Notes (1940-1941); printed material (1937-1938) and photographs (1934-1937) documenting the New Deal art work of mural painter Emmanuel Jacobsen.
A list of historic figures proposed for inclusion in the Herzl Junior College mural illustrating "Significant Men and Women in the History of Science and Civilization"; a 3-page typewritten list (1940) of artists representing the Illinois Art Project in the "American Art Today" exhibition at the New York World's Fair; an 11-page bulletin listing January 1941 exhibitions; seven clippings concerning exhibitions by Illinois artists (1937-1938); a 1938 exhibition catalog "Art for the Public by Chicago Artists" and a copy of the May 1937 issue of FORTUNE magazine containing an article on "Unemployed Arts".
Subjects of photographs include the murals for the Mann School, Oak Park, Illinois; Bloom Township High School, Chicago Heights, Illinois (1936-1937); Herzl Junior College, Chicago, Illinois; Jacobson at work; an unused sketch; a tapestry and Ethel Spears at work on a mural.
Provenance:
Donated 1988 by Emmanuel Jacobson.
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.
Letters, scrapbooks, and printed material documenting the development of the Shapiro's art collection. Correspondence, primarily from dealers, museums, art organizations and artists, includes letters from Enrico Baj, Aaron Bohrod (recommending Ben Shahn as a muralist), George Buehr, Jose Luis Cuevas, Leon Golub, Margo Hoff, Miyoko Ito, Sidney Janis, Ellen Lanyon, Pierre Matisse, Ida Meyer-Chagall (discussing her father's work), Abbott Pattison, Irving Petlin, Abraham Rattner, and Kay Sage Tanguy (discussing her husband's work). Printed material consists of 11 exhibition announcements and catalogs (1952-1984), and clippings (1965-1985).
Four scrapbooks (1943-1955) contain clippings, some dealing with the "Art to Live With" program, exhibition catalogs, a letter from Richard Daley (1958), a 3-page typescript "Surrealism Then and Now" by Doris Lane Butler (1958), press releases (1959), and a letter from R. J. Nedved of the Illinois Society of Architects (1967).
Biographical / Historical:
Born 1904. Died 1996. Joseph Shapiro began collecting in 1942 and was drawn to works in the Surrealist tradition. While establishing one of the most important art collections in Chicago, Shapiro and his wife Jory enjoyed personal friendships with artists and used their collection to educate and increase public appreciation of modern art in Chicago. Shapiro was a founder of the Museum of Contemporary Art and served on its board as President from 1967 until 1974.
Provenance:
Material on reel 3759 (fr. 1-320) donated 1986; and material on fr. 323-569 lent for microfilming 1986 all by Joseph R. Shapiro.
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.
Correspondence; slides and photographs of art work; catalogs and clippings; photographs, watercolor studies, and a detailed listing of mural projects in civic buildings and schools done by Pollock and other artists, including Mitchell Siporin, for the Illinois Federal Art Project; clippings and photocopied correspondence concerning the portrait of Lt. Commander Waldron painted by Pollock; Syracuse University School of Art annual reports; lithographs; and watercolors.
Biographical / Historical:
Painter, educator; Chicago, Ill. and Syracuse, N.Y. Teaches at Syracuse University School of Art. Was a muralist as well as supervisor of the Chicago Federal Art Project.
Provenance:
Donated 1979-1983 by Merlin F. Pollock.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview with Merlin F. Pollock conducted 1979 July 30 and 1980 July 30, by Robert Brown, for the Archives of American Art. Pollock speaks of his training at the Art Institute of Chicago and the Ecole des Beaux Arts, Fontainebleau, France; his work as instructor of mural painting at the Art Institute of Chicago, 1935-1943; his paintings of Alaska commissioned by the government in 1937 and his work as supervisor of mural painting for the Illinois WPA, 1940-1943. He also discusses Chicago artists and his own murals for the government.
Biographical / Historical:
Merlin F. Pollock (1905-1996) was a painter and teacher, Chicago, Ill.
General:
Originally recorded on 3 tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 40 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- United States -- Interviews Search this
Topic:
Mural painting and decoration, American -- Illinois -- Chicago Search this
Arts administrators -- Illinois -- Interviews Search this
Muralists -- United States -- 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.
Writings, biographical material, photographs, and printed material.
