Search Results

Interviewee:

Diament Sujo, Clara  Search this

Interviewer:

Berman, Avis  Search this

Creator:

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Names:

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Córdova, Arturo de, 1908-1973  Search this

D'Harnoncourt, Rene, 1901-1968  Search this

De Kooning, Willem, 1904-1997  Search this

Duchamp, Marcel, 1887-1968  Search this

Hughes, Langston, 1902-1967  Search this

Johns, Jasper, 1930-  Search this

Kuh, Katharine  Search this

Lam, Wifredo  Search this

Marisol, 1930-2016  Search this

Messer, Thomas M.  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Otero Rodríguez, Alejandro  Search this

Perón, Juan Domingo, 1895-1974  Search this

Pollock, Jackson, 1912-1956  Search this

Rauschenberg, Robert, 1925-2008  Search this

Reverón, Armando, 1889-1954  Search this

Romero Brest, Jorge  Search this

Soto, Jesús Rafael, 1923-2005  Search this

Sterne, Hedda, 1910-2011  Search this

Valera, Víctor, 1927-  Search this

Extent:

98 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2010 June 8-16

Scope and Contents:

An interview of Clara Diament Sujo conducted 2010 June 8-16, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Sujo's home, in New York, New York.

Diament speaks of her childhood in Argentina; her father's early influence; working with Abbott Industries; her travels with her father as a child to Punta del Este in Urguay, and Mar del Plata; her experiences in the United States; life under Juan Perón and how political events helped shape her education; teaching in Venezuela; collecting art for the Venezuelan science museum; her views on art; the artists that she has worked with and represented; the opening of her first gallery in Venezuela; her gallery in New York City; the influence of Jorge Romero Brest; and her work with the museum network to represent Latin American artists. She recalls Katharine Kuh, Jackson Pollock, Willem de Kooning, Richard Wright, Langston Hughes, Jesus Rafael Soto, Arturo de Cordova, Alejandro Otero, Victor Valera, Armando Reverón, Mercedes Pardo, Wilfredo Lam, Alfred Barr, Rene d'Harnoncourt, Dorothy Miller, Thomas Messer, Marcel Duchamp, Hedda Sterne, Robert Rauschenberg, Jasper Johns, Marisol Escobar, and others.

Biographical / Historical:

Clara Diament Sujo (1921-) is owner and director of CDS Gallery in New York, New York. Avis Berman (1949-) is a scholar in New York, New York.

General:

Originally recorded on 1 compact disc. Reformatted in 2010 as 3 digital wav files. Duration is 5 hr., 10 min.

Provenance:

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

Topic:

Art -- Collectors and collecting -- New York (State) -- New York -- Interviews  Search this

Art dealers -- New York (State) -- New York -- Interviews  Search this

Gallery owners -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation.

Identifier:

AAA.diamen10

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-diamen10

Creator:

Contreras, Belisario R., 1916-  Search this

Names:

Federal Art Project  Search this

Agee, William C.  Search this

Biddle, George, 1885-1973  Search this

Bruce, Margaret T.  Search this

Dows, Olin, 1904-1981  Search this

Ealand, Maria  Search this

Gernand, John, 1913-1990  Search this

Jacobowitz, Arlene  Search this

Jewett, Masha Zakheim, 1931-  Search this

Kainen, Jacob  Search this

Kallen, Horace Meyer, 1882-1974  Search this

Kent, Rockwell, 1882-1971  Search this

La More, Chet Harmon, 1908-1980  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Phelps, Merwin C.  Search this

Rein, Selma  Search this

Scott, David W., 1916-  Search this

Weston, Harold, 1894-1972  Search this

Zakheim, Bernard Baruch, 1898-1985  Search this

Extent:

0.5 Linear feet (ca. 400 items (on 2 partial microfilm reels))

Type:

Collection descriptions

Archival materials

Interviews

Date:

1958-1984

Scope and Contents:

REEL 3591: Papers regarding his research on New Deal Art Projects, including correspondence and copies of correspondence with William C. Agee, George Biddle (including 16 photographs of murals in Mexico City and Washington, D.C. and a clipping), Mrs. Edward Bruce, Olin Dows, Maria Ealand, Arlene Jacobowitz, Masha Zakheim Jewett (including an exhibition catalog and clippings on Bernard Baruch Zakheim), Horace Kallen, Rockwell Kent, Chet LaMore, Merwin C. Phelps, David W. Scott, Harold Weston, and others; National Endowment for the Humanities grant proposals "NDA Projects in Pennsylvania," 1975, and "Images of the Heartland," 1980, and notes from Contreras' interviews with Maria Ealand, John Gernand, Jacob Kainen, Dorothy Miller, and Selma Rein.

REEL 41: Contreras' Ph.D. thesis entitled, "The New Deal Treasury Department Art Programs and the American Artist: 1933-1943."

Biographical / Historical:

Argentinian born artist, art historian; Albuquerque, New York; d. 1990.

Related Materials:

Papers of Belisario R. Contreras, 1860-1976, are also located at The University of New Mexico's Center for Southwest Research.

Provenance:

Donated 1985 by Belisario Contreras.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Topic:

Latino and Latin American artists  Search this

Genre/Form:

Interviews

Identifier:

AAA.contbeli

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-contbeli

Creator:

Charlton, Maryette  Search this

Names:

American University of Beirut -- Faculty  Search this

Art Institute of Chicago -- Faculty  Search this

Chicago Public School Art Society  Search this

Container Corporation of America  Search this

University of Iowa, Museum of Art  Search this

Andres, Jo  Search this

Bishop, Elizabeth, 1911-1979  Search this

Cage, Xenia  Search this

Calder, Alexander, 1898-1976  Search this

Court, Paula  Search this

Elliott, Leone  Search this

Elliott, Owen  Search this

Fujitomi, Yasuo, 1928-  Search this

Habachy, Nimet  Search this

Hadzi, Dimitri, 1921-2006  Search this

Haskins, Sylvia Shaw Judson, 1897-  Search this

Hoff, Margo  Search this

Kiesler, Frederick  Search this

Kiesler, Lillian, 1910?-2001  Search this

Lubar, Cindy  Search this

MacIver, Loren, 1909-  Search this

Matisse, Pierre, 1900-1989  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Nevelson, Louise, 1899-1988  Search this

Purdy, James  Search this

Reynal, Jeanne, 1903-  Search this

Smith, Kiki, 1954-  Search this

Takaezu, Toshiko  Search this

Tawney, Lenore  Search this

Von Brockdorff, Louise Medbery  Search this

Extent:

80.6 Linear feet

0.34 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Diaries

Sketchbooks

Sketches

Interviews

Scrapbooks

Sound recordings

Scripts (documents)

Drawings

Mail art

Motion pictures (visual works)

Video recordings

Date:

circa 1890-2013

Summary:

The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Scope and Contents:

The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and 0.34 gigabytes and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and video recordings, motion picture film, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.

Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chonological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.

Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period 1943 - 2001 and document a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.

Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.

Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art, as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of Zen in Ryoko-In. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings.

Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists chronicled include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.

Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler (Trienniale, The Universal Theater and Kiesler on Kieseler), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and producation of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 4 film reels.

Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.

Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substanial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.

Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches, with occasional annotations.

Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, her travels, family, friends, and artists. Photographs are also found throughout other series.

Sound and video recordings which could not be merged with other series were arranged in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.

The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.

Arrangement:

This collection is arranged as 16 series.

Series 1: Biographical Material, 1896-2005 (3.4 linear feet; Boxes 1-4, 80)

Series 2: Correspondence, 1930-2010 (23.3 linear feet; Boxes 4-27, 80)

Series 3: Writings, 1942-1999 (1 linear feet; Boxes 27-28)

Series 4: Diaries, 1943-2001 (2.1 linear feet; Boxes 28-30)

Series 5: Teaching Files, 1946-1997 (3.6 linear feet; Boxes 30-33, 80)

Series 6: Professional and Project Files, 1923-1998 (7.6 linear feet; Boxes 34-41, 81, OV 87)

Series 7: Artist Research Files, 1949-circa 2000 (1.8 linear feet; Boxes 41-43, FCs 88-89)

Series 8: Major Film Projects, 1904-2007 (18.8 linear feet, 0.34 GB; Boxes 43-61, 81-82, OV 87, FC 90-91, ER01)

Series 9: Exhibition Files, 1950-2000 (0.8 linear feet; Boxes 61-62)

Series 10: Printed Material, 1924-2000 (3.2 linear feet; Boxes 62-65, 82, OV 87)

Series 11: Scrapbooks, 1939-2010 (0.8 linear feet; Box 65, 82-83)

Series 12: Artwork, 1950-1998 (0.9 linear feet; Boxes 65-66, 84)

Series 13: Sketchbooks, 1949-1996 (0.5 linear feet; Box 66)

Series 14: Photographic Materials, circa 1890-circa 2010 (7.8 linear feet; Boxes 67-74, 84-86)

Series 15: Sound and Video Recordings, circa 1953-2008 (1.2 linear feet; Boxes 74-75, 86)

Series 16: Addition to Maryette Charlton papers, 1951-2013 (3.7 linear feet; Boxes 75-79, 86)

Biographical / Historical:

Maryette Charlton (1924-2013) was a painter, printmaker, photographer, filmmaker and arts advocate based in Chicago, Illinois, and New York, New York.

