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William E. L. Bunn papers

Creator:
Bunn, William E. L., 1910-2009  Search this
Names:
United States. Dept. of the Treasury. Section of Fine Arts  Search this
United States. Dept. of the Treasury. Section of Painting and Sculpture  Search this
United States. General Services Administration  Search this
W.A. Sheaffer Pen Company  Search this
Allen, Lee, 1910-2006  Search this
Wood, Grant, 1891-1942  Search this
Extent:
13.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Blueprints
Sketchbooks
Drawings
Transcriptions
Watercolors
Sketches
Interviews
Designs
Diaries
Date:
1863-2009
Summary:
The papers of painter, muralist, and designer William E. L. Bunn measure 13.4 linear feet and date from 1863-2009. The collection documents Bunn's career as a painter, industrial designer, and his work on Treasury Department post office mural commissions through biographical material, scattered correspondence, project files, industrial design records, diaries and journals, writings and notes, printed material, photographs, and artwork. Also found are Bunn's papers regarding Grant Wood.
Scope and Content Note:
The papers of painter, muralist, and designer William E. L. Bunn measure 13.4 linear feet and date from 1863-2009. The collection documents Bunn's career as a painter, industrial designer, and his work on Treasury Department post office mural commissions through biographical material, scattered correspondence, project files, industrial design records, diaries and journals, writings and notes, printed material, photographs, and artwork. Also found are Bunn's papers regarding Grant Wood.

Biographical material consists of certificates, school records, Bunn family genealogy records, an interview transcript, and an autobiographical file maintained by Bunn containing professional summaries, lists of works, one motion picture film reel of home movies, and other records. Correspondence documents exhibitions, awards, mural projects, and other commissions. Of note is correspondence with the General Services Administration, friend and fellow artist Lee Allen, and illustrated envelopes Bunn sent to his wife Annavene.

Project files contain photographs, notes, sketches, correspondence, and news clippings. Included is Bunn's notebook "Index to Projects" which provides additional information. Industrial design records include drawings and blueprints, employment records, photographs and publications, primarily from his work at Sheaffer Pen Company and Cuckler Steele Span Company.

Bunn's papers relating to Grant Wood include documentation from the Grant Wood Art Festival, as well as printed material, notes, and correspondence about Wood. Also found are photographs, including two photographs of Wood and photographs of his residence in Iowa City. Forty-one diaries and journals date from 1929-1951 and 1969-2003. Early diaries document art projects and school activities while he was a student at University of Iowa. Later journals document his work, travel, expenditures, and goals. Writings and notes include to-do lists, documentation on people Bunn knew, his artworks, lists of personal belongings, and topics of interest, such as astrology and steamboats. Also found are five notebooks on various subjects.

Printed material consists of exhibition catalogs, magazines, news clippings, and Treasury Department bulletins. Also found are announcements of mural competitions, postcards, and published images of steamboats. Photographs depict Bunn, his family, friends, and artwork. Additional photographs depict various subjects that were of interest to Bunn, including nature scenes, steamboats, airplanes, and bridges.

Artwork includes costume and theater designs created as part of William Bunn's thesis at University of Iowa. Also included are drawings and watercolors for potential art projects, as well as preliminary drawings and studies or technical drawings from his work as an industrial designer. Additionally, there are four sketchbooks, two of which include sketches and notes for the post office murals in Minden, Nebraska, and Hamburg, Iowa.
Arrangement:
The collection is arranged as 10 series:

Series 1: Biographical Material, 1910-2009 (Box 1, 12, FC 33; 0.7 linear feet)

Series 2: Correspondence, 1927-2006 (Box 1; 0.3 linear feet)

Series 3: Project Files, circa 1925-2002 (Box 1-3, 12, OV 15-19, RD 31; 2.2 linear feet)

Series 4: Industrial Design Records, circa 1944-1977 (Box 3, 12, OV 20; 0.6 linear feet)

Series 5: Papers Relating to Grant Wood, 1935-2006 (Box 3-4, 12; 0.5 linear feet)

Series 6: Diaries and Journals, 1929-2003 (Box 4-6; 2.2 linear feet)

Series 7: Writings and Notes, circa 1928-2004 (Box 6-7; 1.0 linear foot)

Series 8: Printed Material, 1896-2009 (Box 7-8, 12, OV 21; 1.4 linear feet)

Series 9: Photographs, 1863-1990s (Box 8-9, 13; 1.6 linear feet)

Series 10: Artwork, circa 1926-2004 (Box 9-11, 14, OVs 22-30, RD 32; 2.3 linear feet)
Biographical Note:
William E. L. Bunn (1910-2009) was a designer, muralist, and painter in Ft. Madison, Iowa and Ojai, California. Bunn was born in Muscatine, Iowa and received his B.A. in Graphic and Plastic Arts and an M.A. in Theater Design, both from the University of Iowa. In 1937 he was awarded a one-year post-graduate fellowship as an art intern for Grant Wood. From 1938 to 1942 he won four commissions from the Treasury Department to produce murals for Federal buildings. He also exhibited paintings, primarily depicting Mississippi River steamboats, at the National Academy of Design, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, and other group shows. Beginning in 1943 Bunn worked as an industrial designer at several companies including Sheaffer Pen Company (1946-1967) and Cuckler Steele Span Company (1967-1977). After his retirement, he and his wife, Annavene, moved to California, and he continued to paint. Bunn was also active in the Theosophical Society and had an interest in aviation.
Provenance:
The collection was donated by William E. L. Bunn in 1989 and in 2010 by Bunn's daughter, Chari Petrowski. In 1986 two sketchbooks and sketches were transferred with Bunn's permssion from the General Services Administration, which had received them from Bunn.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Rights:
The William E. L. Bunn 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:
Designers -- Iowa  Search this
Federal aid to the arts  Search this
Muralists -- Iowa  Search this
Mural painting and decoration -- Middle West  Search this
New Deal, 1933-1939  Search this
Genre/Form:
Photographs
Blueprints
Sketchbooks
Drawings
Transcriptions
Watercolors
Sketches
Interviews
Designs
Diaries
Citation:
William E. L. Bunn papers, 1863-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bunnwill
See more items in:
William E. L. Bunn papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bunnwill

