The Dane Chanase papers measure 2.4 linear feet and date from circa 1916-1976. The papers document Chanase's career as a Works Progress Administration (WPA) muralist in New York through biographical material; correspondence; writings including a travel diary to Palestine and extensive notes on art, color and expressionism as well as notes on topics of personal interest; and subject files on art related theories and concepts as well as research pertaining to mural locations. Also found are subject files on Sheva Ausubel who was an American painter, textile artist and Chanase's wife; printed materials which include reference clippings, information on other artists and document a number of Chanase's interests in science and society; transparencies of paintings by the artist and photographs of other artist's murals as well as topics of interest such as early computers and industrial labor. Also included are large preperatory drawings for a WPA mural in Columbus High School, Washington D.C. as well as other pencil, pen and watercolor sketches.
Scope and Contents:
The papers of Works Progress Administration (WPA) muralist Dane Chanase measure 2.4 linear feet and date from circa 1916-1976. Included are drafts and completed biographical summaries and an illustrated letter from Chanase to a W. Dee and a letter from Chanase to Charmion von Wiegand regarding his participation in the Federal Arts Program. The writing series consists primarily of extensive notes on various subjects of scientific and artistic interest to Chanase such as physics, color, expressionism and mechanical technology. Also found are artist statements and notes on art including a notebook that contains writings on various mediums of art including etching, fresco and ceramics. Subject files reflect topics of interest or research for mural projects in New York and subjects such as the history of the post office, kinetic color, optics, lights and vision as well as document Chanase's wife Sheva Ausubel's career as an artist. Printed Material are mostly comprised of newspaper and magazine clippings related to mural research and reference, other artists and scientific and social topics of interest. Also included are post cards, booklets and photographic reproductions. Photographic material contains two slides of paintings by Chanase as well as photographs of murals by other artists, people performing industrial labor, early computers, and various bridges. The Artwork series contains large prepratory drawings for a WPA mural at Columbus high school in Washington D.C., as well as smaller prepratory sketches for unnamed murals, and assorted sketches in pencil, pen and watercolor.
Arrangement:
The collection is arranged as seven series.
Series 1: Biographical Material, circa 1974 (1 Folder; Box 1)
Series 2: Correspondence, circa 1933-1943 (2 Folders; Box 1)
Series 3: Writings, circa 1920-1965 (0.5 Linear feet; Box 1)
Series 4: Subject Files, circa 1924-1974 (0.3 Linear feet; Box 1)
Series 6: Printed Material, circa 1916-1974 (0.7 Linear feet; Box 2)
Series 7: Photographic Material, circa 1916-1956 (0.2 Linear feet; Box 2)
Series 8: Artwork, circa 1921-1974 (0.6 Linear feet; Box 2, Rolls 1-3)
Biographical / Historical:
Dane Chanase (1894-1975) was a Works Progress Administration (WPA) muralist, printmaker and sculptor from Palermo, Italy who moved to New York City in 1932 where he began working for the New York division of the Works Progress Administration. His wife Sheva Ausubel (1896-1957), was also a New York WPA artist known for her weavings and tapastry designs. Some locations of Chanase's WPA murals include the Welfare Island Hospital, New York, Baron de Hirsch Trade School, New York, and Columbus High School, Washington, D.C. In addition to his murals, Chanase exhibited at the 1930 Salon d'Automne in Paris, France and his work is in the collections of the Los Angeles Museum of Art; Bezalel National Museum; Brooklyn Museum; Library of Congress; and the New York Public Library.
Provenance:
Donated in 1977 by Genie and Moshe Szajngarten who occupied Chanase's former residence.
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.
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:
Muralists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Genre/Form:
Drawings
Citation:
Dane Chanase papers, circa 1916-1976. 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.
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Scope and Content Note:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.
Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.
Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.
Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.
Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.
Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.
Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.
There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.
Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.
Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.
Arrangement:
The collection is arranged into 9 series:
Missing Title
Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)
Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)
Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)
Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)
Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)
Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)
Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)
Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)
Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)
Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)
Biographical Note:
Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.
Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.
During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.
In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.
In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.
During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.
Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.
Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.
Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.
Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.