REEL N69-110: An autobiography to 1918, in which Katz writes of his childhood in a Jewish community in Austro-Hungary, his education there, cultural life in Vienna, studies in Munich, effects of art masterpieces on him, a visit to London, the prominent persons he knew, service in the Austro-Hungarian army, his art, and other topics. Also included are a resume; retrospective catalog with prices; clippings; photographs of his paintings; and an essay by Katz, "Atelier 17," on boredom; interpretations of his own work and of others'.
REEL 2081: Two published articles by Katz; four photographs of him and seven photographs of his works of art; a seven page career resume; a brochure on his 1933 mural "Give Us This Day Our Daily Light," and clippings.
REEL 3090: A pamphlet, "Give Us This Day Our Daily Light," about Katz's now destroyed 1933 mural in the Johns-Manville Building, Century of Progress Exposition, Chicago.
Biographical / Historical:
Painter, writer; Bronx, N.Y. b. 1887, in Austria; d. 1982
Provenance:
Material on reel N69-110 donated 1969 by Katz. Material on reel 2081 lent for microfilming 1980 by Allan Armstrong for AAA's Texas Project. Material on reel 3090 donated 1979 by Ruth Guernsey.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Muralists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Topic:
Mural painting and decoration -- Illinois -- Chicago Search this
Painting, Modern -- 20th century -- United States Search this
Biographical material; correspondence; writings and notes; sketches; printed material and photographs document the life and career of Albert Henry Krehbiel.
Among the biographical documents is Krehbiel's marriage announcement. Correspondence, 1893-1945 and 1982-1985, consists mostly of illustrated letters from Krehbiel to his family and close friends. The earliest group of letters document his interest in the wheel. Another series, addressed to his sister Linda, includes a "Travel Log" of his transatlantic voyage to Europe and his sojourn there. Other letters written during the same years to his future wife, recount in detail his experiences as an American student in Paris and his travels. A group of letters written in the 1940s reveal Krehbiel's opinions on modern art and the social and political changes at the Cliff Dwellers, an important early Chicago art club. Also found are letters sent to Rebecca Krehbiel regarding her late father-in-law.
Writings and notes include Krehbiel's diary of 1938 containing impressions of Mies van der Rohe, newly appointed director of the Armour Institute. Krehbiel was the only in-place instructor that Mies van der Rohe kept on the staff; a 1906 notebook on Greek costumes, an undated notebook about murals for the State Capitol of South Dakota (Krehbiel did not receive the commission for these); typed proposals for murals in the State Capitol of South Dakota, and for the Supreme and Appellate court rooms in Springfield, Illinois, versions of a manuscript entitled "Life and the Model in Quick Sketches"; notebooks, 1930-1945, containing notes on art and other topics, journal entries, thumbnail sketches of his paintings and watercolors, and notes for talks; loose notes and sketches by Krehbiel and by his wife Dulah.
Published material about Krehbiel includes 1904, 1905 and 1906 issues of L'ACADEMIE JULIAN and newsclippings, 1907-1940 and undated. Photographs are of paintings by both Albert and Dulah Krehbiel, photographs of his studio and of Dulah posing for murals, and family photographs.
Biographical / Historical:
Art educator; mural painter; Chicago, Ill. Born in Iowa, Krehbiel was important as a teacher in Chicago. He was part of the conservative art establishment and painted in both an academic and Impressionist manner. Krehbiel helped set up the Chicago Art Institute Summer School of Painting in Saugatuck and later founded the Albert Krehbiel School of Painting there. He was on the faculties of the Art Institute from 1906-1945, and the Armour Institute, now Illinois Institute of Technology from 1913-1945. He began his studies at the Art Institute of Chicago in 1902. In 1903, he studied on scholarship at the Academie Julian in Paris under Jean-Paul Laurens. He remained in Europe until 1906, during which time he traveled and studied, winning four gold medals and the Prix de Rome. In 1906, he returned to Chicago, married a fellow artist, and joined the faculty of the Art Institute school. In 1907, he won a national competition for the murals in the Supreme and Appellate courtrooms in Springfield, Illinois.
Related Materials:
The Art Institute of Chicago, Institutional Archives holds papers of Dulah Evans Krehbiel and Albert Henry Krehbiel.