Allyn Cox papers

Creator:
Cox, Allyn, 1896-1982  Search this
Names:
American Battle Monuments Commission  Search this
Art Commission of the City of New York  Search this
Art Students League (New York, N.Y.)  Search this
Century Association (New York, N.Y.)  Search this
Cosmos Club (Washington, D.C.)  Search this
Dumbarton Oaks  Search this
George Washington Masonic National Memorial (Alexandria, Va.)  Search this
National Society of Mural Painters (New York, N.Y.)  Search this
Park Club of Kalamazoo  Search this
Smithsonian Institution  Search this
United States Capitol Historical Society  Search this
Bayley, John Barrington, 1914-1981  Search this
Bishop, Warner  Search this
Cassio, Fabrizio  Search this
Conrad, Arthur  Search this
Cox, Ethel  Search this
Cox, Kenyon, 1856-1919  Search this
Cox, Louise Howland King, 1865-1945  Search this
DeWitt, Roscoe, 1894-1975  Search this
Frost, Stuart  Search this
Harbeson, John F., 1888-1986 ((John Frederick))  Search this
Keally, Francis, 1889-1978  Search this
Keller, Deane, 1901-1992  Search this
Lamb, Adrian  Search this
Laning, Edward, 1906-  Search this
Lay, Charles Downing, 1877-1956  Search this
MacDonald, Pirie, 1867-1942  Search this
Schwengel, Fred, 1907-1993  Search this
Shutze, Philip Trammell  Search this
Young, Clifford, 1905-  Search this
Extent:
11 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Diaries
Photographs
Sketchbooks
Sketches
Place:
General Grant National Memorial (New York, N.Y.)
Date:
1856-1982
Summary:
The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.
Scope and Contents:
The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.

Biographical material includes family birth, death, and marriage certificates, and passports for Cox and his wife Ethel, whom he married in 1927; professional membership cards, awards and certificates; records related to sales of furnishings from the Cox family home in Essex, Massachusetts; and an untranscribed interview of Cox by Tony Janak of NBC TV.

Cox's family correspondence is primarily with his mother, Louise Cox. Also found is correspondence with Cox's sister, Caroline Cox Lansing, and his brother Leonard Cox and Leonard's wife, Sylvia, and letters from Ethel Cox to her mother. Additional correspondence relating to the disposition of Kenyon Cox''s artwork and archives to various institutions, can also be found here.

General correspondence documents Cox's career and professional relationships with artists and architects, including John Barrington Bayley, Fabrizio Cassio, Arthur Conrad, Roscoe DeWitt, Stuart Frost, John Harbeson, Francis Keally, Adrian Lamb, Edward Laning, Charles Downing Lay, Deane Keller, Philip Trammell Shutze, and Cliff Young; art institutions and organizations including the Art Commission of the City of New York, the Art Students League, Dumbarton Oaks, the National Society of Mural Painters, and the Smithsonian Institution; federal, state and local government agencies including the American Battle Monuments Commission, the Architect of the Capitol, and the General Grant National Memorial; members of Congress including founder of the United States Capitol Historical Society, Representative Fred Schwengel; and private social clubs in which Cox was active, including the Century Association, the Cosmopolitan Club and the Cosmos Club. Correspondence documents Cox's most well known commissions including work for the George Washington Masonic National Memorial and the United States Capitol, as well as work for many private clients including banks and residences.

Also found are typescripts, manuscripts and notes for Cox's lectures, as well as Ethel Cox's diary from 1923-1936 and her diary excerpt from 1955. Ten folders of research files, consisting primarily of clippings, comprise Cox's source material. Additional printed material provides scattered documentation of Cox's career through announcements and catalogs, and magazine and newspaper articles written by him or about his work. Also found is one folder of clippings about Kenyon Cox.

Four sketchbooks and circa twenty-two loose animal, figure, architectural and landscape sketches comprise Cox's artwork, in addition to two 1943 sketches Cox entered into a War Department mural competition. Also found is an 1873 sketchbook of Kenyon Cox, with sketches of people and scenes in Ohio.

Photographs are of Cox from childhood to the 1980s; his family, including parents, siblings, and grandparents; friends including Philip Trammell Shutze and Warner Bishop; family residences; artist models; events; and artwork, including many of Cox's commissions. In addition to photographic prints, slides, and negatives, the series includes vintage formats such as an ambrotype, 8 tintypes, 2 cyanotypes, and a platinum print. Of particular note are circa 16 photos of Kenyon Cox, one taken by Pirie MacDonald and three of him teaching a class at the Art Students League, and a series of circa 1906 photos taken in a garden, of Louise and Kenyon Cox with their children and others. Also found are 10 glass plate negatives of artwork by Cox.
Arrangement:
The collection is arranged as 7 series. Glass plate negatives are housed separately and are closed to researchers.

Series 1: Biographical Material, 1916-1982 (0.33 linear feet; Boxes 1, 12)

Series 2: Correspondence, 1878-1982 (6.74 linear feet; Boxes 1-7, 12)

Series 3: Writings and Notes, 1919-1982 (0.58 linear feet; Boxes 7-8)

Series 4: Research Files, circa 1950s-circa 1970s (0.25 linear feet; Box 8)

Series 5: Printed Material, 1920s-1982 (0.5 linear feet; Boxes 8-9)

Series 6: Sketchbooks and Sketches, 1873-circa 1978 (0.25 linear feet; Box 9, OVs 13-14)

Series 7: Photographs, 1856-circa 1980 (2.25 linear feet; Boxes 9-12, OV 13)
Biographical / Historical:
New York, N.Y. and Washington, D.C. painter and muralist, Allyn Cox (1896-1982), was born in New York City to artists Kenyon and Louise Cox. Cox first trained as his father's assistant, serving as an apprentice to Kenyon Cox during the painting of the murals at the Wisconsin State Capitol, circa 1912. He attended the National Academy of Design from 1910-1915, and the Art Student's League with George Bridgman in 1915. In 1916 he was awarded the Prix de Rome and subsequently studied at the American Academy in Rome for 2 years before returning to New York City to begin a career in mural painting.

Cox completed numerous murals and decorative paintings for private residences, businesses, churches, and public buildings. Some of his most famous commissions included murals for the Royal Arch Room and Memorial Hall of the George Washington Masonic National Memorial in Alexandria, Virginia; the Law School at the University of Virginia, Charlottesville; and the William A. Clark Memorial Library at the University of California, Los Angeles; panels for the National City Bank, the Continental Bank, and the Guaranty Trust Company in New York; and glass mosaics and inlaid stone maps for the United States Military Cemetery in Hamm, Luxembourg.

Cox is best known for his work in the United States Capitol, beginning in 1952 when he undertook a congressional commission to restore and complete the murals in in the Capitol rotunda begun by Constantino Brumidi and Filipo Costaggini in 1878. Over the course of the next two decades Cox, now residing in Washington, D.C., restored the Frieze of American History and the Apotheosis of Washington in the Rotunda, and designed murals for three first-floor corridors in the Capitol's House wing, now known as the Cox Corridors. Assisted by Cliff Young, Cox completed painting for two of these corridors before his death. In 1958 Cox also painted a portrait of Henry Clay for the Senate Reception Room and in 1975 completed a mural depicting the 1969 moon landing in the Brumidi Corridor.