Falkenstein died in 1997 at the age of 89.
Related Material:
The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.
Provenance:
The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.
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.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
There is extensive correspondence with friends, family, galleries, clients, museums, collectors, and writers. The files contain original incoming correspondence and duplicate copies of outgoing correspondence, some with several drafts. Correspondence concerns many family, personal, and art-related topics and work, including upcoming exhibitions, commissions, art news, and her life and work in Paris. Correspondence with family members includes her husband Richard McCarthy and sister Helen Bickle. Correspondence with her husband offers details about her life in Paris from 1951 to 1960. Correspondence with her friend Myrtle Wolf is particularly extensive. Some letters contain enclosures, such as photographs, clippings, and nnouncements. Correspondence with clients, for both public and private commissions, may also include contracts, invoices, and expense reports, and should be consulted with the commission files which also contain correspondence. Additional correspondence is also found in the personal and business records series and the exhibitions series.
Additional named correspondents include Carla Accardi, Jean Arp, Anne Baxter, Jae Carmichael, Olive Cowell, Zoe Dusanne, Garrett Eckbo, Sam Francis, Ray Green, Peggy Guggenheim, Katharine Kuh, Frank Lobdell, Sybil Moholy-Nagy, Grace Morley, Berto Morucchio, May O'Donnell, Joanna and Gifford Philips, Ken Sawyer, Gertrude Shurr, Darthea Spayer, Clyfford and Pat Still, Michel Tapie, Antonio Tapies, Allan Temko, Mark Tobey, June Wayne, Wilhelm Wessel, Frans Wildenhain, among many others.
Gallery and museum correspondence is with Anderson Gallery, Bolles Gallery, Coos Art Museum, Galerie Anderson-Mayer (Paris), Galerie Stadler (Paris), Gallery Mayer (Paris), Jack Rutberg Fine Arts (Los Angeles), Los Angeles Museum of Art, Malvina Miller (New York), Martha Jackson Gallery (New York), Otto Seligman Gallery, Polly Friedlander Gallery, and the San Francisco Museum of Art, among many others. This series also contains postcards and Christmas cards.
Arrangement note:
Outgoing letters are arranged first in chronological order, followed by incoming letters arranged alphabetically by name correspondent. Miscellaneous files for each letter of the alphabet contain single letters from each correspondent. Christmas cards and postcards are arranged at the end of the series.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Fidel Danieli papers, 1962-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources Hidden Collections grant program.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Roger Wong. Roger Wong letter to Steve Martin, 1983 June 15. Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Roger Wong Gallery (Los Angeles, Calif.) Search this
Type:
Photographs
Date:
circa 1980
Citation:
Roger Wong at the Los Angeles Museum of Art/Roger Wong Gallery, circa 1980. Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Los Angeles Museum of Art entrance and window displays, circa 1980. Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
This collection contains color slides, black and white negatives, and large format transparencies regarding the coronation and related rituals of the Oba of Benin, Nigeria, that span the period, 1978 to 1990, and 1997.
Biographical / Historical:
Joseph Nevadomsky was a scholar of the Kingdom of Benin, photographer, and professor of anthropology. He taught at UCLA, USC, University of Lagos, University of Benin, and the Los Angeles Museum of Art. He also spent 30 years teaching at Cal State Fullerton. He received his doctorate and master's degrees from UC Berkeley, and his bachelor's degree from the University of San Diego. He also served as a Peace Corps volunteer in Nigeria and participated in a Fulbright student program in India. He was recognized as the Humanities and Social Sciences Distinguished Professor in 2000.
Nevadomsky's areas of study included the Kingdom of Benin, rituals of kingships, Benin brass, arts, and architecture, although he also travelled to several other countries--Trinidad, India, Nigeria, Zimbabwe, and Belize. He published many journal articles and other works, and co-curated "Benin: Art of Power" at the Bowers Museum.
On January 15, 2020, Nevadomsky passed away.
General:
Captions created by archives staff using information provided by donor.
Restrictions:
This collection is currently closed for processing. Contact Archives staff for more details
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
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:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.
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:
Keith Warner papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