Provenance:
Lent for microfilming 1987 by Rebecca Krehbiel, daughter-in-law of Albert Krehbiel.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Biographical material assembled by Henry on herself (1929-1987) and Rowena Fry (1927-1987) consists of brief typescripts, letters, clippings, exhibition catalogs, samples of Christmas cards designed by Henry and Fry, a print "Bird's Tree in Winter" by Henry (1968), and photographs of works of art. The material emphasizes Henry's mural for the Springdale, Arkansas post office, commisssioned for the Section of Fine Arts, and her work for the Oscar Mayer Company. A subject file contains clippings (1958-1987) concerning Hubert Ropp, Dean of the School of the Art Institute of Chicago, who had a great influence on the careers of Henry and Fry.
Biographical / Historical:
Muralist, Chicago, Illinois. Natalie Henry managed the art supply store at the Art Institute of Chicago from 1948 until her retirement in 1972. Rowena Fry came to Chicago in 1923 to study at the School of the Art Institute of Chicago. Both exhibited regularly at the Chicago Society of Artists and the Art Institute of Chicago during the 1930s and 1940s. Henry and Fry shared an apartment in the Lambert Tree Studios Building from 1948 until moving back to their respective family homes in Arkansas and Tennessee in the 1980s. In 1989, Fry joined Henry in her home in Malvern, Arkansas.
Provenance:
Donated 1989 by Natalie S. Henry.
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.
An interview of William Walker conducted 1991 June 12-14, by Victor Sorell, for the Archives of American Art.
Walker discusses his childhood in Birmingham, Alabama and Chicago, Illinois; painting murals in Memphis; the Chicago Mural Group, the Wall of Respect in Chicago, the Wall of Dignity in Detroit and other murals; subject matter and use of black historical figures such as Martin Luther King, Malcolm X, and Elijah Muhammad; use of narrative; public response to the murals; and artists he worked with including Eugene Edaw, Mark Rogovin, John Weber and Mitchell Caton.
Biographical / Historical:
William Walker (1927- ) is an Afroican American mural painter from Chicago, Illinois.
General:
Originally recorded 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 8 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.
Genealogical material; letters; business records; notes; writings; art works; scrapbooks; printed material and photographs.
Notes and charts concerning the Spier and Cameron families, 1928-1938; letters, 1868-1947, include a few childhood notes, letters to his parents describing his courses, instructors; to classmates while at the Art Students League in New York, while studying art in Paris, and to his wife, Marie, in Chicago; and letters to Cameron from colleagues.
Among the business records are an application for letters patent, with colleague Mark Salomon, for a device used in the transformation of theater scenery, 1905, and copyright cards for paintings, 1911-1917; notes; a notebook, 1936; 38 cards, 1917-1920, containing information about art works; an undated draft and a typescript, 1940, for an autobiographical acccount "The Cusp of Gemini".
Art works by Cameron include a sketchbook, 1882-1883, primarily of costumed figures, 10 unbound sketches, 21 oil sketches, undated and 1899, some of which are studies for murals, an etching, and 2 copies of a lithograph portrait of a woman. Works by others include a pencil portrait, 1918, of Cameron by Fitzpatrick, and an ink sketch "Winter Morning" by Svend Svensen. Five scrapbooks, 1894-1968 contain clippings and photographs of Cameron, his wife, family members, and works of art.
Also included are clippings, 1888-1950, exhibition announcements and catalogs, 1899-1946, a catalog, 1926, for works by John Singer Sargent, and other printed material; material concerning Cameron's instructor Jean Paul Laurens, and reproductions of works of art including 43 engraved copies of classic works. Photographs, 1890-1918, include 19 of Cameron, 22 of his wife, 18 of family and friends, miscellaneous travel views, and works of art by the Camerons and others.
Biographical / Historical:
Mural painter; Chicago, Ill. Studied at the Chicago Academy of Design, the Art Students League of New York, and was a student of Cabanel, Constant and Laurens in Paris. His wife, Marie Gelon Cameron, was born in Paris, and was also a student of Cabanel, Constant and Laurens.
Provenance:
Donated 1988 by Arthur B. Carpenter and Marjorie L. Kimberlin, Cameron's nephew and niece.
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.
Occupation:
Art students -- New York (State) -- New York Search this
200 Items (Ca. 200 items (on 3 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1893-1954
Scope and Contents:
Correspondence, sketches and sketchbooks, printed material, writings and photographs.
