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Creator:

Gerardia, Helen, 1903-1988  Search this

Extent:

2.4 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

circa 1945-1988

Summary:

The Helen Gerardia papers measure 2.4 linear feet and date from circa 1945-1988. They illustrate her career through biographical and printed materials, scrapbooks, and photographic material.

Scope and Contents:

The Helen Gerardia papers measure 2.4 linear feet and date from circa 1945-1988. Biographical materials include Gerardia's resume, samples of her signature, miscellaneous correspondence to and from Gerardia with museums, galleries, and business colleagues, and biographical information for the publication Who's Who in American Art. Printed material consists of exhibition announcements and catalogs, news clippings, and various newsletters. Scrapbooks include various clippings, exhibition announcements, fliers, photographs, and other printed materials. Photographic material consists of photographs of Gerardia, the Yaddo Fellowship, and of Gerardia's artwork.

Arrangement:

This collection contains four series.

Series 1: Biographical Material, circa 1954-1973 (.1 Linear feet: Box 1)

Series 2: Printed Material, circa 1953-1971 (.1 Linear feet: Box 1)

Series 3: Scrapbooks, circa 1951-1988 (1.7 Linear feet: Boxes 1-6)

Series 4: Photographic Material, circa 1945-1975 (.5 Linear feet: Boxes 2 and 7)

Biographical / Historical:

Helen Gerardia (1903-1988) was a painter and printmaker who worked primarily in New York.

Gerardia was born in Ekaterinoslav, in what was then the Russian Empire, and immigrated to the United States to study under Hans Hofmann from 1946-1947. During her career she engaged in lithography and etching, while focusing on paintings as a medium. She was a participant in the abstract expressionist movement and during the 1950s shifted more towards the cubism movement. She frequently emphasized negative space in her works. Gerardia was a member of the Vectors Artist Group, and from 1967-1969 she was president of the American Society of Contemporary Artists. She exhibited her work at the Metropolitan Museum of Art, among other places. Gerardia died in 1988 in New York.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 59-60, 80, and 2812) including scrapbooks, a five-page resume, and samples of Gerardia's signature. Loaned materials were returned to the donor and later donated.

Provenance:

Materials on reel 2812 were lent for microfilming by Gerardia in 1961. Scrapbooks on reels 59, 60 and 80 were lent by Gerardia for microfilming in 1971 and nine were donated in 1981 along with another scrapbook (1971-1973). The remainder of the scrapbooks and papers were donated in 1989 by Gerardia's estate.

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) -- New York  Search this

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

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women printmakers  Search this

Women painters  Search this

Genre/Form:

Scrapbooks

Citation:

Helen Gerardia papers, circa 1945-1988, Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.gerahele

See more items in:

Helen Gerardia papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e54a254c-cca5-4ecb-9e4c-73db1c580db1

EDAN-URL:

ead_collection:sova-aaa-gerahele

Depicted:

Custer, Thomas Ward  Search this

Rain In The Face  Search this

Cooke, William W.  Search this

Yates, George W.  Search this

Reed, Harry Armstrong  Search this

Reily, William Van W.  Search this

Smith, Algernon E.  Search this

Custer, George Armstrong  Search this

Copyright holder:

Busch, Adolphus  Search this

Commissioned by:

Anheuser-Busch Companies, Incorporated  Search this

Originator:

Adams, Cassily  Search this

Maker:

Milwaukee Lithographic & Engraving Company  Search this

Artist:

Becker, F. Otto  Search this

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

image: 24 in x 38 in; 60.96 cm x 96.52 cm

Object Name:

Chromolithograph

Object Type:

Chromolithograph

Place made:

United States: Wisconsin, Milwaukee

Depicted:

United States: Montana, Little Bighorn

Date made:

1896-1920

Subject:

Battle Scenes  Search this

Firearms  Search this

Horses  Search this

Horseback Riding  Search this

Indians  Search this

Native Americans  Search this

Theater  Search this

Uniforms, Military  Search this

Chronology: 1870-1879  Search this

Settlement  Search this

West  Search this

Related event:

Battle of the Little Bighorn  Search this

Credit Line:

Harry T. Peters "America on Stone" Lithography Collection

ID Number:

DL.60.2600

Catalog number:

60.2600

Accession number:

228146

See more items in:

Home and Community Life: Domestic Life

Advertising

Art

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a3-b9ab-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_326129

Creator:

GSS Printing Equipment Company.  Search this

National Museum of American History (U.S.). Division of Information Technology and Communications  Search this

Harris Automatic Press Company, Dayton, Ohio  Search this

Extent:

6.5 Cubic feet (13 boxes and 5 oversize folders)

Type:

Collection descriptions

Archival materials

Scrapbooks

Photograph albums

Newsletters

Photographs

Blueprints

Catalogs

Date:

2003 - 2003

1889 - 1995

Summary:

Collection documents the Harris Automatic Press Company, manufacturers of a printing press with an automatic feed primarily through drawings and photographs.