Maryette Charlton was born in Manchester, Iowa on May 18, 1924. Her parents were Shannon and Etna Charlton and she had 2 siblings. Charlton pursued her undergraduate studies at Monticello College and Northwestern University in Illinois, Antioch College in Ohio, and the University of Colorado before receiving a B.F.A. from Pratt Institute in Brooklyn, New York in 1947. She continued her studies in Chicago, Illinois with Laszlo Moholy-Nagy and Hugo Weber at the Institute of Design and Art Institute of Chicago. From 1948 to 1952, she was a Department of Education lecturer at the Art Institute of Chicago museum galleries and also gave talks at schools for the Chicago Public School Art Society.

Between 1942-1951, Maryette Charlton worked as a color analyst for the Container Corporation of America. In 1952, Charlton founded the Art Department of the American University of Beirut and taught there as an assistant professor until 1956. While in Beirut, Charlton married photographer Hall Winslow in 1953 and their only child Kirk Winslow was born in 1955. Winslow and Charlton later divorced in 1973.

Charlton moved to New York City in 1955. She began a master's program at Columbia University and graduated with a M.F.A in film and printmaking in 1958.

Charlton made numerous documentary films, mostly about American artists including Alexander Calder, e. e. cummings, Jeanne Reynal, Dorothy Miller, Pierre Matisse, Lenore Tawney, and Loren MacIver. She also worked tirelessly to promote the work of sculptor, architect, and set designer Frederick Kiesler. She was the camera woman for Kiesler's Kiesler's Universal Theater which aired on CBS in 1962. She became close friends with Kiesler's widow, Lillian, and they collaborated on the film Kiesler on Kiesler and numerous other film and art projects, supporting the work of young artists. Charlton also worked on commissioned films, including The Mosaics of Jeanne Reynal and Zen in Ryoko-in. Charlton befriended many artists in the visual, literary, and film worlds, including Elizabeth Bishop, Dimitri Hadzi, Margo Hoff, James Purdy, and Delphine Seyrig.

A performer in her own right, Charlton appeared in the works of Richard Foreman, Jo Andres, and others. She also played the part of Helen Keller in the film Ghostlight (2003).

An Iowa native, Charlton founded the University of Iowa Museum of Art together with Leone and Owen Elliott. She maintained a close relationship with the Iowa Museum over many years as a donor and chronicler.

Charlton died in New York City on November 25, 2013.

Related Materials:

The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film Kiesler on Kiesler, created by Maryette Charlton.

The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.

Provenance:

The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.

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.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

Filmmakers -- Illinois -- Chicago  Search this

Photographers -- Illinois -- Chicago  Search this

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

Art teachers -- Illinois -- Chicago  Search this

Topic:

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

Painters -- Illinois -- Chicago  Search this

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

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

Printmakers -- Illinois -- Chicago  Search this

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

Museums -- Administration  Search this

Color  Search this

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

Art -- Study and teaching  Search this

Genre/Form:

Photographs

Diaries

Sketchbooks

Sketches

Interviews

Scrapbooks

Sound recordings

Scripts (documents)

Drawings

Mail art

Motion pictures (visual works)

Video recordings

Citation:

Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.charmary

See more items in:

Maryette Charlton papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-charmary

Creator:

Cahill, Holger, 1887-1960  Search this

Names:

American Artists' Congress  Search this

American Council of Learned Societies  Search this

American Federation of Arts  Search this

Artists' Union (New York, N.Y.)  Search this

Cartoonists Guild  Search this

Federal Art Project (U.S.)  Search this

Federal Music Project (U.S.)  Search this

Federal Theatre Project (U.S.)  Search this

Index of American Design  Search this

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

Shakers  Search this

The Design Laboratory (New York, N.Y.)  Search this

Treasury Relief Art Project  Search this

United States. Work Projects Administration  Search this

United States. Works Progress Administration  Search this

Abbott, Berenice, 1898-1991  Search this

Brown, Samuel Joseph, 1907-  Search this

De Rivera, José Ruiz, 1904-1985  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Hopkins, Harry Lloyd, 1890-1946  Search this

Knaths, Karl, 1891-1971  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Morris, Carl, 1911-1993  Search this

Olds, Elizabeth, 1896-1991  Search this

Roosevelt, Eleanor, 1884-1962  Search this

Rowan, Edward Beatty, 1898-1946  Search this

Scaravaglione, Concetta, 1900-1975  Search this

Segal, George, 1924-2000  Search this

Speck, Walter, 1895-  Search this

Ward, Lynd, 1905-1985  Search this

Weisenborn, Rudolph, b. 1881  Search this

Extent:

15.8 Linear feet

Type:

Collection descriptions

Archival materials

Prints

Government records

Interviews

Scrapbooks

Photographs

Slides (photographs)

Photograph albums

Drawings

Place:

United States -- Economic conditions -- 1918-1945

United States -- Social conditions -- 1933-1945

Date:

1910-1993

bulk 1910-1960

Summary:

The papers of Holger Cahill (1887-1960) date from 1910 to 1993, with the bulk of the material dating from 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the Works Progress/Projects Administration's (WPA) Federal Art Project (FAP) in addition to series documenting his work as a writer and art critic. Material includes correspondence, reports, artist files, scrapbooks, printed material, and photographs.

Scope and Content Note:

The papers of Holger Cahill (1887-1960) date from 1910 to 1993, bulk 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the FAP in addition to series documenting his work as a writer and art critic. FAP records include national and state administrative reports, records of community art centers, photographic documentation of state activities, artist files, divisional records about teaching, crafts, murals, and poster work, files concerning the Index of American Design, scrapbooks, and printed material.

Arrangement:

The collection is arranged into nine series:

Series 1: Biographical Material and Personal Papers, 1931-1988 (Box 1; 19 folders)

Series 2: Correspondence Files, 1922-1979, 1993 (Boxes 1-2; 1.5 linear ft.)

Series 3: Works Progress Administration Federal Art Project, 1934-1970 (Boxes 2-14, 18, MMs009; 10.75 linear ft.)

Series 4: Writings, Lectures and Speeches, 1916-1960 (Boxes 14-15, 18; 1.0 linear ft.)

Series 5: Minutes of Meetings and Panel Discussions, Non-FAP, 1939-1947 (Box 15; 5 folders)

Series 6: Notes and Research Material, 1935-1970 (Boxes 15-16; 0.25 linear ft.)

Series 7: Artwork, undated (Boxes 16, 18; 2 folders)

Series 8: Printed Material, 1910-1985 (Boxes 16-17; 1.8 linear ft.)

Series 9: Photographs, circa 1917-1960 (Box 17; 6 folders)

Biographical Note:

Holger Cahill was born Sveinn Kristjan Bjarnarson in Iceland in a small valley near the Arctic Circle, on January 13, 1887. His parents, Bjorn Jonson and Vigdis Bjarnadottir, immigrated to the United States from Iceland sometime later in the 1880s. In 1904, his father deserted the family, forcing Sveinn to be separated from his mother and sister to work on a farm in North Dakota. He ran away and wandered from job to job until settling in an orphanage in western Canada, where he attended school and became a voracious reader.

As a young man, he worked at many different jobs and attended night school. While working on a freighter, he visited Hong Kong, beginning his life-long interest in the Orient. Returning to New York City, he eventually became a newspaper reporter, continued his studies at New York University, and changed his name to Edgar Holger Cahill. In 1919 he married Katherine Gridley of Detroit. Their daughter, Jane Ann, was born in 1922, but the couple divorced in 1927.

Cahill met John Sloan circa 1920, and they shared a residence. Cahill also wrote publicity (until 1928) for the Society of Independent Artists, through which he made many friends in the arts. From 1922 to 1931, he worked under John Cotton Dana at the Newark Museum, where he received his basic experience in museum work, organizing the first large exhibitions of folk art.

From 1932 to 1935, he was the director of exhibitions for the Museum of Modern Art. In 1935, Cahill was appointed director of the Works Progress/Projects Administration (WPA) Federal Art Project (FAP), until its end in June 1943. In 1938, Cahill organized a countrywide exhibition "American Art Today" for the New York World's Fair. He also married MoMa curator Dorothy Canning Miller in that year.

Profane Earth, Cahill's first novel, was published in 1927, followed by monographs on Pop Hart and Max Weber, miscellaneous short stories, and a biography of Frederick Townsend Ward, entitled A Yankee Adventurer: The Story of Ward and the Taiping Rebellion. Following the end of the Federal Art Project, Cahill wrote two novels, Look South to the Polar Star (1947) and The Shadow of My Hand (1956).

Holger Cahill died in Stockbridge, Massachusetts in July 1960.

Provenance:

The Holger Cahill papers were donated to the Archives of American Art through a series of gifts by Cahill's widow, Dorothy C. Miller, between 1964 and 1995.

Restrictions:

The microfilm of this collection has been digitized and is available online via the Archives of American Art website.

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:

Arts administrators  Search this

Topic:

Federal aid to the public welfare  Search this

Art and state  Search this

Federal aid to the arts  Search this

New Deal, 1933-1939  Search this

Public officers  Search this

Genre/Form:

Prints

Government records

Interviews

Scrapbooks

Photographs

Slides (photographs)

Photograph albums

Drawings

Citation:

Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.