REEL 3257: Norton's passport; 2 photographs of him and his work; a bibliography; letters to Norton's wife (some illustrated), his mother, ca. 1898, when he was with the Rough Riders, and correspondence concerning mural commissions; subject files on the Jefferson County Court House murals in Birmingham, Ala. and at the Logan Museum, Beliot College; his memorial exhibition at the Art Institute of Chicago, and obituaries and condolence letters received by his wife; cancelled checks; a typescript of writings by his children regarding a trip to Mexico City; a contract for a mural; an award; clippings; his memorial biography, JOHN W. NORTON: AMERICAN PAINTER; a sketchbook and sketches; and a scrapbook containing illustrated letters, photographs and sketches.
REEL 3367: A typed draft of Norton's story "White Man's Luck"; Norton's United Scenic Artists' union card; 9 sketches and a sketchbook of drawings, notes and a draft of Norton's last letter to Tom Lea, 1933.
REEL 4074: Twelve letters, many illustrated, from John to his family including his son "Bud" (John Francis Norton); a magazine article on Norton from Northwest Architect; an address and a poem by Norton; and 19 photographs and a 5 page manuscript written by Madge Norton, John's wife, describing their trip to Arizona in 1904.
Biographical / Historical:
Painter, muralist; Chicago, Ill. Taught at the Art Institute of Chicago.
Provenance:
Passport and photographs donated 1984 by Mr. and Mrs. John Norton Garrett, Norton's grandson. Material on reels 3257 & 3367 lent for microfilming by Mr. & Mrs. Garrett, 1984, as part of the Archives of American Art's Texas Project. Material on reel 4074 lent for microfilming, 1987, by John C. Norton, John Norton Garrett and Katherine Norton Smalley, grandsons and granddaughter of John W. Norton as part of AAA's Chicago project.
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.
The papers of muralist Buell Mullen measure 0.4 linear feet and date from 1942 to 1982. Found are scattered biographical material, professional correspondence, information on mixing epoxy resins, printed material, and photographs.
Scope and Contents:
The papers of muralist Buell Mullen measure 0.4 linear feet and date from 1942 to 1982. Found are scattered biographical material, professional correspondence, information on mixing epoxy resins, printed material, and photographs.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Buell Mullen (1901-1986) was a muralist and portrait painter active in New York City and Chicago, Illinois. She developed a process for painting on stainless steel.
Buell Mullen was born Frances Vedder Buell in Chicago, Illinois. Drawn to its ability to reflect light, Mullen developed a technique combining etching and acid treatments to ensure oil paintings adhere to stainless steel. Her first work on stainless steel was a portrait of General John J. Pershing. Later, she produced a portrait of President Dwight Eisenhower. She completed many murals for steel companies, colleges, and institutions around the Great Lakes region. Also, she served as a United States representative to UNESCO.
Buell married J. Bernard Mullen and together they had two sons. Mullen died in Chicago, Illinois in 1986.
Provenance:
Buell Mullen donated her papers to the Archives of American Art in 1982.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Muralists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
Buell Mullen papers, 1942-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
Correspondence; notes and lectures on art; biographical data; clippings; and photographs of his murals and other works of art. All materials relate to Millman's work for the Federal Art Project in Illinois and Missouri.
Biographical / Historical:
Mural painter; Chicago, Illinois. Painted murals for the Federal Art Project in Chicago, Illinois.
Related Materials:
Edward Millman papers also at Syracuse University.
Provenance:
Lent for microfilming 1965 by Mrs. Harry Millman, the sister-in-law of Edward Millman.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of Victoria Hutson Huntley measure 1.3 linear feet and date from 1929-1999. Biographical material, correspondence, writings, artwork, printed material and photographs chronicle the professional activities and personal life of the lithographer and muralist.
Scope and Content Note:
The papers of Victoria Hutson Huntley measure 1.3 linear feet and date from1929-1999. Biographical material, correspondence, writings, artwork, printed material and photographs chronicle professional activities and personal life of the lithographer, painter, and muralist.
Biographical materials highlight Huntley's achievements. Her professional correspondence illustrates an active career; correspondents include Old Bergen Art Guild and Philadelphia Museum of Art.