Cox taught at the Art Students League in 1940 and 1941, and was active in professional organizations throughout his career. He served as President of the American Artists Professional League and the National Society of Mural Painters, and Vice President of both the Fine Arts Federation and the New York Architectural League. He was a member of the board of the New York Municipal Art Society and served on the the New York City Art Commission.

Cox retired in March 1982 at the age of 86 and died the following September.
Related Materials:
Also found in the Archives of American Art are the Allyn Cox papers relating to U.S. Capitol murals, 1970-1974, donated by the Committee on House Administration, via Cindy Szady in 1981. Papers include a resume; a cost estimate by Cox for designing and executing mural decorations in the U.S. Capitol, 1970; a letter, 1974, from the Office of the Architect of the Capitol to the Capitol Historical Society enclosing photocopies of printed material pertinent to the unveiling and dedication of the Capitol rotunda frieze in 1954; miscellaneous printed material, 1971-1974; and 15 photographs of the murals in the Capitol.
Provenance:
The bulk of the Allyn Cox papers was donated in 1977 and 1983 by the Estate of Allyn Cox, Stephen M. Pulsifer, Exectuor, including material that had been loaned for microfiliming in 1969. Two mural sketches were donated by the Essex County Greenbelt Association in 1984.
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. Glass plate negatives are housed separately and are closed to researchers,

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Allyn Cox 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:
Painters -- New York (State) -- New York  Search this
Muralists -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Diaries
Photographs
Sketchbooks
Sketches
Citation:
Allyn Cox papers, 1856-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.coxally
See more items in:
Allyn Cox papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-coxally
Online Media:

Charles Henry Alston papers

Creator:
Alston, Charles Henry, 1907-1977  Search this
Names:
City University of New York. City College -- Faculty  Search this
Bearden, Anna Alston  Search this
Bearden, Romare, 1911-1988  Search this
Browne, Byron, 1907-1961  Search this
Lawrence, Jacob, 1917-2000  Search this
Logan, Myra, 1909-1977  Search this
Welty, Eudora, 1909-2001  Search this
Woodruff, Hale, 1900-1980  Search this
Wright, Louis T. (Louis Tompkins), 1891-1952  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1924-1980
Summary:
The scattered papers of African-American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston measure 0.9 linear feet and date from 1924-1980. Included are biographical materials, correspondence, commission and teaching files, writings and notes, printed materials, and photographs. Notable correspondents include Romare Bearden, Byron Browne, Jacob Lawrence, and Hale Woodruff.
Scope and Content Note:
The scattered papers of African-American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston (1907-1977) measure 0.9 linear feet and date from 1924-1980. The bulk of the collection documents his personal and professional relationships with figures of the Harlem Renaissance. Researchers should note that this collection contains very little documentation on Alston's actual federal WPA work with the Harlem Art Workshop, the Harlem Artists Guild, or his Harlem Hospital murals completed in 1940. A photograph of Alston in 1937 is likely the only reference to the actual WPA murals in this collection.

Scattered correspondence includes general correspondence; letters concerning Alston's artistic endeavors; and personal letters from friends and family. Found is a copy of a thank you note from Eudora Welty to John Woodburn for a jacket design presumably by Alston; letters from Harlem Renaissance figures and personal friends Romare Bearden, Byron Brown, Jacob Lawrence, and Hale Woodruff.

Commission files are for Alston's murals including those in the Golden State Mutual Life Insurance building in Los Angeles, California (1947); and the addition to the Harlem Hospital (1965); and the Family and Criminal Courts Building in the Bronx, New York (1976). There is one file concerning teaching at City College New York (CUNY).

Writings and notes includes scattered notes and three short stories probably by Alston entitled "Bitsy O'Wire," "Body and Soul," and "Gigi."

Printed materials include illustrations by Alston in the Columbia University literary magazine, The Morningside, and medical illustrations done for Dr. Louis T. Wright. Also found are scattered clippings, exhibition announcements, press releases, and materials from the First Conference on Aesthetic Responsibility.

Photographs are of Alston, Alston with his wife, Myra Logan, his mother Anna Alston Bearden, Romare Bearden, and Hale Woodruff. Photographs of note include one of Alston holding a self-portrait, and one of the artist in 1937 with works that are most likely preliminary sketches of his WPA murals at Harlem Hospital. There are also photographs of Alston's works of art.
Arrangement:
The collection is arranged into 6 series:

Series 1: Biographical Information, 1924-1977 (Box 1; 3 folders)

Series 2: Correspondence, 1931-1977(Box 1; 7 folders)

Series 3: Commission and Teaching Files, 1947-1976 (Box 1; 4 folders)

Series 4: Writings and Notes, circa 1940s-1970s (Box 2-3; 4 folders)

Series 5: Printed Material, 1928, 1946-1980(Box 2-3; 5 folders)

Series 6: Photographs, 1925-1968 (Box 2; 2 folders)
Biographical Note:
Charles Henry Alston (1907-1977) worked primarily in New York city as a painter, muralist, illustrator, and educator. He was part of the Harlem Renaissance movement in the 1930s and helped form the Harlem Art Workshop and the Harlem Artists Guild.

Charles Henry "Spinky" Alston was born in Charlotte, North Carolina on November 28th, 1907. His parents were the Reverend Primus Priss and Anna Miller. After the death of his father, Alston's mother married Henry Pierce Bearden (Romare Bearden's uncle) in 1913 and the family moved to New York City.

At DeWitt Clinton High School in New York, Alston served as art editor of the school's literary magazine. Alston majored in fine arts and history at Columbia University, graduating in 1929. He became active in the Harlem community and accepted a position as director of Utopia House, a boy's camp, where he started an art program. He returned to Columbia and recieved a Masters degree in art education from Columbia's Teachers College. While still a student, he illustrated album covers for jazz musician Duke Ellington and book covers for poet Langston Hughes.

Alston played a major role in the Harlem Renaissance Movement of the period. During the Great Depression, he and sculptor Henry Bannarn directed the Harlem Art Workshop which was funded by the Works Progress Administration Federal Art Project. There he taught and mentored African-American painter Jacob Lawrence and Romare Bearden, among others.

In the 1950s, Alston embarked on a series of portraits of African-American figures. He also taught at the Art Students League and later with the City College of New York (CUNY). Along with his wife, Myra Logan, a surgeon at Harlem Hospital, Alston lived in Harlem and remained an active member of the community until the end of his life. Charles Alston died in 1977.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Charles Henry Alston, one conducted by Harlan Phillips on September 28, 1965 and another by Al Murray on October 19, 1968.