Identifier:

AAA.cahiholg

See more items in:

Holger Cahill papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-cahiholg

Interviewee:

Aldrich, Larry  Search this

Interviewer:

Cummings, Paul  Search this

Names:

Virginia Museum of Fine Arts  Search this

Antonakos, Stephen, 1926-2013  Search this

Baker, Richard Brown  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Castelli, Leo  Search this

Hartigan, Grace  Search this

Hopkins, Budd, 1931-2011  Search this

Indiana, Robert, 1928-  Search this

Johns, Jasper, 1930-  Search this

Lieberman, William Slattery, 1924-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Myers, John Bernard  Search this

Rauschenberg, Robert, 1925-2008  Search this

Smithson, Robert  Search this

Stella, Frank  Search this

Extent:

9 Sound tape reels (Sound recording, 5 in.)

385 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tape reels

Pages

Sound recordings

Interviews

Date:

1972 April 25-June 10

Scope and Contents:

Interview of Larry Aldrich conducted 1972 April 25-June 10, by Paul Cummings, for the Archives of American Art. Aldrich speaks of his acquisitions and his program for selling art at Christmas and praises William S. Lieberman as "the curator of collectors". He discusses funds given to museums by the Larry Aldrich Foundation; visits to artists' studios; exhibiting a portion of his collection for the first time at the Virginia Museum of Fine Arts in Richmond, Virginia, exhibitions at the Aldrich Museum of Contemporary Art; Robert Indiana's "Love Series"; and modern movements including "Lyrical Abstraction" and "Cool Art." He recalls Stephen Antonakos, Richard Brown Baker, Alfred H. Barr, Jr., Leo Castelli, Grace Hartigan, Budd Hopkins, Jasper Johns, John Myers, Dorothy Miller, Robert Rauschenberg, Frank Stella, Robert Smithson, and others.

Biographical / Historical:

Larry Aldrich (1906-2001) was an art collector from New York, New York.

General:

Originally recorded on 9 sound tape reels. Reformatted in 2010 as 18 digital wav files. Duration is 17 hrs., 11 minutes.

Provenance:

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

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Art -- Collectors and collecting -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.aldric72

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-aldric72

Creator:

Wolff, Robert Jay, 1905-  Search this

Names:

Artists' Union (Chicago, Ill.)  Search this

Solomon R. Guggenheim Museum  Search this

Cahill, Holger, 1887-1960  Search this

Calder, Alexander, 1898-1976  Search this

Chermayeff, Serge, 1900-  Search this

Crawford, M. D. C. (Morris De Camp), 1882-1949  Search this

Ernst, Jimmy, 1920-1984  Search this

Giedion, S. (Sigfried), 1888-1968  Search this

Gropius, Walter, 1883-1969  Search this

Holty, Carl, 1900-1973  Search this

Holtzman, Harry  Search this

Hustvedt, Stephen R.  Search this

Kuh, Katharine  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Moholy-Nagy, László, 1895-1946  Search this

Moholy-Nagy, Sibyl, 1905-  Search this

Osborn, Robert Chesley, 1904-1994  Search this

Pearlstein, Philip, 1924-  Search this

Rebay, Hilla, 1890-1967  Search this

Reinhardt, Ad, 1913-1967  Search this

Robinson, Increase, 1890-1981  Search this

Seligmann, Kurt, 1900-1962  Search this

Extent:

0.4 Linear feet ((on 4 microfilm reels))

Type:

Collection descriptions

Archival materials

Date:

1926-1969

Scope and Contents:

Correspondence; exhibition catalogs; notes; photographs; notebooks; scrapbook; clippings; and miscellany.

REELS N69-72-N69-74: Correspondence, 1929-1968 with Alexander Calder, Serge Chermayeff, Jimmy Ernst, Sigfried Giedion, Walter Gropius, Guggenheim Museum, Carl Holty, Katharine Kuh, L. and Sybil Moholy-Nagy, Museum of Non-Objective Painting and Hilla Rebay, Harry Holtzman, Stephen R. Hustvedt, Bob Osborn, Philip Pearlstein, Ad Reinhardt, and Kurt Seligmann; exhibition catalogs; price lists; clippings; articles; talks and notes; photographs of paintings and sculpture, 1929-1958; notebooks, 1929-1965; and a scrapbook, 1934-1938.

REEL N69-98: Nine letters from Morris D. C. Crawford and his wife, 1926-1932, and a carbon copy of a letter to Dorothy Miller Cahill, May 27, 1969, in which Wolff mentions his efforts, as president of the Artists' Union of Chicago, ca. 1936, to unseat Increase Robinson. Wolff also explains how he became Holger Cahill's "bitter enemy."

Biographical / Historical:

Designer and painter; New Preston, Connecticut. Died in 1978.

Provenance:

Lent for microfilming 1969 by Robert Jay Wolff.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Designers -- Connecticut -- New Preston  Search this

Painters -- Connecticut -- New Preston  Search this

Topic:

Painting, American  Search this

Design  Search this

Identifier:

AAA.wolfrobe

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-wolfrobe

Creator:

Sharrer, Honoré, 1920-2009  Search this

Names:

American Academy of Arts and Letters  Search this

Forum Gallery (New York, N.Y.)  Search this

Handmacher-Vogel, Inc.  Search this

Terry Dintenfass, Inc.  Search this

Women's Caucus for Art  Search this

Blume, Peter, 1906-1992  Search this

Bridaham, Lester Burbank  Search this

Caiserman-Roth, Ghitta, 1923-  Search this

Calderwood, Kathy, 1945-  Search this

Carpenter, Mary  Search this

Crutchfield, Mary  Search this

Goodwin, Betty  Search this

Kirstein, Lincoln, 1907-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Oda, Mayumi, 1941-  Search this

Poland, Reginald  Search this

Sachs, Honoré  Search this

Sharrer, Madeleine  Search this

Tooker, George, 1920-2011  Search this

Zagorin, Adam  Search this

Zagorin, Perez  Search this

Extent:

9.45 Linear feet

1.12 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Photographs

Date:

circa 1920-2007

Summary:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Scope and Contents:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Biographical material includes biographical notes and resumés, awards, paintbrushes used by Sharrer, and sales records, as well as comprehensive documentation, compiled 2004-2007 by her husband, Perez Zagorin, and her son, Adam Zagorin, of Sharrer's artwork in their possession. Included are digital images of Sharrer's artwork.

Correspondence is with family members including Sharrer's mother, Madeleine Sharrer, and her second husband, Reginald Poland; husband Perez Zagorin; son Adam Zagorin; and daughter-in-law, Mary Carpenter Also found is correspondence with artists including Peter Blume, Lester Burbank Bridaham, Gitta Caiserman-Roth, Kathy Calderwood, Mary Crutchfield, Betty Goodwin, Lincoln Kirstein, Mayumi Oda, and George Tooker. Other professional correspondents include galleries, museums, and other art institutions such as American Academy of Arts and Letters, Terry Dintenfass, Forum Gallery, Handmacher-Vogel, Inc., M. Knoedler & Co., Dorothy Miller relating to the 1946 Fourteen Americans exhibition at the Museum of Modern Art, and the Women's Caucus for Art.

Writings and notes comprise drafts of several essays on art by Sharrer, preliminary notes for Tribute to the American Working People, and a mock-up for an unpublished book, "One White Christmas," written by Sharrer's grandmother, Honoré Sachs, and illustrated by Sharrer.

Research and source files consist of source material used throughout the course of Sharrer's career, including printed and photographic material used in the creation of Tribute to the American Working People, and later work dating up to, and including, the last decade of her life.

Printed material comprises announcements and catalogs for exhibitions and events featuring Sharrer, including a catalog for Fourteen Americans, as well as clippings about her and others, such as the Life Magazine cover story "Nineteen Young Americans."

Artwork and sketchbooks include studies for paintings and illustrations, and other preliminary sketches, as well as 14 sketchbooks of pencil and ink sketches dating from circa 1960s t0 2003.

Photographic material consists of photos of Sharrer, her family, friends, colleagues, exhibition installations, and houses. Also found are photos, negatives, and transparencies of Sharrer's artwork, as well as photos of artwork by Madeleine Sharrer and Lester Burbank Bridaham.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Material, 1941-2007 (0.44 linear feet; Boxes 1, 10, 1.12 GB; ER01-ER10)

Series 2: Correspondence, 1938-2006 (1.84 linear feet; Boxes 1-3, 10)

Series 3: Writings and Notes, circa 1940s-circa 1990s (5 folders; Boxes 3, 10)

Series 4: Research and Source Files, circa 1920s-2005 (3.43 linear feet; Boxes 3-6, 10-11)

Series 5: Printed Material, circa 1930s-2005 (0.85 linear feet; Boxes 6-7, 11, OV 13, OV 17)

Series 6: Artwork, 1941-circa 1990s (0.8 linear feet; Boxes 7, 11-12, OV 13

Series 7: Sketchbooks, 1960s-2003 (0.55 linear feet; Boxes 7, 12)

Series 8: Photographic Material, circa 1930s-circa 2000 (1.83 linear feet; Boxes 8-9, 12, OVs 13-16)

Biographical / Historical:

Realist painter Honoré Sharrer (1920-2009) lived and worked in New York, Massachusetts, London, Montreal and Charlottesville, Virginia. She was best known for her five-panel painting, Tribute to the American Working People, completed in 1951 and first shown at M. Knoedler & Co. in New York to wide critical acclaim.