Autobiographical notes convey her passion for art, feelings about her health, and the hindrances faced by female artists. Her other writings include "An Artist's Experience in the Everglades" and "On Making a Lithograph," articles that reflect her personality, ideas, rationale and procedures for executing her work.
Artwork consists of a mural design and 10 sketchbooks that also include notes. Printed material includes newspaper clippings and pamphlets that provide insight into the art world of the 1930s and 1940s as it chronicles Huntley's art endeavors and exhibitions. Books are Le Colophon Book Collector's Quarterly containing a reproduction of work by Huntley, and Victoria Hutson Huntley, an article she made into a volume as a gift for her mother.
The majority of the photographs are of Huntley's artwork. They show her growth as an artist and the influences of the places she lived. Also found are some family photographs.
Arrangement:
The collection is arranged as 6 series:
Series 1: Biographical Material, 1946-circa 1968 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1954-1997 (Box 1; 0.1 linear feet)
Series 3: Writings, 1946-1999 (Box 1; 0.2 linear feet)
Series 4: Artwork, 1939-1952 (Box 1-2; 0.2 linear feet)
Series 5: Printed Materials, 1929-1999 (Box 1; 0.50 linear feet)
Series 6: Photographs, 1929-circa 1970's, undated (Box 1; 0.20 linear feet)
Biographical Note:
Victoria Hutson Huntley (1900-1971) was a painter, printmaker, muralist, and educator who worked in New York City, Florida, and New Jersey.
Beginning in 1919, Victoria Ebbels studied at the Art Students League with John Sloan, George Bridgman, Max Weber, Kenneth Hayes Miller, George Luks, and William C. Palmer. After her father's death, circa 1920, she briefly attended teacher's college and moved to Denton, Texas.
At the time of her first solo exhibition at Weyhe Gallery, New York City, in 1930, she was encouraged by Mr. Weyhe and his gallery director, Carl Zigrosser, to explore lithography. Hutson followed their suggestion. George Miller was her lithography instructor from 1930-1948. For the first five years, she devoted herself to lithography exclusively; during the first year, the Boston Museum of Fine Arts, Metropolitan Museum of Art, Art Institute of Chicago, Houston Museum of Fine Arts, and Newark Public Library purchased prints. After developing chronic health problems and undergoing surgery in 1954, the physical demands of lithography greatly limited her ability to work, and when she did, assistance was required.
Huntley considered herself to be a modern artist but felt it was going nowhere. Around 1935, she explored Cubism and other modern movements. After experimenting with other techniques she adopted the Mixed Technique, using egg emulsion underpainting with resin-oil overpainting. Subjects included lyrical landscapes of the Florida Everglades, industrial themes, people, flora, and fauna. She also painted murals commissioned by the U.S. Treasury Department Section of Fine Arts for post offices in Greenwich, Connecticut, and Springfield, New York.
From 1921-1930 she was an Associate Professor of Art at the College of Industrial Arts, which later became the State College for Women. Huntley taught painting and drawing at Birch-Wathen School in New York City. In Connecticut she was resident artist at Redding Ridge School, 1939-1942 and at Pomfret School for Boys, 1942-1946. She served on the faculty of Rollins College, Winter Park, Florida, from 1946-1953. Although Huntley stopped teaching when health problems curtailed her activities and they had to move to a cooler climate, she continued to paint and, when able, produced prints.
Victoria Hutson Huntley exhibited widely. She had solo exhibitions in New York City, Philadelphia, San Francisco, and Washington, D.C., and participated in group shows throughout the United States, and in Algeria, England, France, Italy, Scotland, South America, and Sweden.
When Kopper's Coke won The Philadelphia Print Club's Mary Collins prize for Lithography in 1932, the donor found it difficult to accept that a woman would find a factory suitable subject matter, and made it clear she had no part in selecting the winner. (When Huntley's industrial scenes were exhibited in London, it was assumed the artist was a man and she received checks written to Victor Huntley.) Huntley also won awards from the Library of Congress (1945), Association of American Artists (1946), and Society of American Graphic Artists (1950 and 1951). In 1947, the National Academy of Arts and Letters funded an Everglades expedition. The following year, a Guggenheim fellowship enabled her to create 25 lithographs in Florida.
