The papers of New York painter Alice Neel measure 1.0 linear foot and date from 1933 to 1983. The bulk of the collection documents the last fifteen years of Neel's career as an artist. Found within the papers are letters from galleries, museums, and art organizations; writings and notes by Neel; exhibition catalogs, clippings, and other printed material; and photographs depicting Neel, exhibitions, and her artwork.
Scope and Content Note:
The papers of New York painter Alice Neel measure 1.0 linear foot and date from 1933 to 1983. The bulk of the collection documents the last fifteen years of Neel's career as an artist. Found within the papers are letters from galleries, museums, and art organizations; writings and notes by Neel; exhibition catalogs, clippings, and other printed material; and photographs depicting Neel, exhibitions, and her artwork.
Arrangement:
The collection is arranged as # series:
Series 1: Letters, circa 1968-1983 (Box 1; 0.2 linear feet)
Series 2: Writings and Notes, circa 1960-1979 (Box 1; 2 folders)
Series 3: Printed Material, 1933-1983 (Box 1; 0.6 linear feet)
Series 4: Photographs, 1940-1983 (Box 1; 6 folders)
Biographical Note:
Alice Neel (1900-1984) was a painter in New York, NY. She was known for her portraits of New York artists and intellectuals. Neel studied painting at the Philadelphia School of Design for Women (now the Moore College of Art and Design) from 1921-1925. She married Cuban artist Carlos Enríquez, and they briefly lived in Havana, Cuba. After the break-up of their marriage, she settled in New York City. During the 1930s she worked for the Public Works of Art Project and the Works Progress Administration, painting scenes of urban poverty and developing her distinctive portrait style. She pursued a career as a figurative painter during a period when abstraction was favored, and she did not begin to gain critical praise for her work until the 1960s. Neel received an honorary doctorate from the Moore College of Art and Design in 1971 and a retrospective of her work was held at the Whitney Museum in 1974. During the last decade of her life she finally received extensive national recoginition for her paintings. Neel was also a notable public speaker and often spoke on the topic of women artists.
Related Material:
Also found in the Archives of American Art are printed material on Romare Bearden, Alice Neel, and Howard Newman, 1975-1990, compiled by Dennis Florio, and a videorecording of "Art and Alice Neel," 1975, recorded as part of University of Georgia Television station WGTV's "Forum" program.
Provenance:
The collection was donated from 1974 to 1983 by Alice Neel.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Alice Neel papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Portrait painters -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Portrait painting -- 20th century -- United States Search this
Women artists -- New York (State) -- New York Search this
Genre/Form:
Photographs
Notes
Citation:
Alice Neel papers, 1933-1983. Archives of American Art, Smithsonian Institution.
An interview of Yvonne Jacquette conducted 2010 Oct. 19 and 21, by James McElhinney, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jacquette's home and studio, in New York, N.Y.
Jacquette talks about a current competition for art in a Metropolitan Transit Authority (MTA) subway station at 34th Street and 11th Avenue in New York City; mosaics and fresco; materials and methods; other MTA commissions; her late husband Rudy Burckhardt; teaching at Moore College of Art in Philadephia, the Pennsylvania Academy of the Fine Arts, the University of Pennsylvania, and Parsons School of Design; flying over proposed subjects to get an aerial view; spending summers in Maine; other artists in Maine; her interest in painters who "developed spiritually"; travel to Japan with Burckhardt; collaborating with Burckhardt on the film, "Night Fantasies," (1990); acceptance of women artists; galleries; women artists she admires, and other topics. She recalls Robert Kushner, Edwin Denby, Alex Katz, Mimi Gross, and others.
Biographical / Historical:
Yvonne Jacquette (1934-) is a painter and printmaker in New York, N.Y. James McElhinney is an artist and educator in New York, N.Y.
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.