Sharrer was born in 1920 in West Point, New York, where her father was an Army officer, and grew up in the United States, the Philippines, Paris, and La Jolla, California. She studied at the Yale University School of Art and the San Francisco Art Institute, and worked as a welder in shipyards in California and New Jersey during World War II. She moved to New York in the 1940s and lived subsequently in Amherst, Massachusetts, London, and Montreal.

Sharrer's Workers and Paintings (1943) was included in the landmark Museum of Modern Art exhibition, Fourteen Americans, in 1946, and her painting, Man at Fountain, was featured in the 1950 Life Magazine cover story, "Nineteen Young American Artists." Tribute to the American Working People, which depicted a factory worker surrounded by smaller scenes of ordinary life, was considered her masterwork, but in the years that followed it's unveiling at M. Knoedler & Co., Sharrer was noticeably absent from the art scene; between 1951 and 1969 she did not have a single solo exhibition. While many of her contemporaries immersed themselves in Abstract Expressionism, Sharrer continued to paint, in meticulous detail, the daily experiences of ordinary working people, and her later work often dealt with female perspectives and was imbued with humor and elements of magical realism.

In 2007 the Smithsonian American Art Museum held an exhibition titled Anatomy of a Painting: Honoré Sharrer's 'Tribute to the American Working People,' which was devoted exclusively to her most famous work, now in the Smithsonian's permanent collection, and the source material she used when painting it. Sharrer's works can also be found in the Metroplitan Museum of Art, the Museum of Modern Art, and the Pennsylvania Academy of Fine Arts.

Sharrer settled in Charlottesville, Virginia, in the early 1990s. She was married to her second husband, historian Perez Zagorin, for 61 years, before her death in 2009. Her mother, Madeleine Sharrer, was also a painter who married Reginald Poland, Director of the Fine Arts Gallery, San Diego, following the death of Sharrer's father, Robert Allen Sharrer.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Perez Zagorin, 2007, January 17-18, and the Madeleine Sharrer papers, 1954-1988.

Provenance:

The Honoré Sharrer papers were donated in 2006 and 2007 by Perez Zagorin, Sharrer's husband. A small addition was donated by Adam Zagorin, Sharrer's son, in 2018.

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.

Topic:

Women painters -- Virginia -- Charlottesville  Search this

Painting -- Equipment and supplies  Search this

Realism  Search this

Genre/Form:

Sketchbooks

Photographs

Citation:

Honoré Sharrer papers, circa 1920-2007. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.sharhono

See more items in:

Honoré Sharrer papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-sharhono

Interviewer:

Parsons, Anne Bowen  Search this

Names:

Artists' Union (New York, N.Y.)  Search this

Club (New York, N.Y.)  Search this

Federal Art Project  Search this

Baker, Mildred, 1905-  Search this

Barnet, Will, 1911-2012  Search this

Benson, Emanuel, 1904-1971  Search this

Brooks, James, 1906-1992  Search this

Burlin, Paul, 1886-1969  Search this

Cavallon, Giorgio, 1904-1989  Search this

De Kooning, Willem, 1904-1997  Search this

Ernst, Jimmy, 1920-1984  Search this

Geist, Sidney  Search this

Gottlieb, Adolph, 1903-1974  Search this

Greene, Balcomb, 1904-1990  Search this

Gwathmey, Robert, 1903-1988  Search this

Hacker, Seymour  Search this

Holty, Carl, 1900-1973  Search this

Holtzman, Harry  Search this

Kadish, Reuben, 1913-1992  Search this

Krasner, Lee, 1908-1984  Search this

Lasker, Joe  Search this

Lassaw, Ibram, 1913-2003  Search this

Levine, Jack, 1915-2010  Search this

Marca-Relli, Conrad, 1913-2000  Search this

McNeil, George, 1908-1995  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Morris, George L. K., 1905-1975  Search this

Nakian, Reuben, 1897-1986  Search this

Pavia, Philip, 1915-2005  Search this

Schanker, Louis, 1903-1981  Search this

Shahn, Ben, 1898-1969  Search this

Stamos, Theodoros, 1922-1997  Search this

Thaw, Eugene Victor  Search this

Tworkov, Jack  Search this

Vicente, Esteban, 1903-2001  Search this

Extent:

30 Items (transcripts)

Type:

Collection descriptions

Archival materials

Interviews

Date:

1967-1968

Scope and Contents:

The interviews are of artists, educators, art administrators, and dealers. Topics covered include the Federal Art Project, the Artists' Union, the Club, the influence of French emigre artists, and political activism among artists. The transcripts range from 1 to 4 pages in length.

Interviewees include: Mildred Baker, Will Barnet, Emanuel Benson, James Brooks, Paul Burlin, Giorgio Cavallon, Willem de Kooning, Jimmy Ernst, Sidney Geist, Adolph Gottlieb, Balcomb Greene, Robert Gwathmey, Seymour Hacker, Carl Holty, Harry Holtzman, Reuben Kadish, Lee Krasner, Joe Lasker, Ibram Lassaw, Jack Levine, Conrad Marca-Relli, George McNeil, Dorothy Canning Miller, George L.K. Morris, Reuben Nakian, Phillip Pavia, Louis Schanker, Ben Shahn, Theodoros Stamos, Eugene Victor Thaw, Jack Tworkov, and Esteban Vincente.

Provenance:

Donated in 1985 by Anne Bowen Parsons' son, Randall T. Parsons.

Restrictions:

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

Occupation:

Artists -- Interviews  Search this

Art dealers -- Interviews  Search this

Art teachers -- Interviews  Search this

Painters -- Interviews  Search this

Topic:

Art, American  Search this

Art and state  Search this

Museum curators -- Interviews  Search this

Museum directors -- Interviews  Search this

Printmakers -- Interviews  Search this

Publishers -- Interviews  Search this

Sculptors -- Interviews  Search this

Genre/Form:

Interviews

Identifier:

AAA.parsanne

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-parsanne

Interviewee:

Miller, Dorothy Canning, 1904-2003  Search this

Interviewer:

Cummings, Paul  Search this

Names:

Federal Art Project  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Cahill, Holger, 1887-1960  Search this

Calder, Alexander, 1898-1976  Search this

D'Harnoncourt, Rene, 1901-1968  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Evans, Walker, 1903-1975  Search this

Feininger, Lyonel, 1871-1956  Search this

Graves, Morris, 1910-  Search this

Nevelson, Louise, 1899-1988  Search this

Phillips, Duncan, 1886-1966  Search this

Pollock, Jackson, 1912-1956  Search this

Rivera, Diego, 1886-1957  Search this

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

Rothko, Mark, 1903-1970  Search this

Tobey, Mark  Search this

Warburg, Edward M. M.  Search this

Extent:

260 Pages (Transcript)

18 Items (sound files (20 hrs., 42 min.), digital, wav)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1970 May 26-1971 Sept. 28

Scope and Contents:

An interview of Dorothy Miller conducted 1970 May 26-1971 Sept. 28, by Paul Cummings, for the Archives of American Art.

Miller speaks of her childhood and family background; the beginning of her career in museums; her first trip to Europe; the Depression and its effect on the art world; the establishment of the WPA Federal Art Project; the scandal over the Diego Rivera mural in Rockefeller Center; getting started with the Museum of Modern Art in its early years; working with Alfred Barr; early exhibitions at the MOMA; meeting Mark Tobey and Morris Graves; meeting Holger Cahill; Cahill's background; Cahill's involvement with the WPA Federal Art Project, and the Project's early years; post-war changes in American art and the post-war years at the MOMA; Shaker design; some of her colleagues at the MOMA.

She recalls Duncan Phillips, Rene D'Harnoncourt, Jackson Pollock, Edward M.M. Warburg, Nelson Rockefeller, Mark Rothko, Louise Nevelson, Alexander Calder, Lyonel Feininger, Walker Evans, and Edwin Dickinson.

Biographical / Historical:

Dorothy C. Miller (1904-2003) was an art museum curator from New York, N.Y.

General:

Originally recorded on 10 sound tape reel. Reformatted in 2010 as 18 digital wav files. Duration is 20 hrs., 42 min.

Provenance:

These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Transcript: Available on microfilm.

