Search Results

Creator:

Presser, Josef, 1906-1967  Search this

Names:

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

Artists Equity Association  Search this

Central Cown Art Center  Search this

Dalton School (New York, N.Y.)  Search this

New York University -- Faculty  Search this

Parnassus Square  Search this

Port of New York Authority  Search this

Prospect Hill School (New Haven, Conn.)  Search this

Woodstock Artists Association (Woodstock, N.Y.)  Search this

Ames, Elizabeth  Search this

Blanch, Lucile, 1895-1981  Search this

Fraser, Vera  Search this

Hart, Agnes, 1912-1979  Search this

Hopkinson, Charles, 1869-1962  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Smedley, Agnes, 1892-1950  Search this

Walkowitz, Abraham, 1880-1965  Search this

Extent:

4.3 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Postcards

Sketchbooks

Photographs

Date:

1913-1980

Summary:

The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

Scope and Content Note:

The papers of New York painters and teachers Josef Presser and Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as partners, artists, and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

The collection is divided into two series. Series 1 consists primarily of Presser's papers from 1913 to his death in 1967, and Hart's correspondence dating from 1967 to 1977 regarding the management of his estate. Biographical material includes an address book, curriculum vitae, family history, and personal identification records. Presser's personal correspondence is with family and friends, including the artists Charles Hopkinson and Vera Fraser. Business related correspondence is with various collectors, galleries, museums, art associations, and art schools. There is also correspondence related to Presser's law suit against the New York Port Authority, and Presser and Hart's real estate purchases in Hurley and Woodstock, New York. Hart's correspondence concerns Presser's estate and artwork after his death, including letters related to the organization of Presser's memorial exhibition in 1968.

Writings by Presser include essay fragments, 4 notebooks, and numerous note fragments. His teaching files include memoranda, syllabi, and class assignments from his tenure at New York University from 1947 to 1952. There are also memoranda from the New York School of Visual Arts and the Prospect Hill School. Personal business records include bank registers, artwork sales records, and receipts from his residency in Paris in the 1960s.

Printed material consists of bulletins, clippings, and exhibition announcements and catalogs related to Presser's career. There are also draft and final versions of Presser's memorial exhibition catalog, and a copy of the 1951 conference Artist and the Museum sponsored by the Artists Equity Association and the Woodstock Artists Association.

Artwork consists of loose sketches, artwork on postcards and printed material, and 9 sketchbooks dating from the 1950s to 1960s. Photographic material includes photographs of Presser with friends and family, and photographs of his studio and artwork. There are also 4 photographs of the artist Abraham Walkowitz dating from the 1940s.

Agnes Hart's papers documenting her own career are arranged in Series 2 and date from 1930 to 1980. Biographical materials include two engagement calendars, curriculum vitae, consignment lists, and critiques. Her correspondence with family and friends includes letters from artist Lucile Blanch, journalist Agnes Smedley, and Yaddo director Elizabeth Ames. Business correspondence is with galleries, collectors, art associations, and art schools.

Teaching files include employment contracts, class catalogs, newsletters, and photographs from Hart's tenure at the Art Students League (1965-1975), and class catalogs and memoranda from Dalton Schools and Parnassus Square. Printed material includes bulletins, clippings, and exhibition announcements and catalogs related to Hart's career. There are also draft and final versions of the 1956 Yasuo Kuniyoshi memorial exhibition catalog. Additional photographic material consists of a photograph of the Central Cown Art Center, a gallery Hart managed in 1937.

Arrangement:

The collection is arranged as 2 series:

Missing Title

Series 1: Josef Presser, 1913-1977 (3 linear feet; Boxes 1-3, Box 5)

Series 2: Agnes Hart, 1930-1980 (1.3 linear feet; Boxes 3-4)

Biographical Note:

Josef Presser (1909-1967) lived and worked primarily in New York City as a painter, educator, and lecturer.