Restrictions:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
The papers of landscape painter Mary Butler date from 1853-1946, bulk 1884-1946, and measure 1.6 linear feet. Found within the papers are biographical material, correspondence, and records relating to Butler's long participation in the Fellowship of the Pennsylvania Academy of the Fine Arts. Also found are notes and writings, a scrapbook, printed material, and photographs of Butler, her friends, her studio in Ogunquit, Maine, her landscape paintings, and exhibition installations.
Scope and Content Note:
The papers of landscape painter Mary Butler date from 1853-1946, bulk 1884-1946, and measure 1.6 linear feet. Found within the papers are biographical material, correspondence, and records relating to Butler's long participation in the Fellowship of the Pennsylvania Academy of the Fine Arts. Also found are notes and writings, a scrapbook, printed material, and photographs of Butler, her friends, her studio in Ogunquit, Maine, her landscape paintings, and exhibition installations.
Biographical material includes genealogical notes on Butler's early family history, biographical accounts, teaching certificates, and letters of recommendation from Butler's instructors including William Merritt Chase, Robert Henri, and William Sartain.
Found within the papers are correspondence with family members, including letters to her cousin Edgar Butler letters from her friend Mrs. Thomas Eakins; and miscellaneous scattered letters from various colleagues including George Biddle, Dorothy Grafly, Thornton Oakley, and Alice Kent Stoddard concerning various topics. Correspondence regarding exhibitions is with arts organizations and colleagues including Henry Thouron and S. Walter Norris.
There are files documenting Butler's long participation in the Fellowship of the Pennsylvania Academy of the Fine Arts, including a letter from Joseph Pennell, notes, writings, and printed material. Additional printed material includes a scrapbook of clippings, and exhibition announcements and catalogs. Photographs are of Butler, her friends, her studio in Ogunquit, Maine, views of the Maine coast and of Cathedral Crag in Washington State, Butler's landscape paintings, and miscellaneous exhibition installations.
Arrangement:
The papers are arranged into seven series. Each series is arranged chronologically.
Series 1: Biographical Material, 1884-1945 (Box 1; 10 folders)
Series 2: Correspondence, 1853-1944 (Box 1; 0.5 linear feet)
Series 3: File for the Fellowship of the Pennsylvania Academy of the Fine Arts, 1917-1946 (Box 1; 14 folders)
Series 4: Notes and Writings, 1905-1938 (Box 1; 10 folders)
Series 5: Scrapbook, 1908-1942 (Box 1; 5 folders)
Series 6: Printed Material, 1894-1944 (Box 2; 0.4 linear feet)
Series 7: Photographs, circa 1870-1945 (Box 3; 0.2 linear feet)
Biographical Note:
Mary Butler was born on October 27, 1865 in Uwachlan, Pennsylvania, the daughter of James and Rachel M. (James) Butler.
Butler began her education at the Darlington Seminary. She studied painting at the Philadelphia School of Design for Women (now the Moore College of Art) under William Sartain and Robert Henri, graduating in 1894. Between 1896 and 1902, she studied at the Pennsylvania Academy of the Fine Arts under William Merritt Chase and Celia Beaux. From 1897 to 1898, she studied at the Académie Colarossi in Paris with Gustave Courtois, René François Xavier Prinet, and Jean-Antoine Injalbert.
She attended a summer school conducted by William Merritt Chase at Shinnacock Hills, and later studied under Robert Henri and Edward W. Redfield. With Redfield, she spent a season at Centre Bridge, Pennsylvania. Butler was primarily a landscape painter and traveled widely in the United States and Europe to find unusual and inspiring views. She also spent summers in Ogunquit and on Monhegan Island, Maine.
In 1909, Butler joined the Fellowship of the Pennsylvania Academy of the Fine Arts and served as President of that organization from 1921 to 1937. During her tenure, she inaugurated traveling exhibitions, a picture purchasing fund and, in 1915, the Thouron Fund for aid of needy artists.