Scope and Contents:

The collection contains photographs of the presses, factory and employees; a scrapbook of presses, 1915; drawings; trade literature and catalogs; the Harris Impressions newsletter; blueprints of the presses; and histories of the company.

Arrangement:

Collection is arranged into three series.

Series 1: Background Materials, 1889-1995

Series 2: Drawings, 1896-1929

Series 3: Photographs, 1921-1968; 2003

Biographical / Historical:

In 1890 jewelers and tinkerers Alfred and Charles G. Harris developed a new printing press with an automatic feeder. Their first press was a revolutionary breakthrough, delivering ten times what a pressman could feed by hand. The Harris Automatic Press Company was responsible for many printing innovations during the early 1900s including the first commercially successful offset lithographic press and the first two-color offset press. The company became one of the world's largest and most successful manufacturers of printing equipment.

Harris-Seybold Company (later Harris Intertype) of Cleveland, Ohio manufactured high-quality sheetfed offset lithographic printing presses. The Harris Automatic Press Co. of Niles, Ohio (the original company name) designed and built the first commercially successful sheetfed offset lithographic printing press in 1906. It was sold to the Republic Banknote Company (later became part of U.S. Banknote Corporation) in Pittsburgh, Pennsylvania, shipped on July 26, 1906. This printing press was retired in August 1940, rebuilt by Harris and donated to the Smithsonian Institution. From 1906 to 1976, Harris manufactured thousands of lithographic printing presses in various models and sizes along with various designs of bindery equipment. They were leaders in offset lithography technology. Many of the sheetfed offset lithographic presses presently being manufactured use some form of the early Harris innovations. In 1957, the company name was changed to Harris Intertype Corporation and in 1974 the name was changed to Harris Corporation. At this time the company was comprised of several electronic divisions in addition to the printing equipment divisions. The company stopped production of sheetfed lithographic printing presses in 1976. The corporate offices moved from Cleveland, Ohio to Melbourne, Florida in 1978 where Harris Corporation is still located. Harris Corporation disposed of its printing equipment plants in 1984 in a leverage buyout. Heidelberg (Germany) purchased some of the printing manufacturing plants in the late 1990s.

Provenance:

Collection donated by GSS Printing Equipment.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Printing machinery and supplies  Search this

Printing industry  Search this

Printing  Search this

Offset printing  Search this

Inventors  Search this

Printing -- Instruments  Search this

Printing -- History  Search this

Printing presses  Search this

Genre/Form:

Scrapbooks -- 20th century

Photograph albums -- 20th century

Newsletters -- 1900-1950

Photographs -- 1900-1950

Blueprints

Catalogs

Citation:

Harris Automatic Press Company Records, 1889-1995; 2003 Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0928

See more items in:

Harris Automatic Press Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8695bb213-f38b-4b09-a1bd-c6fc03659a61

EDAN-URL:

ead_collection:sova-nmah-ac-0928

Creator:

Gerardia, Helen, 1903-1988  Search this

Type:

Scrapbooks

Citation:

Helen Gerardia papers, circa 1945-1988. Archives of American Art, Smithsonian Institution.

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women printmakers  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8966

(DSI-AAA_SIRISBib)211153

AAA_collcode_gerahele

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211153

Interviewee:

Adams, Clinton, 1918-2002  Search this

Interviewer:

Cummings, Paul  Search this

Subject:

Adams, Kenneth M.  Search this

Antreasian, Garo Z.  Search this

Berman, Eugene  Search this

Charlow, Jean  Search this

Funk, Joseph  Search this

Grosman, Tatyana  Search this

Hollander, Irwin  Search this

Horak, Bohuslav  Search this

Kistler, Lynton R.  Search this

Macdonald-Wright, Stanton  Search this

Ray, Man  Search this

Sommers, John  Search this

Tyler, Kenneth E.  Search this

Viesulas, Romas  Search this

Wayne, June  Search this

Tamarind Lithography Workshop  Search this

University of New Mexico. College of Fine Arts  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Clinton Adams, 1974 March 29. Archives of American Art, Smithsonian Institution.