Additional Charles Henry Alston papers are located at the University of North Carolina's Southern Historical Collection at the Louis Round Wilson Special Collections Library.
Separated Material:
In 1970, Charles Alston loaned materials for microfilming, including correspondence with Henry Epstein, Langston Hughes, Robert Riggs, Harry Sternberg, J. Johnson Sweeney, Hale Woodruff and others. Also loaned for microfilming were sketchbooks, printed materials, and photographs. Subsequently, some of the photographs were later donated by Alston's sisters. The loaned materials are available only on microfilm reel N70-23 at Archives of American Art offices, and through interlibrary loan. These materials are not included in the container listing of this finding aid.
Provenance:
Charles Alston lent portions of the collection for microfilming in 1970. Aida Winters and Rousmaniere Alston Wilson, Charles Alston's sisters, donated additional materials to the Archives of American Art in 1982 and 1984.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Charles Henry Alston 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:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Harlem Renaissance  Search this
Art -- Study and teaching  Search this
African American artists  Search this
Genre/Form:
Photographs
Citation:
Charles Henry Alston papers, 1924-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alstchar
See more items in:
Charles Henry Alston papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-alstchar
Online Media:

Emmy Lou Packard Papers

Creator:
Packard, Emmy Lou, 1914-1998  Search this
Names:
American Civil Liberties Union  Search this
Public Works of Art Project  Search this
Covarrubias, Miguel, 1904-1957  Search this
Edmunds, John, 1913-  Search this
Kahlo, Frida  Search this
Lange, Dorothea  Search this
O'Gorman, Juan, 1905-  Search this
O'Higgins, Pablo, 1904-  Search this
Refregier, Anton, 1905-  Search this
Reynolds, Malvina  Search this
Rivera, Diego, 1886-1957  Search this
Extent:
9.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Date:
1900-1990
Summary:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.
Scope and Contents note:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.

Biographical materials include resumes, personal forms, and certificates. Correspondence is with family, friends, and colleagues, including muralist Anton Refregier, songwriter Malvina Reynolds, and composer John Edmunds. There is one letter from Dorothea Lange. Also found is correspondence with various political and arts organizations, such as the American Civil Liberties Union and the Russian magazine Soviet Woman. Much of the correspondence discusses personal relationships and political and art-related activities. Additional correspondence with and concerning Diego Rivera and Frida Kahlo is arranged in Series 6.

Personal business records found within the papers include studio real estate and rent records, insurance records, price lists for artwork, consignment records, and miscellaneous receipts. There is one interview transcript of an interview with Packard for the Radical Elders Oral History Project. The papers include a series of notebooks/diaries, address lists, and other notes.

Packard's reference files and personal papers documenting her professional and close personal relationship with Diego Rivera and Frida Kahlo are arranged into a separate series. They include her research files for a planned book on the two artists, personal letters between Packard and the couple, as well as several interesting photographs. Also found in this series are notes, writings, and printed materials relating to Diego Rivera, Frida Kahlo, and other Mexican artists, such as Covarrubius, Juan O'Gorman, and Pablo O'Higgins.

The collection also includes typescripts and additional writings by Packard and others. Artwork consists of orginal drawings and prints by Packard and others not directly associated with projects. Exhibition and project files for many of Packard's commissioned projects are also found within the collection, including her files for the restoration of Anton Refregier's Rincon Annex Post Office mural in San Francisco and the Coit Tower murals in San Francisco. Many of the project files contain correspondence, reports, contracts, printed material, photographs, and artwork.

The papers also include photographs of Packard, her family, residences, artwork, friends, and colleagues, including Cesar Chavez, Juan O'Gorman, Malvina Reynolds, Charles Safford, Ralph Stackpole, and Tennessee Williams. Two scrapbooks are found, as well as additional printed materials such as clippings and exhibition announcements and catalogs. There are also two artifact items, a vinyl record of Malvina Reynolds and a political campaign button.
Arrangement note:
The collection is arranged into fifteen series.

Series 1: Biographical Material, 1942-1985 (Box 1; 1 folder)

Series 2: Correspondence, 1919-1990 (Box 1-3; 2.6 linear feet)

Series 3: Personal Business Records, 1945-1985 (Box 3; 21 folders)

Series 4: Interview Transcript, 1979 (Box 3; 1 folder)

Series 5: Notes, 1900-1985 (Box 3-4, 10; 1.1 linear feet)

Series 6: Reference Files on Diego Rivera and Frida Kahlo, 1929-1986 (Box 5, 10, OV 11; 0.9 linear feet)

Series 7: Writings by Packard, 1953-1984 (Box 6; 17 folders)

Series 8: Writings by Others, 1955-1984 (Box 6; 19 folders)

Series 9: Artwork, 1921-1976 (Box 6; 10 folders)

Series 10: Exhibition Files, 1950-1964 (Box 6, OV 11; 5 folders)

Series 11: Project Files, 1953-1985 (Box 6-7, 10, OV 11; 1.8 linear feet)

Series 12: Photographs, 1914-1982 (Box 8, 10; 0.8 linear feet)

Series 13: Scrapbooks, 1947-1950 (Box 8, 10; 0.2 linear feet)

Series 14: Printed Material, 1936-1988 (Box 8-9, 10; 1 linear foot)

Series 15: Artifacts, 1984 (Box 9-10, OV 11; 2 folders)
Biographical/Historical note:
Emmy Lou Packard was born in Imperial Valley, California on April 15, 1914, to Walter and Emma Leonard Packard. In the late 1920s she lived with her family in Mexico City where she became acquainted with Diego Rivera, from whom she received regular art criticism and encouragement. She graduated from the University of California, Berkeley and completed courses in fresco and sculpture at the California School of Fine Arts in 1940. That year and the next, Packard worked as a full-time painting assistant to Rivera on his 1,650 square-foot fresco at the World's Fair in San Francisco. During this project, Packard became very close to Rivera and Frida Kahlo and returned to Mexico with them and spent a year living with the couple.

From then on, except for in 1944-1945 working for a defense plant, Packard worked and grew in various aspects of her art. In addition to her work in fresco, Packard is known for her work in watercolor, oil, mosaic, laminated plastic, concrete, and printmaking, both in linocuts and woodblocks. She received numerous commissions that included installations for ships, hotels, and private homes for which she executed large woodcuts and mural panels. During the 1950s and 1960s, Packard was hired to restore several historic murals, most notably the Rincon Annex Post Office mural by Anton Refregier and the Coit Tower murals in San Francisco.

Between 1966 and 1967 she was commissioned by architects to design and execute a number of concrete and mosaic pieces, one of which went to the Mirabeau Restaurant in Kaiser Center, Oakland. She also designed and executed a mural for the Fresno Convention Center Theater during that same period. In 1973-1974, she designed and supervised a glazed brick mural for a public library in Pinole, California.