The work of Victoria Hutson Huntley is represented in the permanent collections of many institutions, including: Metropolitan Museum of Art; Boston Museum of Fine Arts; Art Institute of Chicago; IBM Corporation; University of Florida; Art Students League Memorial Collection; Bureau of Education, Italy; Collection of the Government of Italy; and University of Glasgow, Scotland.
She married William K. Hutson in 1925 and they had one daughter. The marriage ended in divorce in 1933 and Ralph Huntley, a scientist and mathematician, became her second husband. By the following year, she was using the name Victoria Hutson Huntley professionally. His academic career took them to Connecticut, New York City, back to Connecticut, Florida, Illinois, and New Jersey. After her husband retired, the Huntleys remained in Chatham, New Jersey, where she had two studios, one for painting and another for lithographic work.
Victoria Hutson Huntley died in 1971.
Provenance:
The Victoria Hutson Huntley papers were donated by Derek Cocovinis of DDC Fine Arts, which purchased the artist's estate.
Restrictions:
Use of original material requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of painter and muralist Alson Skinner Clark measure 7.2 linear feet and date from 1870 to 1971, with the bulk of the material from 1890 to 1940. Clark's career is documented through biographical material; correspondence with family, friends, galleries, and dealers; eleven diaries by the artist as well as 16 by his wife Medora Clark; stories and essays by Medora; financial records and business files of art and civilian concerns; assorted printed material including exhibition catalogs and announcements, maps, news clippings (singly and in scrapbooks), advertisements, and ephemera; and photographs of the artist, his friends and family, studio, travels, and artwork.
Scope and Contents:
The papers of painter and muralist Alson Skinner Clark measure 7.2 linear feet and date from 1870 to 1971, with the bulk of the material from 1890 to 1940. Clark's career is documented through biographical material; correspondence with family, friends, galleries, and dealers; eleven diaries by the artist as well as 16 by his wife Medora Clark; stories and essays by Medora; financial records and business files of art and civilian concerns; assorted printed material including exhibition catalogs and announcements, maps, news clippings (singly and in scrapbooks), advertisements, and ephemera; and photographs of the artist, his friends and family, studio, travels, and artwork.
Arrangement:
The collection is arranged as 9 series. Glass plate negatives are housed separately and closed to researchers.
Series 1: Biographical Material, circa 1890-1958 (Box 1; 6 folders)
Series 2: Correspondence, 1895-1962 (Boxes 1-2; 1.7 linear feet)
Series 3: Diaries, 1889-1922 (Boxes 2-4; 1.5 linear feet)
Series 4: Writings, circa 1900-1962 (Boxes 4-5; 0.9 linear feet)
Series 5: Personal Business Records, 1889-1930 (Boxes 5, 8; 0.7 linear feet)
Series 6: Printed Material, 1890-1971 (Boxes 5-6; 0.2 linear feet)
Series 7: Artwork, circa 1910-1920 (Box 6; 2 folders)
Series 8: Photographs, circa 1885-1935 (Boxes 6, 8, 9; 1.6 linear feet)
Series 9: Scrapbooks, 1902-1955 (Boxes 7, 8; 0.5 linear feet)
Biographical / Historical:
Alson Skinner Clark (1876-1949) was a painter and muralist who travelled and worked in Europe, Mexico, Canada, Panama, and the United States, ultimately settling in southern California.
Clark was born in Chicago, Illinois, and began training in 1891 at the age of 11 at the Art Institute of Chicago. In 1896 he studied under William Merritt Chase at the Art Students' League of New York and briefly at the Chase School of Art before moving to Paris to train with James Abbott McNeill Whistler at the Academia Carmen in 1898. Alongside his wife, Medora (married 1902), Clark travelled extensively, painting the landscapes and urban activity of Chicago, New York, Quebec, France, Dalmatia, and Spain.
In 1913, Clark journeyed to Panama to document the construction of the canal, and in 1919, after serving as a military photographer in World War I, he settled in Pasadena, California, where he adopted the landscapes and colonial architecture of Mexico and the American West as subjects en plein air. It was during this time that Clark began to take on work as a muralist, accepting commissions from the local bank and theatre while also embarking on a teaching career at Occidental College and eventually the Stickney Memorial School of Fine Arts, where he served as director.