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

Record number:

(DSI-AAA_CollID)11669

(DSI-AAA_SIRISBib)216442

AAA_collcode_adams74

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216442

Creator:

Jacques Seligmann & Co.  Search this

Subject:

Hauke, Cesar M. de (Cesar Mange)  Search this

Glaenzer, Eugene  Search this

Haardt, Georges  Search this

Seligman, Germain  Search this

Seligmann, Arnold  Search this

Parker, Theresa D.  Search this

Waegen, Rolf Hans  Search this

Trevor, Clyfford  Search this

Seligmann, René  Search this

Seligmann, Jacques  Search this

De Hauke & Co., Inc.  Search this

Jacques Seligmann & Co  Search this

Eugene Glaenzer & Co.  Search this

Germain Seligmann & Co.  Search this

Gersel  Search this

Type:

Gallery records

Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Topic:

Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this

Schiff, Mortimer L. -- Art collections  Search this

Arenberg, duc d' -- Art collections  Search this

Liechtenstein, House of -- Art collections  Search this

Art -- Collectors and collecting -- France -- Paris  Search this

Art -- Collectors and collecting  Search this

World War, 1939-1945 -- Art and the war  Search this

La Fresnaye, Roger de, 1885-1925  Search this

Art, Renaissance  Search this

Decorative arts  Search this

Art treasures in war  Search this

Art, European  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9936

(DSI-AAA_SIRISBib)212486

AAA_collcode_jacqself

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212486

Creator:

Nevelson, Louise, 1899-1988  Search this

Extent:

30.5 Linear feet

40.5 Megabytes

Type:

Collection descriptions

Archival materials

Megabytes

Photographs

Interviews

Sketches

Scrapbooks

Date:

circa 1903-1982

Summary:

The papers of Louise Nevelson measure 30.5 linear feet and 40.5 MB and date from circa 1903 to 2019. The collection documents aspects of the life and work of the sculptor, focusing especially on her later career. Papers include correspondence, personal business records, writings, scrapbooks, early art work, photographs, interviews, awards and honorary degrees, books, and an extensive amount of printed material.

Scope and Content Note:

The papers of Louise Nevelson measure 30.5 linear feet and date from circa 1903 to 1988. The collection documents aspects of the life and work of the sculptor, focusing especially on her later career. Papers include correspondence, personal business records, writings, scrapbooks, some of Nevelson's early art work, photographs, interviews, awards and honorary degrees, books, and an extensive amount of printed material.

Interviews, awards, and honorary degrees comprise a series of biographical material, along with scattered personal papers such as a graduation program, wedding announcement, teaching certificate, invitations, miscellaneous notes, and material relating to Nevelson's family. Correspondence consists of letters and enclosures from a wide range of professional contacts, including museums and art centers, universities, art associations, women's and charitable organizations, artists, and philanthropists, among others, concerning the exhibition, sale, and donation of Nevelson's art work, and her various arts-related activities, as well as some letters from friends and family. Correspondence can also be found amongst the subject files, which also include clippings, notes, printed and other material organized according to subject and relating to certain exhibitions, and various artistic and professional activities. Whether this organization originates with Nevelson, one of her assistants, or Archives staff is unknown.

Found amongst Nevelson's business records are consignment receipts, statements, correspondence, inventories, disposition cards, notebooks, and lists, stemming from her business dealings with the Martha Jackson Gallery and related matters, usually carried out by her assistant at the time. Business records relate in particular to the large and complex project of inventorying Nevelson's art work undertaken sometime in the early-1960s. Nevelson's writings consist of poems and poem fragments, a short-lived dream journal, scattered writings on art, and drafts from Dawns and Dusks: Taped Conversations with Diana MacKown by Louise Nevelson and Diana MacKown. Also found are a large number of scrapbooks and an extensive amount of printed material, which likely stem in large part from Nevelson's concern to document and keep a record of her accomplishments. Scrapbooks contain clippings, exhibition announcements and catalogs, and other material documenting Nevelson's early career from roughly the mid-1930s to the mid-1950s. Also included are loose items comprising a scrapbook of sorts on son Mike Nevelson and various scrapbooks compiled by others as mementos of particular events. Printed material includes an extensive amount of clippings and publications, exhibition catalogs and announcements, and a variety of other printed material relating or referring to Nevelson or merely featuring her name in print. Also included are several books, some of which are about or feature segments on Nevelson. This material documents both her critical and commercial success, and her role as personality and minor celebrity in the mass media later in her career, especially during the 1960s and 1970s.

Art work consists of early drawings and watercolors made by Nevelson as a child and adolescent and while studying art in high school and New York, which document her artistic tendencies as youth and her early development as an artist and which provide an interesting contrast to her later work in sculpture. Photographs include ones of the Berliawsky family and Nevelson as a child, adolescent, and young woman in the 1920s and 1930s before she became known as an artist; ones of Nevelson from the mid-1950s to the 1980s, once she had become known, and began to be honored, as an artist; and ones of Nevelson's art work, as well as of various exibitions and installations of her work. Also included are a number of slides of the artist and her art work, including photographs taken by Dorothy Dehner in the mid-1950s at Louise Nevelson's house on Thirtieth Street.