Throughout her career Butler exhibited extensively and promoted the arts in Philadelphia.
Mary Butler died on March 16, 1946.
Provenance:
The Mary Butler papers were donated in 2005 by Rachel F. Armstrong, the artist's niece.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Mary Butler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Landscape painters -- Pennsylvania -- Philadelphia Search this
Topic:
Women painters -- Pennsylvania -- Philadelphia Search this
Genre/Form:
Scrapbooks
Writings
Photographs
Citation:
Mary Butler papers, 1853-1946, bulk 1884-1946. Archives of American Art, Smithsonian Institution.
A video interview of Alice Neel conducted October 1975 in Athens, Georgia, for University of Georgia Television station WGTV's "Forum" program on the occasion of Neel's retrospective exhibition at the University of Georgia, Georgia Museum of Art. Moderating is Bill Hale. Also present is the Museum's director William D. Paul, Jr.
Biographical / Historical:
Alice Neel (1900-1984) was a portrait painter and craftsperson of New York, N.Y. Neel studied painting at the Philadelphia School of Design for Women (now the Moore College of Art) from 1921-1925. After living briefly in Havana, Cuba, she settled in New York City in 1927. She participated in various Federal Art Projects during the 1930s, painting scenes of urban poverty and developing her distinctive portrait style.
Provenance:
Donated 1976 by the Georgia Museum of Art through William D. Paul, Jr., Director.
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
A small amount of biographical material comprises resumes and an address book.
Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.
Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.
A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.
Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.
Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.
Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.
Arrangement:
The collection is arranged as eight series:
Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)
Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)
Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)
Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)
Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)
Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)
Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)
Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.
Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.
Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.
Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.
Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.
Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.
Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
An interview of Thomas Chimes conducted 1990 June 14, by Cynthia Veloric, for the Archives of American Art Philadelphia Project. Chimes speaks about his Greek background, his childhood in Philadelphia and in several southern states, studies at the Pennsylvania Academy of the Fine Arts and the Art Students League, New York in the 1940's including a comparison of the two institutions and a discussion of the New York City art scene; teaching at Drexel Institute, Philadelphia College of Art (now the University of the Arts), and Moore College of Art in Philadelphia; the development of his painting and sculpture including the religious paintings of the 1960's, the metal boxes, and the transition to the portraits of the 1970's and 1980's based on his readings and interest in Alfred Jarry and Marcel Duchamp; and "Sleeping Woman" commissioned by the Fairmount Park Art Association.
Biographical / Historical:
Thomas Chimes (1921-2009) was a painter, sculptor, and educator from Philadelphia, Pennsylvania.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 27 min.
Provenance:
This interview is 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.
Topic:
Painting, Abstract -- Pennsylvania -- Philadelphia Search this
Painting, Modern -- 20th century -- Pennsylvania -- Philadelphia Search this
Art -- Study and teaching -- Pennsylvania -- Philadelphia Search this
Art -- Study and teaching -- New York (State) -- New York Search this
Sculpture, Modern -- 20th century -- Pennsylvania -- Philadelphia Search this
Portrait painting -- Pennsylvania -- Philadelphia Search this
Painters -- Pennsylvania -- Philadelphia -- Interviews Search this
Sculptors -- Pennsylvania -- Philadelphia -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Moore Institute of Art, Science and Industry Search this
Philadelphia School of Design for Women Search this
Extent:
7 Microfilm reels (Records)
1990 panel discussion: 1 video cassette + 2 sound cassettes
Type:
Collection descriptions
Archival materials
Microfilm reels
Video recordings
Sound recordings
Date:
1850-1990
Scope and Contents:
Business records, scrapbooks, printed material, photographs, and a video and related sound recordings.
REELS P3-P4: Material concerning the early history of the school, including a document of incorporation and the first annual report; constitution, by-laws, announcements, and other printed material; catalogs and course announcments; and a scrapbook of clippings of the school and of classes.