Provenance:
The 1897 diary, sales notebook, glass negatives, and albums of negatives were donated in 1986 by Joseph Moure, an art historian who purchased the material from occupants of Clark's former studio. The remainder was donated by Clark's son, Alson Clark, in 1989, 1991, 1992, and 1997 and by Clark's grandniece, Deborah Clark, in 2006.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Drawings and sketches, including 45 sketches depicting images from WWI (dismantled from bound portfolio), photographs of works of art, and one scrapbook of photographs and works of art.
Biographical / Historical:
Mural painter; Chicago, Illinois.
Provenance:
Donated 1991 by Anna Louise Gaspar.
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.
United States. Work Projects Administration Search this
United States. Works Progress Administration Search this
Extent:
1 Linear foot ((on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1909-1961
Scope and Contents:
Correspondence, New Deal materials, exhibition and financial records.
Two brief biographies by Frances Foy for "Leading American Women"; Illinois Academy of Fine Arts membership cards for Foy and Dalstrom; correspondence, with the Art Institute of Chicago and other museums, local galleries, dealers, and arts organizations such as the Renaissance Society, American Federation of Arts, and Chicago Society of Etchers; a letter of 3/26/34 from fellow artist Rifka Angel regarding selection of artists for Public Works of Art Projects; New Deal art project materials, including correspondence about a mural commemorating Marian Anderson's 1939 concert at Lincoln Memorial and with federal agencies,concerning commissions, contracts, vouchers, drawings and blueprints for projects, announcements, speeches, and articles on the government art programs.
Exhibition records include receipts, loan agreements, checklists, and shipping forms. Financial records include invoices, pricelists, purchase orders, receipts, remittances, and vouchers from private customers. Printed materials include news clippings, brochures, advertisements from art supply companies; articles on exhibitions, newsletters from arts organizations, announcements and catalogs of exhibitions, and a copy of Dali's "Declaration of the Independence of the Imagination and the Rights of Man to His Own Madness" 1939.
Arrangement:
I. Biographical. II. Correspondence. III. New Deal materials. IV. Exhibitions. V. Financial. VI. Printed matter. VII. Lists and notes.
Biographical / Historical:
Muralists and painters; Chicago, Ill. Married in 1923. Worked on the Public Works of Art Project and Federal Art Project. Painted several post office murals. Belonged to local arts organizations such as the Renaissance Society and the No-Jury Society of Artists. Foy, who used her maiden name professionally, gained recognition locally for her paintings of flowers.
Provenance:
Donated 1987 by Lars M. Dalstrom, son of Frances Foy and Gustaf O. Dalstrom.
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.
Filmed in Calapai's studio in Glencoe, Ill. Calapai discusses his work, and demonstrates the printing of an etching. Biographical information is presented, including Calapai's early training, his work as a muralist for the WPA, studying with William Stanley Hayter in New York, his work on illustrations for Thomas Wolfe's Look Homeward Angels, his watercolors, and his work on a series of prints of Christ now owned by the Vatican. The video is a presentation of the Highland Park [Illinois] Public Library.
Biographical / Historical:
Printmaker, muralist, painter, teacher; Glencoe, Ill.
Publication, Distribution, Etc. (Imprint):
Highland Park, Ill. : Highland Park Public Library, 1989, c1990.
Series Statement:
Viewpoints.
Provenance:
Donated 1990 by the Highland Park Public Library.
Rights:
Authorization to publish, quote or reproduce requires written permission from Highland Park Public Library. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of Chicago and Santa Fe painter, muralist, architect, and furniture designer William Penhallow Henderson measure 10.5 linear feet and date from 1876 to 1987 (bulk dates 1876 to 1943). Found within the papers are scattered biographical material; correspondence with friends and colleagues; three diaries; personal business records; two files concerning the Santa Fe Painters and Sculptors and the Art in Embassies Program; architecture, furniture, and other design project files; exhibition files; notes and writings; artwork, including 64 sketchbooks by Henderson and others; miscellaneous printed material; and photographs of Henderson, his family and colleagues.