Packard had one-woman shows at the San Francisco Museum of Art, Raymond and Raymond Gallery (San Francisco), Addison Gallery of American Art (Andover, Mass.), Connecticut Academy of Fine Arts, Pushkin Museum (Moscow), and March Gallery (Chicago). Emmy Lou Packard died in 1998.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Emmy Lou Packard conducted by Mary Fuller McChesney in 1964.
Provenance:
Emmy Lou Packard donated her papers to the Archives of American Art from 1984-1988.
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 Emmy Lou Packard 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:
Sculptors -- California -- San Francisco  Search this
Topic:
Works of art  Search this
Printmakers -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration, Mexican  Search this
Muralists -- California -- San Francisco  Search this
Genre/Form:
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Citation:
Emmy Lou Packard papers, 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.packemmy
See more items in:
Emmy Lou Packard Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-packemmy
Online Media:

Thomas Carr Howe papers

Creator:
Howe, Thomas Carr, 1904-1994  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Bohemian Club (San Francisco, Calif.)  Search this
California Palace of the Legion of Honor  Search this
M.H. De Young Memorial Museum  Search this
United States. Army. Monuments, Fine Arts and Archives Section  Search this
Berenson, Bernard, 1865-1959  Search this
Cronyn, Hume  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Göring, Hermann, 1893-1946  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Kelleher, Patrick J. (Patrick Joseph), 1917-  Search this
Mallory, Margaret, 1911-1998  Search this
Mills, Paul Chadbourne, 1924-  Search this
Moore, Lamont  Search this
Ritchie, Andrew Carnduff  Search this
Rorimer, James J. (James Joseph), 1905-1966  Search this
Standen, Edith Appleton  Search this
Stout, George L. (George Leslie)  Search this
Valland, Rose  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Photographs
Date:
1932-1984
Summary:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
Scope and Content Note:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.

Biographical materials include articles and memorial tributes for Howe's father and grandfather, a short autobiography and resume, and the certificate for the copyright to his book.

The bulk of the collection consists of correspondence, the most voluminous of which are letters from Monuments Men S. Lane Faison, Patrick J. Kelleher, Andrew C. Ritchie, Edith Standen, George Stout, Marcelle Minet, Rose Valland, James Rorimer, and others. Additional correspondents include friends and colleagues such as Bernard Berenson, Hume Cronyn, Paul Mills, Christopher Forbes, Margaret Mallory, William A. McGonagle, and Otto Wittman, among many others

Writings include a brief summary of Howe's book Salt Mines and Castles and a sound cassette of his lecture about the book. Project, membership and travel files are primarily associated with his professional work at the California Palace of the Legion of Honor and include documentation of member art trips, a feasibility study for merging the California Palace of the Legion of Honor with the M. H. de Young Memorial Museum, and a membership list of the Bohemian Club.

The Monuments, Fine Arts and Archives (MFAA) Records and Looted Inventories series contain many records relating to Howe's military service as a Monuments Man. There are several inventory records which contain lists of the contents of Hermann Göring's collection of looted artwork, artwork destroyed in the Flak towers fire in Berlin, and artwork held at several of the central collecting points, though mostly at Weisbaden. There is also a small fold out map of the Altausse salt mines; a U.S. government issued manual of maps marking important cultural monuments and artwork in Germany; a book of U.S. government regulations pertaining to the MFAA section; a government information bulletin; and several official status reports and published U.S. government reports about art looting investigations and safeguarding cultural property.

Professional files consist of papers relating to Howe's job as the director of the California Palace of the Legion of Honor and art trips he organized. Documents include a survey of Los Angeles museum curator salaries, a questionnaire about Howe's work as a museum director, and a membership list of Bohemian Club artists. The bulk of the travel papers are itineraries.

The photographs are divided into two subseries: MFAA Section images and personal photographs. The Monuments Men subseries includes photographs documenting bomb damage to cultural monuments in various countries, though mainly Germany; U.S. soldiers transporting recovered artwork such as Michelangelo's Madonna and Child from the Altaussee salt mines in Austria, and other looted art repositories such as Neuschwanstein Castle and Berchtesgaden in Germany; Weisbaden and Munich collecting points; and art recovery of The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There are many photographs of the Monuments Men including Thomas Carr Howe, George Stout, Stephen Kovalyak, Lamont Moore, Patrick J. Kelleher, Edith Standen, and Rose Valland. Personal photographs consists of portraits of Howe and photographs of events, mostly formal dinners and parties.

Printed materials are clippings, postcards, fundraising pamphlets, essays, and memorial tributes for colleagues.
Arrangement:
The collection is arranged as 10 series:

Series 1: Biographical Materials, 1934-1955, 1974 (Box 1; 6 folders)

Series 2: Correspondence, 1932-1984 (Box 1-3; 2.1 linear feet)

Series 3: Writings, circa 1946 (Box 3; 2 folders)

Series 4: Professional Files, circa 1945-1975 (Box 3, 5; 0.3 linear feet folders)

Series 5: Monuments, Fine Arts and Archives Records and Looted Inventories, circa 1942-1950 (Box 3, 5, OV 6; 0.3 linear feet)

Series 6: Photographs, 1938-1970 (Box 3-5; 1.2 linear feet)

Series 7: Scrapbook, 1936-1948 (Box 4; 0.1 linear feet)

Series 8: Printed Materials, 1934-1980 (Box 4; 0.4 linear feet)
Biographical Note:
Thomas Carr Howe, Jr. (1904-1994) served as the director of the California Palace of the Legion of Honor in San Francisco for nearly four decades and, during World War II, as an officer in the U.S. Army's Monuments, Fine Arts and Archives unit assisting with locating, recovering, and restituting cultural objects and artwork stolen by the Nazis.

Howe was born in Kokomo, Indiana in 1904. He studied at Harvard University where he received his bachelor's and master's degrees. Howe was the assistant director of the California Palace of the Legion of Honor in San Francisco from 1931-1939 and director from 1939-1968. Howe was also the art commissioner for the San Francisco Golden Gate International Exposition (1939-1940) for which he organized an exhibition showcasing Mexican muralists.

During World War II, Howe joined the U.S. army and served from 1945 to 1946 in Germany and Austria. He began as a naval lieutenant but was soon assigned to serve in the Monuments, Fine Arts and Archives (MFAA) section. Howe reported to Lieutenant Commander George Stout at Wiesbaden, and was later promoted to Lieutenant Commander and Deputy Chief of the MFAA at Frankfurt. During his service as one of the "Monuments Men" Howe located hidden and recovered large repositories of cultural objects and works of art stolen by the Nazis. He also helped with the restitution effort. At the Altaussee salt mines in Austria, Howe helped salvage a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck, Vermeer's The Artists Studio, and the Rothschild family jewels. Howe later described his wartime work in his book Salt Mines and Castles: The Discovery and Restitution of Looted European Art (1946).