There is a 40.5 MB unprocessed addition to this collection donated in 2022 that includes digital photographs of a plaque commemoration installed in Louise Nevelson's birth town of Pereyaslav, Ukraine in 2019. Organizers of the event include Julie Gard, Associate Professor of Writing and Associate Director of the Writing Center at the University of Wisconsin-Superior; Yuri Avramenko, Memorial Organizer in Pereyaslav-Ukraine and Maria Nevelson, Founder and Executive Director and Chair of the Board for the Louise Nevelson Foundation. Materials date from 2019.

Arrangement:

The Louise Nevelson papers are arranged into ten series:

Missing Title

Series 1: Biographical Material, 1918-1985 (Boxes 1, 17, OV 21, 30, 31, Sol 42; 2.3 linear feet)

Series 2: Correspondence, 1931-1984 (Boxes 1-2, 31-35, Sol 42; 6 linear feet)

Series 3: Subject Files, 1955-1988 (Box 3, 35-36; 1.7 linear feet)

Series 4: Business Records, 1946-1981 (Boxes 3-5, 36-38, Sol 42; 3.8 linear feet)

Series 5: Writings, 1936-1980 (Box 5, 38, Sol 42; 0.5 linear feet)

Series 6: Scrapbooks, 1935-1983 (Boxes 5, 18-19, OV 22-27, 38, Sol 42; 1.5 linear feet)

Series 7:Books and Printed Material, 1904-1985 (Boxes 6-13, 19, OV 28, 38-40, Sol 43; 9.5 linear feet)

Series 8: Art Work, 1905-1982 (Boxes 13, 20, 40, Sol 43; 0.5 linear feet)

Series 9: Photographs, circa 1903-1980s (Boxes 14-15, 20, OV 29, 40-41, Sol 43; 3.5 linear feet)

Series 10: Unprocessed Addition, 2019 (40.5 MB)

Biographical Note:

Louise Nevelson was born in 1899 in Kiev, Russia. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine, where the young Louise grew up as a bit of an outsider in local society. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). She eventually separated from her husband in the winter of 1932-1933; and they divorced officially in 1941.

Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. She returned to New York in 1932 and again studied for a time with Hofmann, who was by now a guest instructor at the Art Students League. In 1933, she met Diego Rivera while he was in New York working on his mural for Rockefeller Center and casually worked as his assistant for a short period. Shortly thereafter, she began to work in sculpture and joined a sculpture class taught by Chaim Gross at the Educational Alliance. She continued to draw and paint, and even took up etching, lithography, and other techniques at different points in her career, but from this time on, she concentrated on sculpture. Her early sculptures were primarily in plaster, clay, and tattistone.

During the thirties, Nevelson exhibited in a number of group shows (both non-juried and competitive ones), garnering some recognition for her work. In 1935, she taught mural painting at the Flatbush Boys Club in Brooklyn, as part of the Works Progress Administration (WPA), then went on to work in the fine-arts division as an easel painter and sculptor until 1939. In 1941, Nevelson had her first solo exhibition at the Nierendorf Gallery, run by Karl Nierendorf who represented her until his death in 1947. Both this and a one-woman show the following year received favorable reviews. It was around this time that she discovered the decorated shoeshine box of Joe Milone, a local tradesman, and arranged to have it exhibited at the Museum of Modern Art, an occasion which received much notice in the press.

In the 1940s, Nevelson produced a great many works in stone, bronze, terra cotta, and wood, most of them being cubist studies of the figure. In 1943, she had a show titled "The Clown as the Center of his World" at the Norlyst Gallery, which featured works on a circus theme constructed from discarded pieces of wood and other material. This new work was not very well received at the time, and it wasn't until the mid-1950s that she began to work with discarded and found objects on a regular basis.

During the early-1950s, Nevelson attempted to exhibit her work as often as possible, eventually receiving various prizes and notices for her work in the press. She continued to struggle financially though and began to teach sculpture classes in the adult education program of the Great Neck, Long Island public schools in order to make ends meet. In 1955, she joined he Grand Central Moderns Gallery, which was run by Colette Roberts, and had several one-woman shows there. These included: "Ancient Games and Ancient Places" in 1955, featuring Bride of the Black Moon, "The Forest" in 1957, featuring First Personage, and "Moon Garden + One" in 1958, featuring her first wall, Sky Cathedral. During this period, she was painting her wood black and putting together entirely black exhibits; she went on to create works in white and gold in the early-1960s. Around this time, she also began to enclose her small sculptures within wooden boxes.