Topic:

Art museum curators -- New York (State) -- New York -- Interviews  Search this

Function:

Art museums -- New York (State) -- New York

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.miller70

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-miller70

Creator:

Miller, Dorothy Canning, 1904-2003  Search this

Names:

Betty Parsons Gallery  Search this

Chase Manhattan Bank -- Art collections  Search this

Federal Art Project  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Mark Rothko Foundation  Search this

Municipal Art Exhibition (1st : 1934 : New York, N.Y.)  Search this

PepsiCo, Inc.  Search this

Port Authority of New York and New Jersey -- Art collections  Search this

Rockefeller University  Search this

Smith College -- Students  Search this

Smith College. Museum of Art  Search this

World Trade Center (New York, N.Y.) -- Art collections  Search this

Asher, Elise, 1914-  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Bontecou, Lee, 1931-  Search this

Byars, James Lee  Search this

Cahill, Holger, 1887-1960  Search this

Calder, Alexander, 1898-1976  Search this

Canady, John  Search this

Charlton, Maryette  Search this

Christo, 1935-  Search this

Chryssa, 1933-  Search this

Coggeshall, Calvert, 1907-1990  Search this

Copley, Alfred L.  Search this

Davis, Stuart, 1892-1964  Search this

DeFeo, Jay, 1929-1989  Search this

Feininger, Lyonel, 1871-1956  Search this

Feitelson, Lorser, 1898-1978  Search this

Gorky, Arshile, 1904-1948  Search this

Guggenheim, Peggy, 1898-  Search this

Hartigan, Grace  Search this

Hicks, Edward, 1780-1849  Search this

Horwitt, Will  Search this

Johns, Jasper, 1930-  Search this

Karpel, Bernard, 1911-1986  Search this

Levy, Julien  Search this

Mather, Eleanore Price, 1910-  Search this

Matisse, Pierre, 1900-1989  Search this

Nevelson, Louise, 1899-1988  Search this

Newman, Barnett, 1905-1970  Search this

Noguchi, Isamu, 1904-1988  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Pereira, I. Rice (Irene Rice), 1902-1971  Search this

Picasso, Pablo, 1881-1973  Search this

Rauschenberg, Robert, 1925-2008  Search this

Reinhardt, Ad, 1913-1967  Search this

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

Rothko, Mark, 1903-1970  Search this

Sage, Kay  Search this

Scharf, William, 1927-  Search this

Sheeler, Charles, 1883-1965  Search this

Sterne, Hedda, 1910-2011  Search this

Still, Clyfford, 1904-1980  Search this

Extent:

34.6 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketches

Christmas cards

Drawings

Date:

1853-2013

bulk 1920-1996

Summary:

The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's private art consulting work outside of her curatorial work at the Museum of Modern Art in New York City. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, the World Trade Center, and other miscellaneous corporate and private clients. Miller's work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files of her husband Holger Cahill about his work as Director of the Federal Art Project. There is a scattered documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Also found is Dorothy Miller's collection of artists' Christmas cards and photographs of Miller and others. An addition to the papers includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number professional files are included, the majority of the addition relates to her personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection.

Scope and Content Note:

The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.

Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.

Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.

Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, Art At Work: Chase Manhattan Bank Collection. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art.

Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing Edward Hicks: His Peaceable Kingdom and Other Paintings. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center.

Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.

The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.

Arrangement:

The collection is arranged as 15 series:

Series 1: Biographical Material, 1917-1986 (Box 1; 0.3 linear ft.)

Series 2: Correspondence and Subject Files, circa 1912-1992 (Boxes 1-8, OV 27; 7.2 linear ft.)

Series 3: Rockefeller Family Art Collections, circa 1949-1985 (Boxes 8-12, 25; 3.9 linear ft.)

Series 4: Rockefeller University Collection, 1923-1984 (Boxes 12-13, OV 27; 1.0 linear ft.)

Series 5: Chase Manhattan Bank Collection, 1959-circa 1985 (Boxes 13-14, 26; 1.4 linear ft.)

Series 6: Port Authority of New York and New Jersey Art Committee, circa 1965-1987 (Boxes 14-15, OV 27; 0.8 linear ft.)

Series 7: Other Corporate and Private Clients, 1968-1984 (Boxes 15-16; 1.3 linear ft.)

Series 8: Other Boards, Committees and Commissions, 1925, 1949-1985 (Boxes 16-20; 3.6 linear ft.)

Series 9: Works Project Administration Federal Art Project Files, 1935-1979 (Box 20, OV 27; 0.5 linear ft.)

Series 10: Edward Hicks Catalog, 1934-1984 (Boxes 20-22; 1.5 linear ft.)

Series 11: Research Files, 1930s-1980 (Boxes 22-23; 0.8 linear ft.)

Series 12: Exhibition Files, 1932-1986 (Box 23; 0.6 linear ft.)

Series 13: Works of Art, circa 1924-circa 1982 (Boxes 23-25; 1.5 linear ft.)

Series 14: Photographs, 1926-circa 1970s (Boxes 24-25; 0.3 linear ft.)

Series 15: Addition to the Dorothy C. Miller Papers, 1853-2003, bulk 1920-1996 (Boxes 28-38, OVs 39-41; 9.9 linear ft.)

Biographical Note:

Dorothy Canning Miller (1904-2003) worked in New York City as a highly influential curator of contemporary and folk art at the Museum of Modern Art and as the first curator of the museum. Later, she was the primary art consultant for Nelson A. Rockefeller, the Rockefeller family, Rockefeller University, Chase Manhattan Bank, and the Port Authority of and New Jersey. Dorothy Miller was also married to Holger Cahill, director of the WPA Federal Art Project.

Dorothy C. Miller was born in Hopedale, Massachusetts in 1904 and received her Bachelor of Arts from Smith College in 1925. She was first introduced to modern art through classes at the Newark Museum taught by John Cotton Dana and Holger Cahill. Miller joined the curatorial staff of the Newark Museum in 1926. The museum was one of the first to organize exhibitions of American folk art, American Primitives (1930-1931) and American Folk Sculpture (1931-1932). Miller worked with Cahill and others on the exhibition and developed a life-long interest in folk art.

After four years at the Newark Museum, Miller moved to New York city, hoping to get involved with the newly opened Museum of Modern Art (MoMA), and, likely, to be with Holger Cahill, with whom she lived with on 8th Street prior to their marriage in 1938. Between 1930 and 1932 she took odd jobs and worked with Mrs. Henry Lang cataloging, researching and installing Lang's collection of Native American art Lang donated to the Montclair Art Museum. At the same time, Holger Cahill was serving as Acting Director of the Museum of Modern Art during an absence of Director Alfred H. Barr. In 1932, Cahill asked Miller to assist him with curating the American Painting and Sculpture, 1862-1932 exhibition at MoMA, and together they also curated the First Municipal Art Exhibition, 1934 at the Rockefeller Center.

In 1934, Barr hired Miller as his assistant and one year later appointed her as MoMA's first curator. Miller spent the next 35 years organizing many of this country's most important exhibitions of contemporary art and building personal relationships with new artists and photographers, as well as the collections of MoMA. Miller retired from MOMA in 1969 and focused more on her art consulting work begun in the late 1950s.

Dorothy Miller's most notable client was Nelson A. Rockefeller. She assisted and advised Rockefeller as he acquired a vast personal collection of modern art - some of which was later donated to MoMA. Just prior to her retirement, Miller organized a large exhibition of Rockefeller's collection. The exhibition catalog written by Miller was the basis for the book she worked on with Rockefeller up until and following his death in 1979, ultimately published as The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. In the preface, Rockefeller credited Miller with being one of the four people to whom he was indebted "for the understanding and endless joy I have found in the collecting of modern art in all forms."

Miller also served as the primary art consultant for projects to furnish federal spaces, including Henry Kissinger's State Department office suite, and the official Vice-Presidential residence at the Admiral's House in Washington D.C.

In 1959 Miller was invited to join the art collection committee of the Chase Manhattan Bank and served on the committee until the mid-1980s, contributing her expertise to the development of one of this country's oldest and largest corporate collections of modern and contemporary art.

Miller was also an advisor to other members of the Rockefeller family, including David Rockefeller, and assisted with developing the art collections of Rockefeller Institute/University. From 1960 through the late 1980s Miller was a member of the art committee for the Port Authority of New York and New Jersey (PANJY) and was responsible for selecting much of the artwork for the World Trade Center in the 1970s. She served on numerous boards and commissions, including the Hancock Shaker Village, the Smithsonian Institution's Hirshhorn Museum and Sculpture Garden, the Empire State Plaza in Albany, Smith College Museum of Art, and the Museum of American Folk Art. She also became a member of the Mark Rothko Foundation Board of Directors after the litigation following Rothko's death between Rothko's executors and his daughter.

In the mid-1970s Miller assisted the Whitney Museum of American with planning an exhibition and supporting catalog of the work of folk artist Edward Hicks. Although the exhibition and catalog were only partially realized in 1980, Miller and Eleanore Price Mather compiled and published a book on Hicks, Edward Hicks: His Peaceable Kingdoms and Other Paintings, published in 1983.

In 1982-1983 Miller received the Art Dealers Association Special Award, an honorary degree from Williams College, and the Skowhegan School of Painting and Sculpture governor's award. In 1984 she was named honorary trustee of the Museum of Modern Art. In 1985 the Smith College Museum of Art honored her important contributions to museum connoisseurship with the exhibition Dorothy C. Miller: With An Eye to American Art.

Dorothy Miller died in 2003 at the age of 99 at her home in Greenwich, New York.

Related Material:

The Archives of American Art holds two oral history interviews with Dorothy C. Miller. The first was conducted by Paul Cummings between May 26, 1970 and September 28, 1971, and details Miller's life from childhood up to, and including, her years at the Museum of Modern Art. The second was conducted by Avis Berman on May 14, 1981 and covers Miller's relationships with Mark Rothko and Clyfford Still. Also found among the holdings of the Archives are the papers of Holger Cahill, Dorothy Miller's husband and colleague.

The Museum of Modern Art Achives holds Dorothy Miller's papers related to her curatorial work at the museum.