Presser was born in Lublin, Poland and immigrated with his family to Boston, Massachusetts in 1913. He showed an early affinity for art and, at the age of 12, was accepted to the Boston Museum School of Fine Arts on a four year scholarship. After completing his education, he spent several years traveling in Europe and visited the major museums of France, Italy, and Belgium before returning to America in 1931. Upon his return, Presser opened his first solo New York show at the Montross Gallery in 1931, moved to Philadelphia, painted murals as part of the Works Progress Administration program, and began receiving private commissions. By the mid-1930s, Presser was exhibiting regularly in solo shows in Philadelphia and had began accepting teaching positions. While lecturing at Iowa State University, Presser met his future wife and artist, Agnes Hart, who he married in 1941.

After moving to New York City in 1940, Presser continued to exhibit in New York galleries throughout the 1940s and 1950s, and eventually accepted teaching positions at New York University, Queens College, Cooper Union, and the Brooklyn Museum Art School, among others. Though he was familiar with the work of the abstract expressionists, Presser is known primarily for his figurative paintings featuring women, children, clowns, and horses, with the latter two subjects inspired by circuses he had traveled with in Europe. In 1940, Presser and Hart purchased studio space in Woodstock, New York where they exhibited as members of the Woodstock Artists Association. Presser's solo shows include exhibitions at Contemporary Arts Gallery, Associated American Artists Galleries, and the Vera Lazuk Gallery.

In 1965, Presser went on an extended trip abroad to Paris, and continued working until his death in 1967.

Agnes Hart (1912-1979) was born in Meridan, Connecticut and studied art at the Ringling Museum of Art in Sarasota, Florida and at Iowa State University. Hart was a prolific painter and printmaker of abstract forms and urban landscapes. In 1948 and 1949, she received fellowships as a guest painter at the Yaddo Foundation and exhibited her first solo show in New York City at the RoKo Gallery in 1948. She continued to exhibit regularly at New York City galleries into the 1970s, and also accepted several teaching positions, including a ten year tenure with the Art Students League of New York. She continued to paint and teach until her death in 1979.

Separated Material:

The Archives of American Art also holds material lent for microfilming (reel N69-1) including original clippings and exhibition announcements. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

The papers of Josef Presser were lent for microfilming by Agnes Hart in 1968. Excluding certain printed material, Hart later donated the bulk of these papers and additional Presser materials in 1977 and 1979. Hart donated her papers in 1978. Frances Hitchcock, Hart's sister, gave additional material in 1981.

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:

Art teachers -- New York (State) -- New York  Search this

Topic:

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

Painting, Modern -- 20th century  Search this

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Sketches

Postcards

Sketchbooks

Photographs

Citation:

Josef Presser and Agnes Hart papers, 1913-1980, bulk 1940-1980. 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.

Identifier:

AAA.presjose

See more items in:

Josef Presser and Agnes Hart papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98563d5b1-b5d0-43ff-b465-95c8d2bab0d3

EDAN-URL:

ead_collection:sova-aaa-presjose

Creator:

Evanti, Lillian, Mme. (Lillian Evans Tibbs), 1890-1967  Search this

Names:

Evanti, Lillian, Mme. (Lillian Evans Tibbs), 1890-1967  Search this

Collection Photographer:

Apeda Studio (New York, N.Y.)  Search this

Camuzzi, M.  Search this

Harris & Ewing  Search this

Collection Creator:

Sommariva, Emilio, Photographer, 1883-1956  Search this

Harris, Fred (photographer)  Search this

Scurlock Studio (Washington, D.C.)  Search this

Extent:

1 Scrapbook (b&w, 5 x 7 inches.)

Type:

Archival materials

Scrapbooks

Photographs

Place:

Washington (D.C.) -- African Americans

Date:

circa 1907 - 1911

Biographical / Historical:

Lillian Evans was born in Washington, DC to a cultured, well-educated, middle-class family. She was the first African American woman to sing opera with an organized European company. Her mother was Annie Lillian Brooks Evans, a music teacher in the DC public school system, and her father was Wilson Bruce Evans, organizer and first principal of Armstrong Technical High School in Washington, DC. Hiram Revels, the first black U.S. senator, was her great-uncle and two other family members are credited with taking part in John Borwn's raid on Harper's Ferry. She married Howard University music professor, Roy W. Tibbs in 1918. Her stage name, Madame Evanti, is a combination of her last name and her husband's. Evans had one child, Thurlow Tibbs Sr., and two grandchildren, Diane Elizabeth and Thurlow Evans Tibbs. Thurlow Jr., operated a museum, The Evans-Tibbs Collection, which centered around the life of Lillian Evans until 1996, a year before his death.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.

Collection Rights:

Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.

Topic:

African Americans  Search this

Genre/Form:

Scrapbooks

Photographs

Citation:

Evans-Tibbs collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.

See more items in:

Evans-Tibbs Collection

Evans-Tibbs Collection / Series 5: Photographs / Photograph Albums and Scrapbooks

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa751c82e75-f933-48b6-8160-7e40fa8768a8

EDAN-URL:

ead_component:sova-acma-06-016-ref128

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

Photograph by:

Leonard Freed, American, 1929 - 2006  Search this

Subject of:

Unidentified Woman or Women  Search this

Unidentified Man or Men  Search this

Dr. Martin Luther King Jr., American, 1929 - 1968  Search this

20th Anniversary March on Washington, founded 1983  Search this

Printed by:

Brigitte Freed, American  Search this

Pablo Inirio  Search this

Medium:

silver and photographic gelatin on photographic paper

Dimensions:

H x W (Image): 8 11/16 × 12 11/16 in. (22 × 32.2 cm)

H x W (Sheet): 11 × 13 15/16 in. (27.9 × 35.4 cm)

Type:

gelatin silver prints

Place captured:

Washington, District of Columbia, United States, North and Central America

Place printed:

New York City, New York, United States, North and Central America

Date:

August 27, 1983; printed 2013

Topic:

African American  Search this

Activism  Search this

Civil Rights  Search this

Local and regional  Search this

Photography  Search this

Politics  Search this

Race relations  Search this

U.S. History, 1969-2001  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Brigitte Freed in memory of Leonard Freed

Object number:

2016.123.2.15

Restrictions & Rights:

© Leonard Freed & Magnum Photos, Inc

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Portfolio/Series:

USA. Second March on Washington.

Classification:

Media Arts-Photography

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5cd0a871b-0e03-4c6e-8fe9-73c9f6b13134

EDAN-URL:

edanmdm:nmaahc_2016.123.2.15

Photograph by:

Leonard Freed, American, 1929 - 2006  Search this

Subject of:

Unidentified Man or Men  Search this

Unidentified Woman or Women  Search this

AFL-CIO, American, founded 1955  Search this

Dr. Martin Luther King Jr., American, 1929 - 1968  Search this

Morris Biller, American, 1915 - 2003  Search this

Laborers' District Council of Washington, D.C. and Vicinity, American  Search this

Laborers' International Union of North America, American, founded 1903  Search this

American Postal Workers Union, AFL-CIO, American, founded 1971  Search this

20th Anniversary March on Washington, founded 1983  Search this

Printed by:

Brigitte Freed, American  Search this

Pablo Inirio  Search this

Medium:

silver and photographic gelatin on photographic paper

Dimensions:

H x W (Image): 8 3/4 × 13 1/8 in. (22.3 × 33.4 cm)

H x W (Sheet): 10 7/8 × 14 in. (27.7 × 35.6 cm)

Type:

gelatin silver prints

Place captured:

Washington, District of Columbia, United States, North and Central America

Place printed:

New York City, New York, United States, North and Central America

Date:

August 27, 1983; printed 2013

Topic:

African American  Search this

Activism  Search this

Associations and institutions  Search this

Civil Rights  Search this

Labor  Search this

Local and regional  Search this

Photography  Search this

Politics  Search this

Professional organizations  Search this

Race relations  Search this

U.S. History, 1969-2001  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Brigitte Freed in memory of Leonard Freed

Object number:

2016.123.2.4

Restrictions & Rights:

© Leonard Freed & Magnum Photos, Inc

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Portfolio/Series:

USA. Second March on Washington.