Nevelson joined the Martha Jackson Gallery in 1958, where she received a guaranteed income and finally achieved a certain degree of financial security. Her first show at the gallery, "Sky Columns Presence," took place in the fall of 1959. In 1960, she had her first one-woman exhibition in Europe at the Galerie Daniel Cordier in Paris. Later that year, her work, grouped together as "Dawn's Wedding Feast," was included in the group show, "Sixteen Americans," at the Museum of Modern Art, alongside the work of Jasper Johns, Robert Rauschenburg, and other younger artists. She made her first museum sale in 1962 when the Whitney Museum of American Art purchased the black wall, Young Shadows. That same year, Nevelson's work was selected for the thirty-first Biennale in Venice.

Over the years, Nevelson took on several assistants, including Teddy Haseltine, Tom Kendall, and Diana Mackown, to help in the studio and with daily affairs. She also participated in various artists' groups, and served as President of the New York Chapter of Artists' Equity from 1957 to 1958, and as President of the national organization from 1962 to 1964. She left the Martha Jackson Gallery in 1962, and after a brief, unhappy stint with the Sidney Janis Gallery, she joined the Pace Gallery, which was run by Arnold Glimcher, in the fall of 1963. She proceeded to have shows of new work there about every two years for the remainder of her career. She had her first museum retrospective at the Whitney Museum in 1967, which featured over a hundred of her works from her drawings from the 1930s to her latest constructions. And in 1968, she was elected to the National Institute of Arts and Letters. By this time, Nevelson had achieved both critical and commercial success as an artist.

Nevelson always experimented with new materials; she continued to construct her black wood walls, but also went on make constructions from aluminium, plastic, and metal. In the fall of 1969, she was commissioned by Princeton University to do a monumental outdoor sculpture in Cor-ten steel (her first), and went on to do commissioned works for the Philadelphia Federal Courthouse, and Chase Manhattan Bank in New York, among others. In 1973, the Walker Art Center organized a major exhibition of Nevelson work which traveled around the country over the next two years. In 1975, she designed the chapel for St. Peter's Lutheran Church in midtown Manhattan.

Nevelson was widely honored for her work during her lifetime. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985. By the time of her death on April 17, 1988, Nevelson was considered by and large one of the most important American sculptors of the twentieth century.

Sources consulted for this biographical note include Louise Nevelson: A Passionate Life by Laurie Lisle and Louise Nevelson by Arnold Glimcher.

Related Material:

Other resources relating to Louise Nevelson in the Archives include oral history interviews with Nevelson conducted by Dorothy Seckler, June 1964-January 14, 1964, and Arnold Glimcher, January 30, 1972. Also related are a 4 part untranscribed audio recording of an interview with Nevelson by Barbaralee Diamonstein, an audio recording of an interview with Nevelson conducted by Barbara Braun in 1983, and a video recording of Nevelson's 1958 exhibition installation at Grand Central Moderns gallery.

Provenance:

Donated 1966-1979 by Louise Nevelson,and in 2018 by the Farnsworth Art Museum in Rockland, Maine via Michael Komanecky, Chief Curator. The Farnsworth Art Museum received the materials from Louise Nevelson, her son Mike Nevelson, brother Nathan Berliawksy, and others that were close to the artist. Additional material donated in 2022 by Maria Nevelson, Louise Nevelson's granddaughter.

Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 and 2022 addition. Use of material not digitized 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:

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

Topic:

Works of art  Search this

Sculpture -- Exhibitions  Search this

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

Genre/Form:

Photographs

Interviews

Sketches

Scrapbooks

Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.neveloui

See more items in:

Louise Nevelson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c8dde75-538a-43a6-a68e-fa1db8e7d535

EDAN-URL:

ead_collection:sova-aaa-neveloui

Creator:

Sugarman, George, 1912-1999  Search this

Names:

Honegger, Gottfried, 1917-  Search this

Kushner, Robert, 1949-  Search this

Extent:

12.22 Linear feet

21.83 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Interviews

Photographs

Sound recordings

Date:

1912-2001

Summary:

The papers of painter and sculptor George Sugarman measure 12.22 linear feet and 21.83 GB and date from 1912 to 2001, with the bulk of the material dating from 1959 to 1999. The collection documents Sugarman's career as a sculptor primarily through correspondence, project files, exhibition files, writings, and photographs. The collection also includes address and appointment books, business and financial records, and printed material. A partially processed addition consisting of audio (3 sound cassettes) and video recordings (1 video reel, 1/2", 11 videocassettes, 7 U-matic and 4 VHS), and one Super 8 mm motion picture film, as well as digital copies of the film and video recordings, includes lectures by Sugarman, documentaries about Sugarman and his sculptures, and radio and television appearances by Sugarman.