Provenance:

The collection was donated by Dorothy C. Miller via Wendy Jeffers between 1986 and 1997, and Reid White, Executor of Miller's estate, in 2004. Two subsequent additions were donated by Wendy Jeffers in 2014 and 2015.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

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

Topic:

Artists -- United States  Search this

Art, Modern -- 20th century  Search this

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

Art museum curators -- New York (State) -- New York  Search this

Corporations -- Private collections  Search this

Art -- Private collections  Search this

Folk art  Search this

Genre/Form:

Photographs

Sketches

Christmas cards

Drawings

Citation:

Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.milldoro

See more items in:

Dorothy C. Miller papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-milldoro

Creator:

Jeffers, Wendy  Search this

Names:

Museum of Modern Art (New York, N.Y.)  Search this

Whitney Museum of American Art  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Spencer, Niles, 1893-1952  Search this

Extent:

3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1930-2015

Summary:

The Wendy Jeffers research material on Niles Spencer measures 3.0 linear feet and dates from circa 1930-2015. The material was compiled by Jeffers for an exhibition and catalog she produced of Spencer's work for the Whitney Museum in 1990 and for research toward an updated catalogue raisonné. The bulk of the collection is comprised of correspondence, provenance research on individual artworks, writing, and photographic material. Jeffers' material expands on Dorothy C. Miller's research completed while organizing a Spencer exhibition at the Museum of Modern Art in 1954.

Scope and Contents:

The Wendy Jeffers research material on Niles Spencer measures 3.0 linear feet and dates from circa 1930-2015. The material was compiled by Jeffers for Niles Spencer (1990), an exhibition and catalog she produced for the Whitney Museum and for research toward an updated catalogue raisonné. The bulk of the collection is comprised of correspondence, provenance research on individual artworks, writing, and photographic material. Jeffers' material expands on Dorothy C. Miller's research completed while organizing a Spencer exhibition at the Museum of Modern Art in 1954.

Arrangement:

Due to the singular focus of the material, the collection is arranged as one series

Series 1: Wendy Jeffers research material on Niles Spencer, circa 1930-2015 (3 linear feet; Box 1-3)

Biographical / Historical:

Wendy Jeffers is a curator and independent scholar. In 1990, she organized a Niles Spencer exhibition at the Whitney Museum at Equitable Center, and coauthored the exhibition catalog with Karl Anne Marling. Jeffers also curated a Spencer exhibition at the Archives of American Art, New York Research Center in 1990 using his recently acquired papers. In addition, Jeffers has been engaged in research toward an updated catalogue raisonné for Spencer.

Related Materials:

Also found in the Archives of American Art are the Niles Spencer papers, 1826-1972, bulk 1900-1961.

Provenance:

Donated in 2015 by Wendy Jeffers.

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

Topic:

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

Citation:

Wendy Jeffers research material on Niles Spencer, circa 1930-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jeffwen

See more items in:

Wendy Jeffers research material on Niles Spencer

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-jeffwen

Interviewee:

Halpert, Edith Gregor, 1900-1970  Search this

Interviewer:

Phillips, Harlan B. (Harlan Buddington), 1920-  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Downtown Gallery (New York, N.Y.)  Search this

Federal Art Project  Search this

New Deal and the Arts Oral History Project  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Cahill, Holger, 1887-1960  Search this

Goodrich, Lloyd, 1897-1987  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Extent:

22 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1965 Jan. 20

Scope and Contents:

An interview of Edith Gregor Halpert conducted 1965 Jan. 20, by Harlan Phillips, for the Archives of American Art new deal and the Arts Project.

Halpert speaks of some of her activities in connection with the Federal Art Project, discusses some of the exhibitions that were shown, and gives her opinions on federal support for the arts. Halpert recalls Lloyd Goodrich, Holger Cahill, Dorothy Miller, Alfred Barr, and others.

Biographical / Historical:

Edith Gregor Halpert (1900-1970) was an art dealer fromf New York, N.Y. Halpert founded Downtown Gallery.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2011 as 3 digital wav files. Duration is 2 hours, 14 minutes.

Transferred from original acetate tape reels.

Sound quality is poor.

Provenance:

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

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Art dealers -- New York (State) -- New York -- Interviews  Search this

Federal aid to the arts  Search this

Function:

Art galleries, Commercial -- New York (State) -- New York

Genre/Form:

Sound recordings

Interviews

Sponsor:

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

Identifier:

AAA.halper65

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-halper65

Creator:

Briggs, Ernest, 1923-  Search this

Names:

Arnold, Anne, 1926-  Search this

Crehan, Hubert  Search this

Greenberg, Clement, 1909-1994  Search this

McChesney, Mary Fuller  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Still, Clyfford, 1904-1980  Search this

Extent:

2.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Diaries

Date:

circa 1900-2013

bulk 1940-1984

Summary:

The papers of painter Ernest Briggs measure 2.4 linear feet and date from circa 1900-2013, bulk 1940-1983. The collection documents the life and career of this second generation abstract expressionist through biographical material; correspondence with artists and critics; writings and five diaries that chronicle the changing art world from 1950s-1970s; personal business records; printed material; and a significant amount of photographic material documenting the artist and his work.

Scope and Contents:

The papers of painter Ernest Briggs measure 2.4 linear feet and date from circa 1900-2013, bulk 1940-1983. The collection documents the life and career of this second generation abstract expressionist through biographical material; correspondence with artists and critics; writings and five diaries that chronicle the changing art world from 1950s-1970s; personal business records; printed material; and a significant amount of photographic material documenting the artist and his work. Papers dating from after Briggs's death were created and kept by Anne Arnold.

Notable correspondents include Hubert Crehan, Mary McChesney, Dorothy Miller, Clyfford Still, and Howard Wise. One outgoing letter to Clement Greenberg offers Briggs's criticism of Art and Culture.

Arrangement:

The collection is arranged as seven series

Series 1: Biographical Material, 1942-1984 (1 folder; Box 1)

Series 2: Correspondence, 1950s-2001 (0.4 linear feet; Box 1)

Series 3: Writings, 1960-19854 (5 folders; Box 1)

Series 4: Diaries, 1976-1984 (0.3 linear feet; Box 1)

Series 5: Personal Business Records, 19460s-2000s (0.2 linear feet; Box 1)

Series 6: Printed Material, 1949-2013 (0.6 linear feet; Box 1-2, OV 4)

Series 7: Photographic Material, circa 1900-1990, bulk 1940-1984 (0.8 linear feet; Box 2-3, OV 5)

Biographical / Historical:

Ernest Briggs (1923-1984) was a second generation abstract expressionist painter working in New York City and Maine. He was born in San Diego, California and served in the U.S. Navy during World War II. After returning home, Briggs studied at the California College of Fine Art in San Francisco from 1947-1951 under Clyfford Still, Ad Reinhardt, David Park, and Mark Rothko. He moved to New York in 1953 and began exhibiting at the Stable Gallery. In 1956 Briggs was included in the Museum of Modern Art's exhibition, 12 Americans curated by Dorothy Miller. Briggs taught at Pratt Institute from 1961-1984. He was married to the sculptor Anne Arnold.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Ernest Briggs conducted by Barbara Shikler in 1982 and the papers of sculptor, Anne Arnold, Briggs' wife.

Provenance:

Ernest Briggs donated papers in 1980 with the bulk of the collection donated in 2015 by the Anne Arnold Estate, via Robert Brooks and Janice Kasper, executors.

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.

Topic:

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

Abstract expressionism  Search this

Genre/Form:

Photographs

Diaries

Citation:

Ernest Briggs papers, circa 1900-2013, bulk 1940-1984. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.brigerne

See more items in:

Ernest Briggs papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-brigerne

Creator:

Gibbs, Howard Manning, 1904-1970  Search this

Names:

Provincetown Art Association  Search this

Barrie, Erwin S., 1886-1983  Search this

Brouillette, Gilbert, 1906-1970  Search this

Littlefield, William Horace, 1902-1969  Search this

Messer, Thomas M.  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Pezzati, Pietro, 1902-1993  Search this

Price, Vincent, 1911-1993  Search this

Extent:

2.2 Linear feet ((partially microfilmed on 1 reel))

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1904-1975

Scope and Contents:

Correspondence, sketchbooks, photographs, a scrapbook, and printed material.

REEL 1255: A 27 page scrapbook, ca.1930-1969, containing letters and clippings.

UNMICROFILMED: Correspondence, 1923-1975, with Erwin S. Barrie, Pietro Pezzati, Vincent L. Price, Thomas Messer, Dorothy Miller, T. Gilbert Brouillette, and others; 27 sketchbooks; 26 sketches; 1 photograph album and ca. 80 photographs of Gibbs, his family and friends, including William Littlefield and the Provincetown Art Association; exhibition announcements, catalogs, press releases, and clippings, ca. 1929-1964.

Biographical / Historical:

Painter; Boston, Massachusetts.

Provenance:

Material on reel 1255 lent for microfilming 1975 by Margaret Gibbs, wife of Howard. Unmicrofilmed material was donated by Margaret Gibbs, 1975, and by their daughter, Katherine Gibbs Tubman La Fleur, 1976-1978.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters -- Massachusetts -- Boston  Search this

Topic:

Painting, Modern -- 20th century -- Massachusetts -- Boston  Search this

Genre/Form:

Sketchbooks

Identifier:

AAA.gibbhowa

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-gibbhowa

Creator:

Feitelson, Lorser, 1898-1978  Search this

Names:

Federal Art Project (Calif.)  Search this

Benjamin, Karl  Search this

Butterfield, Jan  Search this

Hammersley, Frederick, 1919-2009  Search this

Kadish, Reuben, 1913-1992  Search this

Langsner, Jules, 1911-1967  Search this

Longstreet, Stephen, 1907-  Search this

Lundeberg, Helen, 1908-1999  Search this

McCoy, Esther  Search this

McLaughlin, John, 1898-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Moran, Diane De Gasis  Search this

Rattner, Abraham  Search this

Seldis, Henry  Search this

Sheets, Millard, 1907-1989  Search this

Extent:

15.6 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Poetry

Writings

Drawings

Sound recordings

Photographs

Date:

circa 1890s-2002

Summary:

The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.