Howe resumed his position as the director of the California Palace of the Legion on Honor after the war, a position he held until his retirement in 1968. Through his career as a prominent art director, Howe was close with many American and international museum professionals, collectors and socialites. Friends and colleagues include Agnes Mongan and Paul Sachs (both former directors of Harvard's Fogg Museum), Whitney Warren, and Gerda and Hans-Erich Von Schmidt auf Altenstadt.

For his wartime service as a Monuments Men, Howe was honored with the Chevalier of the French Legion of Honor and the Officier of the Dutch Order of Orange-Nassau in 1946. At the request of the federal government, Howe also later served as the Cultural Affairs Advisor to the High Commissioner of Germany from 1950-1951, during which time he returned to Germany with S. Lane Faison, another MFAA official, to assist with closing the central collecting points where the recovered artworks has been held for restitution. From 1960-1968, Howe was a member of the Fine Arts Committee for The White House and he continued to serve on numerous panels and commissions as an art advisor.

Howe married Francesca Deering. Together they had one daughter Francesca.
Related Material:
Among the holdings of the Archives of American are the papers of several additional members of the U. S. Army MFAA section. There is an oral history interview with Thomas Carr Howe and Robert Neuhaus conducted by Paul Karlstrom and Peter Fairbanks on September 26, 1987 and another with Howe conducted by Paul Karlstrom on June 2-3, 1976.
Provenance:
Thomas Carr Howe donated his papers to the Archives of American Art in multiple installments from 1979 to 1982.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Thomas Carr Howe 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:
World War, 1939-1945 -- Destruction and pillage -- Europe  Search this
World War, 1939-1945 -- Confiscations and contributions -- Germany  Search this
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
Art thefts -- Germany -- History -- 20th century  Search this
Museum directors -- California -- San Francisco  Search this
Art treasures in war -- Germany  Search this
Arts administrators -- California -- San Francisco  Search this
World War, 1939-1945 -- Art and the war  Search this
Art treasures in war -- France  Search this
Genre/Form:
Scrapbooks
Sound recordings
Photographs
Citation:
Thomas Carr Howe papers, 1932-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howethom
See more items in:
Thomas Carr Howe papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-howethom
Online Media:

Philip Stein papers regarding David Alfaro Siqueiros

Creator:
Stein, Philip, 1919-2009  Search this
Names:
Siqueiros, David Alfaro  Search this
Extent:
3.8 Linear feet
3.88 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Date:
1933-2012
Summary:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Scope and Contents:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Arrangement:
The collection is arranged in 7 series:

Series 1: Correspondence, 1934-2010 (0.3 linear feet; Box 1)

Series 2: Interviews, 1977-1994 (0.1 linear feet; Box 1)

Series 3: Writings, 1937-2006 (0.6 linear feet; Boxes 1-2, 0.021 GB; ER01)

Series 4: Subject Files and Research Files, 1933-2009 (0.6 linear feet;Boxes 2-3)

Series 5: Printed Material, 1949-2009 (0.7 linear feet; Boxes 2-3,5)

Series 6: Photographic Materials, 1933-2005 ( 0.5 linear Feet; Boxes 3-4, 0.011 GB; ER02)

Series 7: Sound, Video and Film Recorings, circa 1967-2012 (1.3 linear feet; Box 3, 4, FC 6-9, 3.85 GB; ER03-ER04)
Biographical / Historical:
Artist, author and political activist, Philip Stein (1919-2009), also called "Estano," lived and worked in New York City, Mexico, and Spain. Stein worked as an assistant to muralist David Alfaro Siqueiros. Both men were committed to the Mexican Mural School of new-realism, painting exterior murals rather than easel paintings so art could be public and directed to the masses.

Stein was born in Newark, New Jersey and was a mostly self-taught artist, occasionally studying at local art schools. He served in the armed forces during World War II as a meteorologist, seeing action throughout Europe. After the war, he moved to California to paint movie sets. In 1948, Stein and his wife Gertrude moved to Mexico where he studied art on the GI Bill at The School of Fine Arts of San Miguel de Allende. There he met Siqueiros, an ardent communist, who had attempted to assasinate Leon Trotsky. Stein worked with Siqueiros on several murals in Mexico until Siqueiros' death in 1974.

Between 1953 and 1993 Stein occasionally exhibited in Mexico, New York City and Spain. One of Stein's best known murals is at the Village Vanguard club in New York City. His biography of Siqueiros, Siqueiros, His Life and Work was published in 1994. Stein died at home in Manhattan in 2009 at age 90.
Provenance:
The Philip Stein papers regarding David Alfaro Siqueiros were donated to the Archives of American Art in 2015 by Anne Stein, daughter of Philip Stein.
Restrictions:
Use of original material 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.
Rights:
The Philip Stein papers regarding David Alfaro Siqueiros 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:
Muralists -- Mexico  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- Mexico  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Citation:
Philip Stein papers regarding David Alfaro Siqueiros, 1933-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.steiphil
See more items in:
Philip Stein papers regarding David Alfaro Siqueiros
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-steiphil

Oral history interview with Carlos Almaraz

Interviewee:
Almaraz, Carlos  Search this
Interviewer:
Nieto, Margarita  Search this
Names:
Flores, Elsa  Search this
Extent:
154 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1986 February 6-1987 January 29
Scope and Contents:
An interview of Carlos Almaraz conducted 1986 February 6-1987 January 29, by Margarita Nieto, for the Archives of American Art.
Almaraz discusses his childhood and education; the development of his interest in art; his experiences living in New York City from 1965 to 1970; and his return to Southern California in the early 1970s. He speaks of his participation in the muralism movement in Los Angeles in the 1970s; his political involvement in the United Farm Workers movement; his personal art work (as opposed to collective work with the muralists); his trip to China in 1974; people he met in New York and southern California; and recent developments in the Los Angeles art world. The interview is concluded with Almaraz speaking of his wife Elsa Flores and their daughter Maya.
Biographical / Historical:
Carlos Almaraz (1941-1989) was a mural painter from Los Angeles, California.
General:
Originally recorded on 8 sound cassettes. Reformatted in 2010 as 14 digital wav files. Duration is 5 hrs., 56 minutes.
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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Mexican American art  Search this
Hispanic American artists -- Interviews  Search this
Mexican American artists -- Interviews  Search this
Street art -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.almara86
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-almara86