REEL 3654: Documents, 1850-1853, concerning the founding of the school; committee records; administrative correspondence; reports; lists of students; appeal for endowment; materials regarding independence of the School of Design from the Franklin Institute; and miscellaneous items relating to the school's later history.
REELS 4286-4289: Business records consisting of annual reports in loose and bound formats, minutes, and student registers; scrapbooks; and photographs.
UNMICROFILMED: A videocassette recording of the panel discussion "Contemporary African-American Art: A New Visibility," held at the College February 1, 1990. Also included are 2 cassettes of the audio portion of the discussion. Participants include James Brantley, Victor Davson, Felicity Benoliel, June Kelley, Howardena Pindell, and Sande Webster.
Biographical / Historical:
Art school; Philadelphia, Pa. Est. 1848 as the School of Design for Women; part of the Franklin Institute, 1850-1853, became independent in 1853 as Philadelphia School of Design for Women. The name was changed to Moore Institute of Art, Science and Industry in 1932, in 1963 to Moore College of Art, and in 1988 to Moore College of Art and Design.
Other Title:
Moore College of Art records (microfilm title, reels 4286-4289)
Philadelphia School of Design for Women records (microfilm reel 3654 title)
Provenance:
Microfilmed in 1954, 1985 and 1989 as part of AAA's Philadelphia Arts Documentation Project. Only materials of the school through 1960 were microfilmed, as that was shortly after the retirement and death of dean Harriet Sartain, and the school moved into its new facilities at that time. Video of the panel discussion and related sound recordings were donated 1990 by the College.
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:
Art -- Study and teaching -- Pennsylvania -- Philadelphia Search this
Correspondence, both personal and professional; clipppings, postcards, invitations, invoices, notes, and photographs.
Biographical / Historical:
Illustrator; Philadelphia, Pa. Was famous for her "Good Housekeeping" covers and book illustrations and a native Philadelphian. Attended the Moore College of Art, the Pennsylvania Academy and studied under Howard Pyle at Drexel. It was in Pyle's class that Smith met Violet Oakley and Elizabeth Shippen Green who became life long friends and with whom she shared a home and studios. Exhibited at the Academy's Annuals and was awarded several prizes.
Provenance:
The provenance is unknown. Microfilmed with other artists papers in the Pennsylvania Academy of the Fine Arts as part of the Archives of American Art Philadelphia project. Portions of Smith's papers were not selected for microfilming, including scrapbooks of clipped illustrations (not Smith's work), and unidentified photographs of children.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Illustrators -- Pennsylvania -- Philadelphia Search this
Illustrators -- Pennsylvania -- Philadelphia Search this
Topic:
Women artists -- Pennsylvania -- Philadelphia Search this
Women artists -- Pennsylvania -- Philadelphia Search this
The Gottlieb Hampfler Collection contains 63 duplicate 35mm slides of images of gardens in the Brandywine Valley in Delaware and Pennsylvania and Rye, New York taken by Hampfler, the staff photographer at Longwood Gardens in Kennett Square, Pennsylvania, from 1955-1975.
Biographical/Historical note:
Gottlieb A. Hampfler was the staff photographer for Longwood Gardens in Kennett Square, Pennsylvania, from 1955 until his retirement in 1975. His career in horticulture began with positions at Henry F. Michell Company and Andorra Nursery, both in Pennsylvania. After an exchange of correspondence between Hampfler and Longwood founder Pierre Samuel du Pont, Hampfler was hired in 1934 to serve on the horticulture staff there. In this position, he was able to indulge his passion for photography. Hampfler's first freelance work was done in 1938; from 1946-1948, he served on the faculty of Moore College of Art in Philadelphia. As the president of a number of camera clubs and a member of several professional societies, Hampfer lectured extensively and received numerous awards, including the Pennsylvania Horticultural Society's Certificate of Merit in 1993.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