Scope and Content Note:

The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.

Biographical documentation is found for both artists. Lundeberg's early life is documented by school notebooks, yearbooks, diplomas, calendars, awards, and a "memory book." Feitelson's biographical materials include family certificates and documents compiled by Lundeberg regarding Feitelson's funeral. Also found are curriculum vitae and biographical sketches for both artists.

Correspondence is extensive and includes both personal and professional correspondence for both Feitelson and Lundeberg. Materials consist of letters with critics, museums, artists, and friends, including Karl Benjamin, Frederick Hammersley, Reuben Kadish, John McLauglin, Diane Moran, and Abraham Rattner. Of special interest is Feitelson and Lundeberg's correspondence with Museum of Modern Art curator Dorothy Canning Miller.

A small amount of exhibition materials, mostly loan agreements and checklists, are found in the papers documenting exhibitions and loans of their artwork to exhibitions. Personal business records concern the management of their artwork and personal collections. Found here are lists of artwork, price lists, appraisal reports, sales invoices, purchase receipts, tax documents, and a set of index cards for their artwork. There are a few scattered legal documents as well. In addition to personal business records, there is a series of records of the Lorser Feitelson and Helen Lundeberg Foundation, established by Lundeberg in 1978.

Scattered research and teaching files are mostly Feitelson's. They document his personal research, teaching activities, and television programs, particularly the program Feitelson on Art. Writings, however, are found for both artists and include artist statements, writings about art and art styles and movements, writings about each artist, and writings about the Federal Arts Program in southern California. Of interest are numerous writings by other contemporary writers and critics, including Jan Butterfield, Jules Langsner, Stephen Longstreet, Esther McCoy, Diane Moran, Henry Seldis, and Millard Sheets.

A small amount of artwork is found within the collection by Feitelson and Lundeberg, mostly sketches and drawings. There is one print by Hans Burkhardt.

Printed materials include newsclippings, exhibition announcements and catalogs, lecture announcements, posters, press releases, and printed reproductions of Feitelson's and Lundeberg's artwork. There are also pamphlets produced by the Works Progress Administration Federal Arts Program and Lundeberg's poetry.

Photographs are extensive and include many of Lorser Feitelson and Helen Lundeberg, as well as of family, friends, and students. There are four photo albums and numerous photographs of Feitelson's and Lundeberg's artwork, including some exhibition installations.

There is one circa 1957 reel-to-reel sound recording of an episode of Feitelson on Art, focusing on Paul Gauguin.

An addition of 0.2 linear feet received in 2014 includes Feitelson's art history and teaching notes, writings by Feitelson, and photographs and contact sheets of Feitelson and works of art.

Arrangement:

The collection is arranged into 11 series:

Series 1: Biographical Materials, 1922-1995 (Boxes 1-2, 19; 1.5 linear feet)

Series 2: Correspondence, 1932-1998 (Boxes 2-4; 2.5 linear feet)

Series 3: Exhibition Records, 1936-1989 (Boxes 4-5; 0.25 linear feet)

Series 4: Personal Business Records, 1943-1998 (Boxes 5-6; 1.0 linear feet)

Series 5: Feitelson and Lundeberg Foundation Records, 1978-1997 (Boxes 6-7, 19; 1.5 linear feet)

Series 6: Research and Teaching Materials, 1940s-1960s (Boxes 7-8; 0.75 linear feet)

Series 7: Writings, 1930-1989 (Boxes 8-9; 1.0 linear feet)

Series 8: Artwork, 1920s-1991 (Boxes 9, 19; 9 folders)

Series 9: Printed Materials, 1923-2002 (Boxes 9-11, 20; 2.0 linear feet)

Series 10: Photographs, circa 1890s-1993 (Boxes 11-14, 16-19, and OV 21-22; 4.3 linear feet)

Series 11: Audio Recording, circa 1957 (Box 15; 1 item)

Series 12: Unprocessed Addition, circa 1919-1978 (Box 23; 0.2 linear feet)

Biographical Note:

Art instructor and painter Lorser Feitelson (1898-1978) lived and worked in Los Angeles with his wife Helen Lundeberg (1908-1999), also one of southern California's leading painters. Together, Feitelson and Lundeberg founded the movement known as Subjective Classicism, or Post-surrealism. Their work had a great influence on southern California art and they formed many relationships with artists and critics of the area.

Lorser Feitelson was born in Savannah, Georgia on February 11, 1898, and grew up in New York City. By the age of twelve, he was painting in oils, and three years later he began to paint in earnest after attending the Armory Show. At the age of eighteen, Feitelson had his own studio in New York City. Over the next few years, he met other artists, including Arthur Davies, Walter Pach, and John Sloan. From 1919 to 1926, Feitelson lived in Paris and traveled to New York to exhibit; he also spent some time in Italy. In 1927, Feitelson moved to Los Angeles, the city that would remain his home for the rest of his life. There he met his wife and artist, Helen Lundeberg, and married in 1933.

Feitelson taught at the Chouinard Art Institute and the Stickney Memorial School of Art, became involved in the operations of the Centaur Gallery, and helped to found the Stanley Rose Gallery and the Hollywood Gallery of Modern Art. Beginning with the first Post-surrealist exhibition 1934, Feitelson and Lundeberg's work was exhibited at the San Francisco Museum of Art, the Brooklyn Museum, and was included in the Museum of Modern Art's Fantastic Art, Dada and Surrealism exhibition of 1937. Feitelson continued to create Post-surrealist paintings until 1942. During this same time, Feitelson also served as the Supervisor of Murals, Painting, and Sculpture for the Southern California Works Progress Administration Federal Arts Project.

In 1944, Feitelson began to paint abstract shapes that he referred to as "magical forms." Feitelson continued working in an abstract manner throughout the fifties, and in 1959 was included by Jules Langsner in the exhibition Four Abstract Classicists along with Karl Benjamin, Frederick Hammersley, and John McLaughlin. From this exhibition emerged the term "hard edge" painting, which referred to the presence of geometric shapes and flat pictorial space in the work of these artists. During the final two decades of his life, Feitelson continued to work regularly, and continued to explore abstraction.

Feitelson taught for many years at the Art Center School and was a visiting professor at the University of Illinois, Urbana. He also hosted the television program Feitelson on Art from 1956-1963, as well as serving as a frequent guest on the program Cavalcade of Books to discuss art publications. Lorser Feitelson died in 1978.

Helen Lundeberg was born in Chicago, Illinois on June 24, 1908. At the age of four, her family moved to Pasadena, where she attended Pasadena High School and Junior College. In the spring of 1930, a family friend sponsored Lundeberg's tuition to attend classes at the Stickney Memorial School of Art. That summer Lundeberg met Lorser Feitelson, who had recently taken over the teaching of her construction and composition class. The following year, Lundeberg's work was included in an exhibition for the first time. By 1933, Lundeberg had a solo exhibition at the Stanley Rose Gallery. Throughout the 1930s, Lundeberg painted in a Post-surrealist manner and created some of her best known works including "Double Portrait of the Artist in Time" (1935). She also began working for the California Works Progress Administration Federal Art Project in 1936. Over the next six years, she designed murals for libraries, high schools, and parks. She and Feitelson married in 1933.

During the next five decades, Lundeberg created a distinctive and diverse body of work that included surreal images of floating mountains and falling skies, austere landscapes and architectural forms, and abstract works with brilliant colors. She remained from the 1930s to the time of her death in 1999 one of the leading and most respected figures in southern California art. Her work has been exhibited in the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art, and acquired by the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art.

Related Material:

Found in the Archives of American Art are oral history interviews with Lorser Feitelson conducted by Betty Lochrie Hoag, May 12, 1964; with Lorser Feitelson and Helen Lundeberg conducted by Betty Lochrie Hoag, March 17, 1965; and with Helen Lundeberg conducted by Jan Butterfield, July 19 and August 29, 1980. Also found are Lorser Feitelson lectures recorded by Bonnie Trotter, 1973-1974.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reel LA 1) including a scrapbook of clippings primarily concerning Lorser Feitelson's activities with the federal Works Progress Administration. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

In 1964, Feitelson loaned for microfilming a scrapbook of clippings primarily concerning his activities with the federal Works Progress Administration. The scrapbook was microfilmed on Reel LA1 and returned to Feitelson. It is not included in the container inventory in this finding aid.