Classification:

Media Arts-Photography

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5e9dc477c-7ed0-4d4c-91b4-214263bef5a7

EDAN-URL:

edanmdm:nmaahc_2016.123.2.4

Collection Creator:

Richard Florsheim Art Fund  Search this

Container:

Box 6, Folder 8

Type:

Archival materials

Date:

1990-1998

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 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:

Richard Florsheim Art Fund records, 1934-2003. Archives of American Art, Smithsonian Institution.

See more items in:

Richard Florsheim Art Fund records

Richard Florsheim Art Fund records / Series 1: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90cce32bf-7bbb-49fd-a7b1-ab3cf4b51368

EDAN-URL:

ead_component:sova-aaa-richfloa-ref172

Collection Creator:

Richard Florsheim Art Fund  Search this

Container:

Box 12, Folder 27

Type:

Archival materials

Date:

1991-2003

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning 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:

Richard Florsheim Art Fund records, 1934-2003. Archives of American Art, Smithsonian Institution.

See more items in:

Richard Florsheim Art Fund records

Richard Florsheim Art Fund records / Series 1: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97aaf5a9c-1710-4fe9-9008-fca2d0a53850

EDAN-URL:

ead_component:sova-aaa-richfloa-ref366

Collection Creator:

Richard Florsheim Art Fund  Search this

Container:

Box 2, Folder 5

Type:

Archival materials

Date:

1986-2000

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 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:

Richard Florsheim Art Fund records, 1934-2003. Archives of American Art, Smithsonian Institution.

See more items in:

Richard Florsheim Art Fund records

Richard Florsheim Art Fund records / Series 1: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw986277c59-5ec5-4855-ae08-b6a7a8bbd7e7

EDAN-URL:

ead_component:sova-aaa-richfloa-ref55

Collection Creator:

Blanch, Lucile, 1895-1981  Search this

Extent:

0.5 Linear feet (Box 1, OV 2)

Type:

Archival materials

Date:

circa 1898-1963

Scope and Contents:

Biographical materials include a sketch of cats by Blanch sent to her sister Beatrice and two writings. An untitled writing concerns art and another is a supplemental narrative for Blanch's application for a Guggenheim Fellowship.

Lucile Blanch's correspondence includes letters to her sister Beatrice, as well as letters from fellow artists and friends. Notable correspondents include Edward Bruce, Stuart Edie Carson, Ernst Fiene, Ray Harris, Frida Khalo, Yasuo Kuniyoshi, Barbara Morgan, Diego Rivera, Eleanor Rixson, Dorothy Varian, and Forbes Watson. Many letters concern Blanch's application to the Guggenheim Fellowship. Blanch's letters to Beatrice Lundquist and her family are detailed and personal. Many letters describe her current artworks, memories, travel, and the art business run by Blanch and her husband Arnold. Blanch discusses visits with other artists and her own feelings of inadequacy. Additional letters are from school-aged children thanking Blanch for a lecture.

Arnold Blanch's correspondence is from Alexander Brook, Adolf Dehn, Reginald Marsh, Frank Rehn, and Katherine Schmidt. Letters from Beatrice Lunquist are to her sister and other members of their family. Scattered family letters are from Blanch's mother and brother.

A diary fragment by Beatrice Lundquist is labeled as her last diary and was kept immediately prior to her death.

Photographs include infant and childhood portraits of Lucile Blache, Beatrice Lundquist, and other members of the Lunquist family. Later snapshots were taken of Lucile and Beatrice in New Hope, Pennsylvania, and on various vacations. Additional photographs are of Beatrice throughout her life, and may include modeling photos.