Scope and Content Note:

The papers of painter and sculptor George Sugarman measure 12.22 linear feet and 21.83 GB and date from 1912 to 2001, with the bulk of the material dating from 1959 to 1999. The collection documents Sugarman's career as a sculptor primarily through correspondence, project files, exhibition files, writings, and photographs. The collection also includes address and appointment books, business and financial records, and printed material. A partially processed addition consisting of audio (3 sound cassettes) and video recordings (1 video reel, 1/2", 11 videocassettes, 7 U-matic and 4 VHS), and one Super 8 mm motion picture film, as well as digital copies of the film and video recordings, includes lectures by Sugarman, documentaries about Sugarman and his sculptures, and radio and television appearances by Sugarman.

The bulk of the collection consists of correspondence with family members, friends, artists, and scholars, reflecting Sugarman's diverse influences and interests. The project files and exhibition files illustrate Sugarman's prolific career as an artist and document Sugarman's numerous projects and exhibitions abroad, particularly in Japan.

The writings by Sugarman are noteworthy as they reveal the integral relationship between Sugarman's philosophical theories about art and his actual works of art. The business and financial records mainly document expenses incurred while working on various projects and exhibitions and while traveling. Maps, clippings, and brochures from Sugarman's many travels are included as well as exhibition catalogs and announcements for Sugarman and others. The collection also contains photographs of George Sugarman and his artwork, dating mostly from the 1970s.

Arrangement:

The collection is arranged into ten series. Series are arranged by type of material; materials within series are arranged alphabetically by name or by type of material and then chronologically. Series 10 is unprocessed.

Missing Title

Series 1: Biographical Materials, 1912-2000, n.d. (Box 1; 9 folders)

Series 2: Correspondence, 1959-2001, n.d. (Boxes 1-3, OV 8; 2.9 linear feet)

Series 3: Project Files, 1968-1997, n.d. (Boxes 3-4; 1 linear foot)

Series 4: : Exhibition Files, 1965-1993, n.d. (Boxes 4-5, OV 8; 0.6 linear feet)

Series 5: Writings, 1951-1992, n.d. (Box 5; 0.2 linear feet)

Series 6: Address and Appointment Books, 1972-1997, n.d. (Boxes 5-6; 0.3 linear feet)

Series 7: Business and Financial Records, 1962-1998, n.d. (Box 6; 0.4 linear feet)

Series 8: Printed Material, 1954-1999, n.d. (Boxes 6-7, OV 8; 1.2 linear feet)

Series 9: Photographs, 1966-1981, n.d. (Box 7; 0.2 linear feet)

Series 10: Sound and Moving Image Material, 1972-1990 (Box 9, FC 10; 1.2 linear feet, ER01-ER13; 21.83 GB)

Biographical Note:

George Sugarman was a painter and sculptor who disliked labels because he believed they oversimplified the complexity of art, and Sugarman's artwork, like the artist himself, resists classification and oversimplification. Although he was influenced by Surrealist imagery, Cubist ideas of space, Baroque sculpture, and Abstract Expressionism, Sugarman's sculptures also display a musical quality, reflecting his interest in jazz music and improvisation. Sugarman was a pioneer in the use of color in sculpture and is probably best known for his large, polychrome aluminum sculptures.

Sugarman made the decision to become an artist relatively late in life. Born in New York on May 11, 1912, he studied at City College in New York and graduated with a B.A. in 1934. After serving in the United States Navy from 1941 until 1945, he attended evening classes at Museum of Modern Art. At the age of 39, George Sugarman traveled to Paris to study painting under the GI Bill of Rights. While in Paris, he decided to study sculpture with Ossip Zadkine and began creating wood carvings and terra-cotta sculptures. Over the next few years, Sugarman traveled to Italy and Spain, studying Baroque sculpture and architecture. He was particularly attracted to the work of Bernini and to Bernini's use of space.

Sugarman returned to New York in 1955 and began working with laminated wood. In order to support himself, he accepted a job teaching carpentry at a private school. He joined the Brata Gallery in 1957 and helped found the New Sculpture Group. A few years later, Sugarman received major recognition of his work by winning second prize in sculpture at the Pittsburgh International Exhibition. Sugarman went on to win a Longview Foundation Grant, a Ford Foundation Grant for his work at the Tamarind Lithography Workshop, and a grant from the National Endowment for the Arts.

In the 1960s, Sugarman began working on large painted-aluminum sculptures and completed his first outdoor sculpture at the Xerox Building in El Segundo, Calif. in 1969. Many of Sugarman's outdoor sculptures generated intense controversy, particularly his sculpture for the Edward A. Garmatz Federal Building and Courthouse in Baltimore, but he was devoted to his belief in the social as well as aesthetic importance of public art. Sugarman saw public sculpture as a "metaphor for the human condition" and as a way to transcend what he called the "indoor eye," the eye which views art in isolation from its physical and social environment.

