QE845.D28 1861

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_942660

Creator:

Blanch, Lucile, 1895-1981  Search this

Extent:

0.4 Linear feet ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1924-1972

Scope and Contents:

The Lucile Blanch papers measure 0.4 linear feet and date from 1924-1972. Included is correspondence and photographs of Lucile and family members.

Biographical / Historical:

Lucile Blanch (1895-1981) was painter and lithographer in Woodstock, N.Y.

Separated Materials:

Also in the Archives is material lent for microfilming on reel 1003 and includes a sketchbook; 46 drawings, prints and reproductions of Blanch's work; illustrations fom W. H. Hudson's GREEN MANSIONS; 3 scrapbooks containing clippings, reproductions of her work, exhibition material, photographs, and letters; miscellaneous printed material. This material was returned to the lender after microfilming.

Provenance:

Material on reel 1033 lent for microfilming in 1975 by Lucile Blanch. Correspondence on frames 297-410 was subsequently donated in 1976 by Blanch. Additional correspondence and photographs donated in 2021 by Nancy Lundquist, a relative of Lucile Blanch.

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.

Rights:

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

Occupation:

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

Etchers -- New York (State) -- Woodstock  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Identifier:

AAA.blanluci

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-blanluci

Collection Creator:

Blaine, Nell, 1922-1996  Search this

Container:

Oversize 5

Type:

Archival materials

Date:

1961-1979

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:

Nell Blaine papers, 1942-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program

See more items in:

Nell Blaine papers

Nell Blaine papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-blainell-ref53