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:

Lucile Blanch papers, circa 1898-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.blanluci, Series 1

See more items in:

Lucile Blanch papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97bc7b622-1164-4188-8f14-30074532faeb

EDAN-URL:

ead_component:sova-aaa-blanluci-ref6

Collection Creator:

Gaylor, Wood, 1883-1957  Search this

Gaylor, Adelaide Lawson, 1889-1986  Search this

Container:

Box 1, Folder 51

Type:

Archival materials

Date:

circa 1940

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:

Wood and Adelaide Lawson Gaylor papers, circa 1849-1986, 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.

See more items in:

Wood and Adelaide Lawson Gaylor papers

Wood and Adelaide Lawson Gaylor papers / Series 3: Writings / By Others

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96c3929c3-0b08-4020-9914-42222098a883

EDAN-URL:

ead_component:sova-aaa-gaylwood-ref70

Collector:

Archives Center, National Museum of American History  Search this

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 3.5" x 2.4".)

Type:

Archival materials

Trading cards

Place:

Washington (D.C.)

Scope and Contents:

1993.

Local Numbers:

AC1146-0000056.tif(AC Scan No.)

Exhibitions Note:

Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection 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:

Activism  Search this

HIV and AIDS  Search this

Health  Search this

Quilts  Search this

Genre/Form:

Trading cards

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 3: Community Life / 3.6: HIV and AIDS, Ephemera and Photographs / AIDS Awareness: The Fight Against AIDS, trading cards

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88ff262e4-3d38-482a-a797-8adba5d9b3ba

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2755

Creator:

Mesches, Arnold, 1923-  Search this

Names:

New York University  Search this

Ciment, Jill, 1953-  Search this

Danto, Arthur Coleman, 1924-  Search this

Marshall, Kerry James, 1955-  Search this

Miami Dade College  Search this

Miller, Henry, 1891-  Search this

Motherwell, Robert  Search this

Shahn, Ben, 1898-1969  Search this

Siqueiros, David Alfaro, 1896-1974  Search this

Storr, Robert  Search this

Wayne, June, 1918-2011  Search this

Zinn, Howard, 1922-2010  Search this

Extent:

13.6 Linear feet

Type:

Collection descriptions

Archival materials

Collages

Diaries

Drawings

Sketches

Date:

1939-2015

Summary:

The papers of New York City and Gainesville, Florida based painter Arnold Mesches (1923-2016) measure 13.6 linear feet and date from 1939-2015. The collection documents Mesches' politically-engaged career and work process through biographical material, correspondence, writings, gallery and exhibition files, project files, subject files, teaching files, personal business records, printed material, and photographic material. Project files comprise a bulk of the collection and include grant files, activism files, project notebooks, and over 100 art project files containing drawings, source material, and photographic material for individual artworks.

Scope and Contents:

The papers of New York City and Gainesville, Florida based painter Arnold Mesches (1923-2016) measure 13.6 linear feet and date from 1939-2015. The collection documents Mesches' politically engaged career and work process through biographical material, correspondence, writings, gallery and exhibition files, project files, subject files, teaching files, personal business records, printed material, and photographic material.

Biographical material includes addresses, family papers, interview transcripts, life documents, identification cards, a residency file, resumes, biographical statements, and travel records. Correspondence is both personal and professional in nature and is with wife, novelist Jill Ciment, family, friends, artists, museums, galleries, and magazines. Notable correspondents include Arthur Danto, Robert Storr, June Wayne, and Howard Zinn. Single items of correspondence are from Kerry James Marshall, Henry Miller, Robert Motherwell, and Ben Shahn.

Writings include manuscripts of unpublished novels and short stories, autobiographical writings, recordings of dreams, introductions to artists, a journal, memorials, project proposals, statements on art and politics, notes from Mesches' psychotherapy sessions, as well as numerous outlines, fragments, and notes.

Gallery and exhibition files document dozens of Mesches' gallery and museum exhibitions, including his 2013 retrospective at Miami Dade College, Arnold Mesches: A Life's Work.