Sugarman taught at the Graduate School of Hunter College in New York City from 1960 until 1970 and served as visiting Associate Professor at the Yale University Graduate School of Art from 1967 to 1968. Sugarman was a prolific artist, participating in numerous one-man shows, group exhibitions, and competitions all over the world, yet recognition of his talent came almost a decade later in the United States than in Europe. His works are in major collections including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago. George Sugarman died on August 25, 1999.

Related Material:

The transcript and audiotapes of an interview with George Sugarman conducted by Paul Cummings in 1974 for the Archives of American Art's Oral History Program is available at the Archives of American Art, Smithsonian Institution.

Separated Material:

The Archives of American Art also holds materials lent for microfilming. Reel N70-50 and N70-51 includes biographical material, an essay about George Sugarman, exhibition catalogs and announcements dating from 1954 to 1960, a certificate, writings by Sugarman, and correspondence dating 1953-1970. The originals of most of these materials were included in later donations. Reel N70-50 also contains a substantial number of photographs of Sugarman's natural wood sculptures from the late 1950s, his early works in wood, clay, and plaster dating from 1951 to 1958, his drawings and paintings from the late 1960s, installations and works in progress from 1960 to 1970, and photographs of Sugarman working in the studio in the 1960s. There are also twelve sketchbooks and loose pages dating from 1943 to 1958, which document Sugarman's travels to the South Pacific, New York City, France, Spain, and North Africa. Lent material not included in later gifts remain with the lender and are not described in the collection container inventory.

Provenance:

In 1970, George Sugarman lent material to the Archives of American Art for microfilming. In 1980 and 1983, George Sugarman donated portions of the material previously lent, along with additional materials. Additional materials were donated by Sugarman's niece, Arden Sugarman Eilopolous, in 1999 and 2000. In 2006, the Sugarman Foundation via Arden Sugarman donated the audio and video recordings.

Restrictions:

The collection is open for research. Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. research facility.

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:

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

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Drawings

Interviews

Photographs

Sound recordings

Citation:

George Sugarman papers, 1912-2001. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.sugageor

See more items in:

George Sugarman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9da24b662-65c7-4766-9f29-cc98bb339210

EDAN-URL:

ead_collection:sova-aaa-sugageor

Creator:

Freeman, Richard B., 1908-1987  Search this

Subject:

Crawford, Ralston  Search this

Spencer, Niles  Search this

Citation:

Research material on Ralston Crawford and Niles Spencer, 1934-1986. Archives of American Art, Smithsonian Institution.

Topic:

Painting, Modern -- 20th century -- United States  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)6713

(DSI-AAA_SIRISBib)208838

AAA_collcode_freerich

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208838

Creator:

Jackson, Joseph, 1867-1946  Search this

Subject:

Krimmel, John Lewis  Search this

Pennell, Joseph  Search this

Citation:

Joseph Jackson papers, 1913-1946. Archives of American Art, Smithsonian Institution.

Topic:

Painting, Modern -- 19th century -- Pennsylvania -- Philadelphia  Search this

Lithography -- 20th century -- Pennsylvania -- Philadelphia  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)6878

(DSI-AAA_SIRISBib)209006

AAA_collcode_jackjose

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209006

Creator:

Chapin, Francis, 1899-1965  Search this

Subject:

Mangravite, Peppino  Search this

Pattison, Abbott L. (Abbott Lawrence)  Search this

Wilson, Douglas  Search this

Wines, James  Search this

Albright, Ivan  Search this

Chapin, Vivian  Search this

Hopper, Edward  Search this

Kurtz, Edmund  Search this

Type:

Sketchbooks

Scrapbooks

Citation:

Francis Chapin papers, 1917-1984. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- History  Search this

Theme:

Sketches & Sketchbooks  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7381

(DSI-AAA_SIRISBib)209538

AAA_collcode_chapfran

Theme:

Sketches & Sketchbooks

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209538

Creator:

Deutsch, Boris, 1892-1978  Search this

Subject:

United States. Public Buildings Administration. Section of Fine Arts  Search this

Citation:

Boris Deutsch papers, circa 1912-1979. Archives of American Art, Smithsonian Institution.

Topic:

Mural painting and decoration -- 20th century -- United States  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7521

(DSI-AAA_SIRISBib)209680

AAA_collcode_deutbori

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209680

Creator:

Kistler, Lynton R. (Lynton Richards), 1897-1993  Search this

Charlot, Jean, 1898-1979  Search this

Citation:

Lynton Kistler and Jean Charlot papers, 1933-1982. Archives of American Art, Smithsonian Institution.