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

Topic:

Art -- Study and teaching  Search this

Genre/Form:

Sketches

Poetry

Writings

Drawings

Sound recordings

Photographs

Citation:

Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation; funding for the digitization of the collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.feitlors

See more items in:

Lorser Feitelson and Helen Lundeberg papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-feitlors

Creator:

Bloom, Hyman, 1913-  Search this

Durlacher Bros. (New York, N.Y.)  Search this

Names:

Askew, R. Kirk (Ralph Kirk), 1903-1974  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Moe, Henry Allen, 1894-1975  Search this

Story, Ala  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1936-1980

Scope and Contents:

Letters from Dorothy Canning Miller, R. Kirk Askew (of Durlacher Bros.), Henry Allen Moe, Ala Story and others; financial and business records; printed material, including an exhibition catalog, announcements for an exhibit at the American Academy of Arts and Letters, and a 1949 John Simon Guggenheim Memorial Fellowship; a typescript of an article by Hyman Swetzoff about Bloom, "Hyman Bloom: The Attainment of a State of Being"; and 152 pencil drawings by Bloom's students, including works by Lynn Banker, Anabel Handy, David Hayes, C. Heijn, Valerie Jayne, Peter W. Kent, Patricia Quinn, John Rooney, John Updike, A.J. Yiannias, E. Zimmerman and others.

ADDITION: Correspondence, ca. 1943-1980, including some relating to an urban renewal project and rent control matters effecting Bloom's residence; tax documents; list of paintings with prices; certificate of fellowship in the American Academy of Arts & Sciences, Boston (1960); Boston Fenway Art Community Proposal and completed questionnaire; and printed material.

Biographical / Historical:

Painter; Cambridge, Mass. Born near Riga, Latvia in April 1913. Immigrated to Boston in 1920 and began painting and drawing classes, taught by Harold Zimmerman at a settlement house. Worked for the WPA in the early 1930s.

Provenance:

Donated 1981 and 1994 by Bloom.

Restrictions:

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

Occupation:

Art students -- Massachusetts  Search this

Painters -- Massachusetts -- Cambridge  Search this

Topic:

Painting, Modern -- 20th century -- Massachusetts -- Cambridge  Search this

Identifier:

AAA.bloohyma2

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-bloohyma2

Interviewee:

Miller, Dorothy Canning, 1904-2003  Search this

Interviewer:

Berman, Avis  Search this

Creator:

Mark Rothko and His Times Oral History Project  Search this

Names:

Mark Rothko and His Times Oral History Project  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Cahill, Holger, 1887-1960  Search this

De Kooning, Willem, 1904-1997  Search this

Motherwell, Robert  Search this

Newman, Barnett, 1905-1970  Search this

Panicali, Carla  Search this

Putzel, Howard, 1898-1945  Search this

Rothko, Mark, 1903-1970  Search this

Still, Clyfford, 1904-1980  Search this

Extent:

30 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1981 May 14

Scope and Contents:

An interview of Dorothy Canning Miller conducted 1981 May 14, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Miller talks about the first time she, with Alfred Barr, saw Mark Rothko's work in Federation of Modern Painters and Sculptors exhibitions. She remembers her first visit to Rothko's studio and frequent conversations at an Italian restaurant near the studio. Miller recounts incidents involving Rothko and Clyfford Still while she was organizing the show "15 Americans" and others at the Museum of Modern Art. She recalls the relationship between Rothko and Still, their split, her own split with Still, and the psychological changes she noted in Rothko. She recalls Holger Cahill, Alfred Barr, Barnett Newma, Robert Motherwell, Clyfford Still, Howard Putzel, Carla Panicali, de Kooning, and others.

Biographical / Historical:

Dorothy Miller (1904-2003) was an art museum curator and art consultant from New York, N.Y.

General:

Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 24 min.

Provenance:

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

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

Restrictions:

Transcript is available on the Archives of American Art's website.

Topic:

Abstract expressionism  Search this

Art museum curators -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the interview was provided by the Mark Rothko Foundation.

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

Identifier:

AAA.miller81

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-miller81

Creator:

Waddell Gallery  Search this

Names:

Art Dealers Association of America  Search this

Finch College. Museum of Art  Search this

Whitney Museum of American Art  Search this

Abrams, Harry N.  Search this

Barnet, Will, 1911-2012  Search this

Baschet, Bernard  Search this

Baschet, Francois, 1920-2014  Search this

Bergmann-Michel, Ella, 1896-1972  Search this

Canaday, John, 1907-1985  Search this

Clague, John, 1928-  Search this

Costa, Toni, 1935-  Search this

Dallègret, François, 1937-  Search this

Franck, Frederick, 1909-  Search this

Genauer, Emily, 1910-2002  Search this

Giobbi, Edward  Search this

Harloff, Guy, 1933-  Search this

Healey, John, b. 1894  Search this

Hein, Piet, 1905-  Search this

Hoeydonck, Paul van, 1925-  Search this

Jacquet, Alain, 1939-  Search this

Kanovitz, Howard  Search this

Kawashima, Takeshi, 1930-  Search this

Liikala, Bob  Search this

Lucien, Frank  Search this

Machlin, Sheldon M., 1918-1975  Search this

Mallory, Ronald  Search this

Michel, Robert, 1897-1983  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Mueller, George Ludwig, 1929-  Search this

Neuberger, Roy R.  Search this

Nicola, 1934-  Search this

Perry, Charles O., 1929-  Search this

Reiback, Earl  Search this

Scarfe, Gerald  Search this

Schoffer, Nicolas, 1912-  Search this

Simons, Vera  Search this

Ungerer, Tomi, 1931-  Search this

Vansier, Boris  Search this

Waddell, Richard H., d. 1974  Search this

Wise, Howard  Search this

Extent:

6.5 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Date:

1961-1978

Summary:

The records of the Waddell Gallery, a contemporary art gallery that was located in New York City, date from 1961 to 1978 and measure 6.5 linear feet. The records include administrative files, correspondence, artists' files, and sales and stock records.

Scope and Contents:

The records of the Waddell Gallery, a contemporary art gallery that was located in New York City, date from 1961 to 1978 and measure 6.5 linear feet. The records include administrative files, correspondence, artists' files, and sales and stock records.

Administrative files consist of employment applications, event guest lists, leases and agreements, printed materials, publicity, schedules, typography samples, and scattered photographs of Richard Waddell with curator Dorothy Miller, artists Francois Baschet and Will Barnet, and art dealer Howard Wise.

Correspondence is with art collectors, art critics, art writers, organizations, colleges and museums, publications, and others. Correspondents include Harry Abrams, Art Dealers Association, John Canaday, Finch College Museum of Art, Frank Lucien, Emily Genauer, Roy Neuberger, Howard Wise, Whitney Museum, among many others.

Artists' files also include correspondence, in addition to printed materials, shipping and loan information, photographs, exhibition material, and resumes. Files are found for Will Barnet, Bernard Baschet, John Clague, Toni Costa, Francois Dallegret, Frederick Franck, Edward Giobbi, Guy Harloff, John Healey, Piet Hein, Alain Jacquet, Howard Kanovitz, Aleksandra Kasuba, Takeshi Kawashima, Bob Liikala, Sheldon Machlin, Ronald Mallory, Robert Michel and Ella Bergmann, George Mueller, Nicola, Charles Perry, Earl Reiback, Gerald Scarfe, Nicolas Schöffer, Vera Simons, Paul Van Hoeydonck, Boris Vansier, and Tomi Ungerer, among others.

Sales and stock records include appraisal documentation, inventories, price lists, shipping information and index cards and bound volumes of sales records, including a sales record of Andrew Wyeth's Uprooted Tree.

Arrangement:

The collection is arranged as 4 series.

Series 1: Administrative Files, 1966-1973 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1963-1973 (1.0 linear feet; Boxes 1-2)

Series 3: Artists' Files, 1961-1978 (3.2 linear feet; Boxes 2-5, OV 8)

Series 4: Sales and Stock Records, 1964-1973 (2.1 linear feet; Boxes 5-7)

Biographical / Historical:

The Waddell Gallery was established in 1963 by Richard Hughes Waddell in New York City, New York. The gallery represented contemporary American and European artists, notably Will Barnet. The gallery operated on 15 East 57th Street and later on 50 West 57th Street until 1973, one year before Waddell's untimely death in 1974. The gallery focused on representing contemporary American and European artists such as Will Barnet, Francois Dallegret, Edward Giobbi, Sheldon Machlin, and Paul Van Hoeydonck. Additionally, Waddell held benefits to support civil rights and served as a trustee of the Tuskegee Institute.

Provenance:

The Waddell Gallery records were donated in 1977 by the Estate of Richard Waddell, through Richard's father, Chauncey L. Waddell and brother, Theodore Waddell and in 1986 by Louise Tolliver Deutschman, former director of the gallery.

Restrictions:

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

Rights:

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

Occupation:

Art critics  Search this

Topic:

Art galleries, Commercial -- New York (State) -- New York  Search this

Art, Modern -- 20th century  Search this

Genre/Form:

Gallery records

Citation:

Waddell Gallery records, 1961-1978. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.waddgall

See more items in:

Waddell Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-waddgall

Collection Creator:

Miller, Dorothy Canning, 1904-2003  Search this

Container:

Box 32, Folder 2

Type:

Archival materials

Date:

1951-1995

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:

Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

See more items in:

Dorothy C. Miller papers

Dorothy C. Miller papers / Series 15: Addition to the Dorothy C. Miller Papers / 15.5: Art Collection and Client Files / Artists in Collection

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-milldoro-ref1108

Collection Creator:

Miller, Dorothy Canning, 1904-2003  Search this

Container:

Box 32, Folder 6

Type:

Archival materials

Date:

circa 1941-2001

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:

Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

See more items in:

Dorothy C. Miller papers

Dorothy C. Miller papers / Series 15: Addition to the Dorothy C. Miller Papers / 15.5: Art Collection and Client Files / Artists in Collection

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-milldoro-ref1112