Project files consist of grant files, activism files, project notebooks, and art projects. Activism files pertain to the Los Angeles Peace Tower, Arts Coalition for Freedom of Expression, and the pardon of muralist David Alfaro Siqueiros. Project notebooks contain preliminary sketches, technical notes including color palette and paint formulas, Polaroids of in-process works, and source material. Over 100 art project files further detail individual works, and include preliminary drawings in pen, pencil and charcoal, as well as collages, source material, and Polaroids. Several of Mesches' serial works are well represented here, including Anomie, Comings Attractions, and The FBI Files.

Subject files consist of a sequence of alphabetical files maintained by Mesches as reference material. Teaching files document posts at New York University and other institutions and include course descriptions, lists of materials, course notes, newsletters, reference articles, and correspondence.

Personal business records include documentation related to donations, Mesches' estate, gallery representation, inventories, properties, artwork shipment, supplies, and website design.

Printed material documents Mesches' career as both political illustrator and fine artist. Found here are brochures, leaflets, and Frontier and The Nation magazines featuring illustrations by Mesches. Calendars, newsletters, clippings, announcements, exhibition catalogs, and press releases document Mesches' gallery and museum exhibitions.

Photographic material includes hundreds of photographic prints, contact sheets, slides, and negatives of Arnold Mesches, Mesches' family and friends, studio, and artworks from his seven decade long career.

Arrangement:

The collection is arranged as ten series.

Missing Title

Series 1: Biographical Material, 1960s-2012 (0.2 linear feet, Box 1)

Series 2: Correspondence, 1949-2014 (0.8 linear feet, Box 1)

Series 3: Writings, 1958-2013 (1.1 linear feet, Box 2-3)

Series 4: Gallery and Exhibition Files, 1979-2015 (0.8 linear feet, Box 3)

Series 5: Project Files, 1950s-2014 (5.3 linear feet, Box 3-8, 15, OV 16-19)

Series 6: Subject Files, 1939-2000s (1.3 linear feet, Box 8-9)

Series 7: Teaching Files, 1992-2004 (0.2 linear feet, Box 9-10)

Series 8: Personal Business Records, 1983-2015 (0.5 linear feet, Box 10)

Series 9: Printed Material, 1950s-2000s (1.5 linear feet, Box 10-11, 15, OV 20)

Series 10: Photographic Material, 1940s-2010s (1.9 linear feet, Box 12-15)

Biographical / Historical:

Arnold Mesches (1923-2016) was a painter in New York, New York and Gainesville, Florida. Born in the Bronx and raised in upstate Dunkirk, New York, Mesches studied advertising design in high school before moving to Los Angeles in 1943 to study art at the Jepson Art Institute and Chouinard Art Institute.

Mesches began his career as a scenic painter for Hollywood while honing his own style as a fine artist and illustrator influenced by the political landscape and social realism. As a result of his political activity and involvement in the Communist Party, the FBI opened a file on Mesches in the 1950s, and began tracking his activities. The file, obtained by Mesches through a Freedom of Information Act request in 1999, became the basis for one of his most famous series, The FBI Files.

Throughout his life, Mesches was a socially-oriented figurative painter working in an expressionist style, mining the daily news and the current political landscape for subject matter, including the Cold War, the trial of Julius and Ethel Rosenberg, and the Vietnam War. Mesches was also one of the organizers of the 1966 Peace Tower artwork in Los Angeles and contributed illustrations to Frontier magazine throughout the 1950s, and The Nation magazine from 1960s-1980s.

In the early 1980s, Mesches relocated to New York City with wife, novelist Jill Ciment.

Mesches held several teaching posts over the course of his career, including at the New School, New York University, and the University of Florida.