Topic:

Graphic arts -- 20th century -- United States  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8628

(DSI-AAA_SIRISBib)210808

AAA_collcode_kistlynt

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210808

Creator:

Taylor, Prentiss, 1907-1991  Search this

Subject:

Van Vechten, Carl  Search this

Landeck, Armin  Search this

O'Neill, Eugene  Search this

Hurston, Zora Neale  Search this

Kahlo, Frida  Search this

Field, Rachel  Search this

Stein, Gertrude  Search this

Toklas, Alice B.  Search this

Hughes, Langston  Search this

Robinson, Bill  Search this

Rivera, Diego  Search this

Robeson, Paul  Search this

Pinckney, Josephine  Search this

Van Doren, Mark  Search this

Golden Stair Press  Search this

American University (Washington, D.C.). Fine Arts Dept.  Search this

Society of Washington Printmakers (Washington, D.C.)  Search this

Type:

Scrapbooks

Drawings

Writings

Sketchbooks

Prints

Sound recordings

Citation:

Prentiss Taylor papers, 1885-1991. Archives of American Art, Smithsonian Institution.

Topic:

Lithography -- 20th century -- Washington (D.C.)  Search this

Lithographers -- Washington (D.C.)  Search this

Art therapy  Search this

Harlem Renaissance  Search this

Printmakers -- Washington (D.C.)  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9232

(DSI-AAA_SIRISBib)211427

AAA_collcode_taylpren

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211427

Creator:

Dobkin, Alexander, 1908-1975  Search this

Subject:

Evergood, Philip  Search this

Gross, Chaim  Search this

Levine, Jack  Search this

Soyer, Raphael  Search this

Citation:

Alexander Dobkin papers, 1940-1974. Archives of American Art, Smithsonian Institution.

Topic:

Lithography -- 20th century -- New York(N.Y.)  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9312

(DSI-AAA_SIRISBib)211507

AAA_collcode_dobkalex

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211507

Creator:

Tamarind Lithography Workshop  Search this

Subject:

Brice, William  Search this

Francis, Sam  Search this

Hultberg, John  Search this

McLaughlin, John  Search this

Schwartz, Aubrey  Search this

Woelffer, Emerson  Search this

Adams, Clinton  Search this

Antreasian, Garo Z.  Search this

Wayne, June  Search this

Tamarind Institute  Search this

Citation:

Tamarind Lithography Workshop records, 1954-1984. Archives of American Art, Smithsonian Institution.

Topic:

Lithography -- 20th century -- California -- Los Angeles -- Study and teaching  Search this

Theme:

Latino and Latin American  Search this

Art instruction and services  Search this

Record number:

(DSI-AAA_CollID)5552

(DSI-AAA_SIRISBib)213843

AAA_collcode_tamalitw

Theme:

Latino and Latin American

Art instruction and services

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213843

Creator:

Waitt, Alden Harry, 1892-1981  Search this

Subject:

San Antonio Art Institute  Search this

Citation:

Alden Harry Waitt papers, 1958-1981. Archives of American Art, Smithsonian Institution.

Topic:

Landscape painting -- 20th century -- Texas -- San Antonio  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)10584

(DSI-AAA_SIRISBib)214060

AAA_collcode_waitalde

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214060

Creator:

Grever, Otto Lambert, 1878-1936  Search this

Subject:

Grever, Barbara Ann  Search this

H.C. Miner Lithographic Co.  Search this

Citation:

Otto Lambert Grever and Grever family papers, 1907-1991. Archives of American Art, Smithsonian Institution.

Topic:

Theater -- History -- 20th century  Search this

Theatrical posters  Search this

Lithography  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6427

(DSI-AAA_SIRISBib)215549

AAA_collcode_grevotto

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215549

Manufacturer:

Ben Johnson & Co., Ltd.  Search this

Sponsor:

Imperial Airways  Search this

Artist:

James Gardner, 1908-1995  Search this

Other:

Stuarts Advertising Agency  Search this

Medium:

Poster, Advertising, Commercial Aviation

Dimensions:

2-D - Unframed (H x W): 63.3 × 101.4cm (2 ft. 15/16 in. × 3 ft. 3 15/16 in.)

Type:

ART-Posters, Original Art Quality

Country of Origin:

United Kingdom

Date:

1937

Inventory Number:

A19900623000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9f657cdb4-0bcd-4fd3-a4df-c80cc7dc78e9

EDAN-URL:

edanmdm:nasm_A19900623000

Sponsor:

Hamburg-Amerika Linie  Search this

Artist:

Ottomar Anton, 1895-1976  Search this

Medium:

Poster, Advertising, Commercial Aviation

Dimensions:

2-D - Unframed (H x W): 83.8 × 60cm (2 ft. 9 in. × 1 ft. 11 5/8 in.)

Type:

ART-Posters, Original Art Quality

Country of Origin:

Germany

Date:

1935-1937

Inventory Number:

A19900533000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv92a1719a4-d7d8-4712-8fb7-15788f3e06ca

EDAN-URL:

edanmdm:nasm_A19900533000