Oral history interview with Jerre Murry

Interviewee:
Murry, Jerre, 1904-1973  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
1 Item (sound file (47 min.))
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 Apr. 8
Scope and Contents:
An interview of Jerre Murry conducted 1965 April 8, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Jerre Murry (1904-1973) was a painter and muralist in Los Angeles, Calif. Murry was a muralist for the Federal Arts Project.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 47 min.
Provenance:
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:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Occupation:
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.murry65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-murry65

Rico Lebrun papers

Creator:
Lebrun, Rico, 1900-1964  Search this
Names:
Jacques Seligmann & Co  Search this
Extent:
5.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Date:
1935-1975
Summary:
The papers of painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.
Scope and Contents:
The papers of painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Materials, 1948-1962 (4 folders; Box 1, OV 10)

Series 2: Correspondence, 1935-1973 (1.7 linear feet; Boxes 1-2, OV 10)

Series 3: Writings, 1938-1964 (0.7 linear feet; Boxes 2-3)

Series 4: Personal Business Records, 1940-1964 (0.3 linear feet; Box 3, BV 7)

Series 5: Printed Material, circa 1940-1975 (0.8 linear feet; Box 3, BV 8-9)

Series 6: Artwork, circa 1950-1965 (3 folders; Box 3)

Series 7: Photographic Materials, 1950-1965 (1.6 linear feet; Boxes 4-6)
Biographical / Historical:
Painter, muralist, and educator Rico (Frederico) Lebrun (1900-1964) lived and worked in New York City and Los Angeles, California, and his modernist works were primarily influenced by traditional religious iconography and human suffering.

Born in Naples, Italy, Lebrun attended the Naples Academy of Beaux Arts after his military service in the Italian Army during WWI. He began his career as a stained glass designer and was offered a one year contract to work in Springfield, Illinois, for the Pittsburgh Plate Glass Company in 1924. At the end of the contract, Lebrun moved to New York City where he found work as a commercial illustrator for magazines such as Vogue, Fortune, and The New Yorker. After a return to Italy in the early 1930s to continue his art studies, Lebrun moved to New York City in 1936 where he taught at the Art Students League, painted his first mural commission for the Fogg Art Museum with Lewis Rubenstein, and found work as an artist for the WPA.

In 1938, Lebrun moved to Southern California and accepted a position at the Chouinard Art Institute, where his students would include Disney studio animators for Bambi. Lebrun continued to produce paintings while teaching, and his first solo exhibition was organized by Donald Bear, then director of the Santa Barbara Museum of Art. Beginning in 1947, Lebrun spent three years working on over 200 drawings and paintings for the Crucifixion series, which culminated in an exhibition at the Los Angeles County Museum of Art.

In the late 1940s and 1950s, he continued to teach at the Jepson Institute in Los Angeles and at other institutions, including the Instituto Allende in San Miguel, Mexico from 1952 to 1954. In 1958, while teaching at Yale, Lebrun was invited by professor and art critic Peter Selz to create a mural for Pomona College. He completed his plans for the mural during his year-long teaching residency at the American Academy of Rome in 1959, and completed Genesis in 1960. Lebrun died from cancer in 1964.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Constance Lebrun Crown and David Lebrun conducted by Paul Karlstrom, November 23, 1974. Syracuse University also holds papers of Rico Lebrun.
Provenance:
The papers were donated in 1974 by Lebrun's wife, Constance Lebrun Crown. Additional materials were donated by Crown in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Rico Lebrun 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:
Educators -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Painting, American  Search this
Painters -- California -- Los Angeles  Search this
Genre/Form:
Sketchbooks
Photographs
Citation:
Rico Lebrun papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lebrrico
See more items in:
Rico Lebrun papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lebrrico
Online Media:

Oral history interview with Beckford Young

Interviewee:
Young, Beckford, 1905-1979  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
37 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 May 19
Scope and Contents:
An interview of Beckford Young conducted 1965 May 19, by Mary Fuller McChesney, for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Beckford Young (1905-1979) was a mural painter from California.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hrs., 8 min.
Provenance:
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.
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- California  Search this
Muralists -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.young65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-young65

Oral history interview with Bernard B. Zakheim

Interviewee:
Zakheim, Bernard Baruch, 1898-1985  Search this
Interviewer:
Ferbraché, Lewis  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964
Scope and Contents:
An interview of Bernard Baruch Zakheim conducted in 1964, by Lewis Ferbrachein, for the Archives of American Art.
Biographical / Historical:
Bernard B. Zakheim (1898-1964) was a painter, mural painter, and sculptor in Sebastopol, California.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 40 min.
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: Patrons must use microfilm copy.
Topic:
Federal aid to the arts  Search this
Painting, American  Search this
Muralists -- California -- Sebastopol -- Interviews  Search this
Painters -- California -- Sebastopol -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.zakhei64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zakhei64

Oral history interview with Mireille Piazzoni Wood

Interviewee:
Wood, Mireille Piazzoni, 1911-2006  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
5 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 June 23
Scope and Contents:
An interview of Mireille Piazzoni Wood conduced 1965 June 23, by Mary Fuller McChesney, for the Archives of American Art.
Biographical / Historical:
Mireille Piazzoni Wood (1911-2006) was a muralist from San Francisco, California.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 12 min.
Provenance:
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.
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- United States  Search this
Women painters -- California -- San Francisco -- Interviews  Search this
Muralists -- California -- San Francisco -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wood65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wood65

Oral history interview with Tom Van Sant

Interviewee:
Van Sant, Tom  Search this
Interviewer:
Lauria, Jo  Search this
Extent:
50 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2008 August 14-September 10
Scope and Contents:
An interview of Tom Van Sant conducted 2008 August 14 and 2008 September 10, by Jo Lauria, for the Archives of American Art at Van Sant's home and studio, in Santa Monica, California.
Biographical / Historical:
Tom Van Sant (1931- ) is a painter, sculptor, and muralist living and working in Santa Monica, California. He was educated and taught at Otis College of Art and Design and is the founder of The GeoSphere Project.
General:
Originally recorded as 7 wav files. Duration is 3 hr., 57 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.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Muralists -- California  Search this
Sculptors -- California  Search this
Painters -- California  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.vansan08
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vansan08

Oral history interview with John Spencer

Interviewee:
Spencer, John, 1911-1996  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Cornwell, Dean, 1892-1960  Search this
Extent:
2 Items (sound cassettes (1 hr., 23 min.), analog.)
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
Los Angeles (Calif.) -- Buildings, structures, etc
Date:
1994 September 1
Scope and Contents:
An interview with John Spencer conducted 1994 September 1, by Paul J. Karlstrom, for the Archives of American Art.
Spencer discusses his work assisting Dean Cornwell on the Los Angeles Central Library murals between 1927-1933; his subsequent relationship with Cornwell; and his experience as a young artist in Southern California in the 1930s.
Biographical / Historical:
John Spencer was a painter from Pasadena, California.
General:
Originally recorded 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 23 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.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Art, American -- California, Southern  Search this
Art, Modern -- 20th century -- California, Southern  Search this
Muralists -- California -- Interviews  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.spence94
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-spence94