Provenance:

Donated to the Archives of American Art in 2017 by Jill Ciment, Mesches' widow.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

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 -- California -- Los Angeles  Search this

Painters -- Florida  Search this

Topic:

Art -- Political aspects  Search this

Art -- Study and teaching  Search this

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

Painting -- Technique  Search this

Politics in art  Search this

Interviews  Search this

Photographs  Search this

Transcripts  Search this

Genre/Form:

Collages

Diaries

Drawings

Sketches

Citation:

Arnold Mesches papers, 1939-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.mescarno

See more items in:

Arnold Mesches papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9415d73fe-0b7a-41fc-a1a6-7ac35ec38ac6

EDAN-URL:

ead_collection:sova-aaa-mescarno

Creator:

United States. Centennial Commission  Search this

Subject:

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Citation:

International exhibition, 1876 : official catalogue / United States Centennial Commission, Department of Art, 1876. Archives of American Art, Smithsonian Institution.

Theme:

Patronage  Search this

Record number:

(DSI-AAA_CollID)21855

(DSI-AAA_SIRISBib)311675

AAA_collcode_unitstac

Theme:

Patronage

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_311675

Interviewee:

Moore, Gertrude Herdle, 1896-1993  Search this

Interviewer:

Brown, Robert F.  Search this

Subject:

Herdle, Isabel  Search this

Herdle, George  Search this

University of Rochester. Memorial Art Gallery  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Gertrude Herdle Moore and Isabel Herdle, 1979 July 27. Archives of American Art, Smithsonian Institution.

Topic:

Decorative arts  Search this

Theme:

Craft  Search this

Record number:

(DSI-AAA_CollID)11860

(DSI-AAA_SIRISBib)215196

AAA_collcode_moore79

Theme:

Craft

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_215196

Maker:

Tandy Corporation  Search this

Physical Description:

manufactured (overall production method/technique)

plastic (overall material)

metal (overall material)

Measurements:

overall: 9 in x 29 in x 24 in; 22.86 cm x 73.66 cm x 60.96 cm

Object Name:

microcomputer

Place made:

United States: Texas, Fort Worth

Date made:

1977-1981

Credit Line:

Gift of K.S. Widelitz

ID Number:

1983.0169.01

Catalog number:

1983.0169.01

Accession number:

1983.0169

See more items in:

Medicine and Science: Computers

Computers & Business Machines

American Enterprise

Exhibition:

American Enterprise

Exhibition Location:

National Museum of American History

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a3-b960-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_334337

Creator:

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Names:

American Ambulance Field Hospital (Juilly, France)  Search this

Greenwich House (New York, N.Y.)  Search this

Whitney Museum of American Art  Search this

Whitney Studio Club  Search this

Cushing, Howard Gardiner, 1869-1916  Search this

De Meyer, Adolf, Baron, 1868-1949  Search this

Miller, Flora Whitney  Search this

Strelecki, Jean de, count  Search this

Watson, Forbes, 1880-1960  Search this

Whitney, Harry Payne, 1872-1930  Search this

Extent:

36.1 Linear feet

Type:

Collection descriptions

Archival materials

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Date:

1851-1975

bulk 1888-1942

Summary:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Scope and Content Note:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).

Arrangement:

The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)

Biographical/Historical note:

New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.

Related Archival Materials note:

Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.

Provenance:

The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:

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

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

Topic:

Art patrons -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

World War, 1914-1918  Search this

Genre/Form:

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Citation:

Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). 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

Identifier:

AAA.whitgert

See more items in:

Gertrude Vanderbilt Whitney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e

EDAN-URL:

ead_collection:sova-aaa-whitgert

Creator:

Saarinen, Lilian Swann, 1912-1995  Search this

Names:

Cambridge Art Center  Search this

Cranbrook Academy of Art -- Faculty  Search this

G Place Gallery (Washington, D.C.)  Search this

Knoll Associates, inc.  Search this

Massachusetts Institute of Technology -- Faculty  Search this

Midtown Galleries (New York, N.Y.)  Search this

Otava Publishing Company  Search this

Reynal & Hitchcock  Search this

Armitage, Merle, 1893-1975  Search this

Crosby, Caresse, 1892-  Search this

Eames, Charles  Search this

Eames, Ray  Search this

Koch, Carl  Search this

Kreis, Henry, 1899-1963  Search this

Milles, Carl, 1875-1955  Search this

Moholy-Nagy, László, 1895-1946  Search this

Moholy-Nagy, Sibyl, 1905-  Search this

Saarinen, Eero, 1910-1961  Search this

Saarinen, Eliel, 1873-1950  Search this

Saarinen, Loja  Search this

Venturi, Robert  Search this

Weese, Harry, 1915-1998  Search this

Extent:

9 Linear feet

Type:

Collection descriptions

Archival materials

Blueprints

Diaries

Illustrations

Sketches

Photographs

Scrapbooks

Date:

circa 1909-1977

Summary:

The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Scope and Contents:

The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.

Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.

Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.

Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.

Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.

Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.

Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.

Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.

Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.

Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.

Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.

Arrangement:

The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)

Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)

Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)

Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)

Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)

Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)

Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)

Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)

Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)

Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)

Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)

Biographical / Historical:

Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.

At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.

Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.

Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.

Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.

Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.

Provenance:

Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.

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:

Sculptors -- Massachusetts -- Cambridge  Search this

Topic:

Women artists  Search this

Art -- Study and teaching  Search this

Illustrated books, Children's  Search this

Gateway Arch (Saint Louis, Mo.)  Search this

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

Illustrators -- Massachusetts  Search this

Art, Municipal  Search this

Women sculptors  Search this

Women illustrators  Search this

Function:

Art commissions

Genre/Form:

Blueprints

Diaries

Illustrations

Sketches

Photographs

Scrapbooks

Citation:

Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Walton Family Foundation; and John R. & Barbara Robinson and Deborah Schmidt Robinson & Dr. R. Perry Robinson, The Widgeon Point Charitable Foundation.

Identifier:

AAA.saarlili

See more items in:

Lilian Swann Saarinen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97f1e4305-3886-479a-9db7-48c98fd8d2dd

EDAN-URL:

ead_collection:sova-aaa-saarlili

Creator:

United States. Centennial Commission  Search this

Names:

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Extent:

70 Pages (ill., 21 cm.)

Type:

Collection descriptions

Archival materials

Pages

Date:

1876

Scope and Contents:

Catalog describing the art installations of the United States Centennial Commision's International exhibition in Philadelphia, Penn.,1876. The exhibition included works in a range of media from painting and sculpture to industrial design with twelve countries represented. Contents are as follows: Plan of exhibition grounds -- Subject index, national exhibits -- The memorial hall and annex -- Synopsis of the classification -- Classification of the Department of Art -- Catalogue of the Department of Art -- Photographic exhibition building -- Alphabetical index of exhibitors in Department IV.

Biographical / Historical:

The United States Centennial Commission (1872-1879) was a congress appointed group established to plan the United States' centennial anniversary with an exhibition in Phildelphia, Penn.

Publication, Distribution, Etc. (Imprint):

Philadelphia : Published by John R. Nagle and company, 1876.

Provenance:

Donated 2012 by William DeCosta, who purchased the catalog at a bookstore.

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.

Identifier:

AAA.unitstac

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw928709cff-2612-4a15-9572-acd8941a4b0a

EDAN-URL:

ead_collection:sova-aaa-unitstac

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Container:

Box 16, Folder 26

Type:

Archival materials

Date:

1981-1985

Scope and Contents note:

(TYF's notes on Maradiaga; resume; letter to René [associate of Maradiaga], from TYF, 07/22/1985 photocopy, expressing condolences at Maradiaga's death; exhibition and memorial announcements)

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95419a560-3c55-421e-9167-4a0642fc9466

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1055

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Container:

Box 19, Folder 33

Type:

Archival materials

Date:

1981

Scope and Contents note:

(activist and community leader, 1952-1981; memorial leaflet; bound volume, Raíz Fuerte que no se Arrance: the Life of a Luchadora, booklet accompanying homrnaje a Magdalena Mora, Internation Institute, Los Angeles, 1981; clipping)

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a097ef13-8f5d-4c82-addb-8af21fc0bb73

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1162