Oral history interview with Frank Romero

Interviewee:
Romero, Frank  Search this
Interviewer:
Rangel, Jeffrey J.  Search this
Names:
Los Four (Art group)  Search this
Otis Art Institute -- Students  Search this
Almaraz, Carlos  Search this
Mugnaini, Joseph A.  Search this
Rocha, Roberto de la  Search this
Sanchez Luján, Gilbert  Search this
Sheets, Millard, 1907-1989  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 January 17-March 2
Scope and Contents:
An interview of Frank Romero conducted 1997 January 17-March 2, by Jeffrey Rangel, for the Archives of American Art, in Romero's studio, in Los Angeles, Calif.
Romero discusses his growing up in East Los Angeles and his large extended family; his earliest art studies in the public schools; attending the Otis Art Institute where he studied with Joe Mugnaini and had contact with Millard Sheets and Peter Voulkos; the "very polyglut culture" of East Los Angeles; the influences of television, western movies, rock-and-roll, and rhythm and blues on his early musical/artistic taste; time spent in New York; returning to Los Angeles in 1969; and his marriage and family.
He describes his move into Carlos Almaraz's house which became the informal meeting place of the artist group Los Four (Almaraz, Romero, Gilbert Sanchez Lujan, and Roberto "Beto" de la Rocha); the Los Four show at the Los Angeles County Museum of Art in 1974; and the stylistic aesthetics of Los Four.
Romero describes the "boys club" nature of Chicano art centers; his contributions to the Chicano art movement; his relationship to the Chicano/Mexican culture and mainstream U.S. culture; murals done by members of Los Four for the Inner City Mural Program; his work for the Metropolitan Transit Authority; the Murals of Aztlan exhibit in 1981 at the Craft and Folk Art Museum; and his shows at the ARCO Center for the Visual Arts. He concludes with his assessment of the Chicano arts movement, the relationship between economic and art cycles, and the role of the more established artists to those of a younger generation.
Biographical / Historical:
Frank Romero (1941- ) is a painter from Los Angeles, Calif.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 27 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. Funding for the interview provided by the Smithsonian Institution Latino Pool Fund.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Painters -- California -- Los Angeles -- Interviews  Search this
Hispanic American artists -- Interviews  Search this
Mexican American artists -- California -- Los Angeles -- Interviews  Search this
Hispanic American artists  Search this
Mexican American art -- California -- Los Angeles  Search this
Street art -- Exhibitions -- California -- Los Angeles  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.romero97
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-romero97

Oral history interview with Jacinto Quirarte

Interviewee:
Quirarte, Jacinto, 1931-2012  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
San Francisco State University -- Students  Search this
Extent:
97 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1996 Aug. 15-16
Scope and Contents:
An interview of Jacinto Quirarte conducted 1996 Aug. 15-16, by Paul Karlstrom, for the Archives of American Art.
Quirarte discusses his professional and personal experience both as a Mexican-American growing up in the Southwest and in California, and as an art historian who was among the first to identify and study the Chicano art movement. He describes his family background, his attraction to figurative art as a student at San Francisco State University, his interest in Mexican muralists, and his fascination with pre-Columbian art which became his speciality. He further discusses his career in Latin America, particularly from the standpoint of multiculturalism and regionalism in his native country; the problem of overlapping political/cultural entities and the connection between pre-Columbian and Chicano situation; the notions of group identity, and shift from universalism to individual identity as part of the Chicano art evolution.
Biographical / Historical:
Jacinto Quirarte (1931-2012) is an art historian at the University of Texas, San Antonio. Quirarte is the author of several books on Latin American art, among them "Mexican American Artists" (1973), "Izapan-Style Art" (1973), and "Latin American Spirit: Art and Artists in the United States, 1920-1970" (1988).
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 5 hr., 7 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. Funding for the interview provided by the Smithsonian Latino Fund.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Indian art -- Central America  Search this
Art historians -- Texas -- San Antonio -- Interviews  Search this
Hispanic American art  Search this
Mexican American art  Search this
Mexican American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.quirar96
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-quirar96

Oral history interview with Ann Rice O'Hanlon

Creator:
O'Hanlon, Ann  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
42 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 July 8
Scope and Contents:
An interview of Ann Rice O'Hanlon conducted 1964 July 8, by Mary Fuller McChesney, for the Archives of American Art, in Mill Valley, Calif.
Biographical / Historical:
Ann O'Hanlon (1908-1998) was a mural painter from Ky. and Calif.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 49 min.
Provenance:
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:
Federal aid to the arts  Search this
Mural painting and decoration -- California  Search this
Mural painting and decoration -- Kentucky  Search this
Muralists -- California -- Interviews  Search this
Muralists -- Kentucky -- Interviews  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ohanlo64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ohanlo64

Oral history interview with Robert McChesney

Interviewee:
McChesney, Robert Pearson, 1913-2008  Search this
Interviewer:
Ferbraché, Lewis  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Apr. 4
Scope and Contents:
An interview of Robert McChesney conducted 1964 Apr. 4, by Lewis Ferbraché, for the Archives of American Art.
Biographical / Historical:
Robert McChesney (1913-2008) was a muralist in California.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 5 min.
Provenance:
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.
Topic:
Federal aid to the arts  Search this
Muralists -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mcches64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mcches64

Oral history interview with Guy and Genoi Pettit Maccoy

Interviewee:
Maccoy, Guy C., 1904-1981  Search this
Maccoy, Genoi Pettit  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
40 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 July 24
Scope and Contents:
An interview of Guy and Genoi Pettit Maccoy conducted, 1965 July 24, by Betty Hoag, in Chatsworth, Calif., for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Guy Maccoy (1904-1981) was a mural painter and painter. Genoi (1894-1982) was an illustrator, designer, and painter. Both were from Chattsworth, Calif.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 22 min.
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:
Federal aid to the arts  Search this
Mural painting and decoration -- California -- Interviews  Search this
Illustrators -- California -- Interviews  Search this
Muralists -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.maccoy65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-maccoy65

Oral history interview with Buckley Mac-Gurrin

Creator:
Mac-Gurrin, Buckley, 1896-1971  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 June 20
Scope and Contents:
An interview of Buckley Mac-Gurrin conducted 1964 June 20, by Betty Hoag, for the Archives of American Art, in his home, in El Monte, Calif.
Biographical / Historical:
Buckley Mac-Gurrin (1896-1971) was a mural painter from Los Angeles, Calif.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 32 min.
Provenance:
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.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.macgur64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macgur64

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