Scope and Content Note:
The papers of Chicago and Santa Fe painter, architect, and furniture designer William Penhallow Henderson measure 10.5 linear feet and date from 1876 to 1987 (bulk dates 1876-1943). Found within the collection are biographical material; a file concerning Henderson's father William Oliver Henderson; correspondence primarily with colleagues discussing art-related topics; two diaries describing his student days in Paris, 1902-1903, and one concerning the latter part of his life; personal business records; subject files for the Santa Fe Painters and Sculptors and the Art in Embassies Program; architecture and furniture files containing notes, designs, and photographs of Henderson's work in these areas; additional project files concerning other projects, including a play, architectural projects, and a mural; exhibition files; notes and writings; artwork, including 64 sketchbooks by Henderson; miscellaneous printed material; and photographs of Henderson, his family, colleagues, and artwork.
Arrangement:
The collection is arranged into 13 series primarily according to type of material; materials within series are arranged chronologically.
Series 1: Biographical Material, 1897-1984 (Boxes 1, 12; 14 folders)
Series 2: File on William Oliver Henderson, 1876-1906 (Box 1; 12 folders)
Series 3: Correspondence, 1883-1987 (Boxes 1-2; 1.9 linear feet)
Series 4: Diaries, 1902-1940 (Box 3; 4 folders)
Series 5: Personal Business Records, 1887-1984 (Box 3; 40 folders)
Series 6: Subject Files, 1921-1975 (Box 3; 2 folders)
Series 7: Architecture and Furniture Files, 1926-1983 (Boxes 3-4, 12, OV 14; 1.0 linear feet)
Series 8: Project Files, 1916-1942 (Boxes 4-5, 12, OV 14; 40 folders)
Series 9: Exhibition Files, 1927-1964 (Box 5; 25 folders)
Series 10: Notes and Writings, 1901-1985 (Boxes 5-6; 1.0 linear feet)
Series 11: Artwork, 1886-1929 (Boxes 6-8, OV 14; 1.9 linear feet)
Series 12: Printed Material, 1891-1988 (Boxes 8-9; 1.7 linear feet)
Series 13: Photographs, 1887-1985 (Boxes 9-11, 13; 1.6 linear feet)
Biographical Note:
Painter, architect, and furniture designer, William Penhallow Henderson was born in 1877 in Medford, Massachusetts. His father, William Oliver Henderson was a friend of painter William Edward Norton and an amateur painter himself. During Henderson's childhood, the family moved several times, settling in Turkey Creek, Texas, in 1879, and Clifton, Kansas, in 1886.
Returning to Boston in 1891, Henderson studied at the Massachusetts Normal Art School and, and in 1899, entered the School of the Boston Museum of Fine Arts, studying under Edmund C. Tarbell. In the following year, he won the Paige Traveling Scholarship for two years of study in Europe. His travels, from 1902-1903, included London, where he became acquainted with the family of John Singer Sargent. He also traveled to Paris, Berlin, Dresden, Madrid, and the Azores.
From 1904 to 1910, Henderson taught at the Academy of Fine Arts in Chicago. In 1904 he painted in Mexico and Arizona with colleague Carl N. Werntz. He married the poet-editor of Poetry magazine, Alice Corbin in 1905, and their only child, Alice Oliver Henderson, was born in 1907.
Between 1906 and 1907 Henderson completed ten murals for the Joliet Township High School. Mrs. Henderson's book Anderson's Best Fairy Tales, illustrated by her husband, provided the funds for a second trip to Europe from 1910-1911. In 1914, Henderson built a house and studio of his own design at Lake Bluff, Illinois, and in the same year he was commissioned by Frank Lloyd Wright to design murals for Midway Gardens, Chicago. Unfortunately, the murals were painted over shortly after completion. In the following year, he designed the scenery and costumes for the Chicago Fine Arts Theatre production of Alice in Wonderland.
Due to his wife's failing health, the family moved to Santa Fe, New Mexico in 1916, and in 1918, Henderson was employed by the U. S. Shipping Board Emergency Fleet Corporation in San Francisco to paint camouflage onto the hulls of ships during World War I.
In 1925, Henderson, with his first son-in-law John Evans, formed the Pueblo-Spanish Building Company, through which he designed and built many private homes and some public buildings, including the Railroad Ticket Office in Santa Fe. Henderson was also successful at designing carved wooden furniture. In the mid-1930s, he was appointed to the Federal Arts Project, for which he completed easel paintings and six murals for the Santa Fe Federal Court Building.
In 1937, Henderson completed the impressive Navajo House of Religion, built in the style of an American Indian hogan and later re-named the Museum of Navajo Ceremonial Art.
William Penhallow Henderson died in 1943 in Tesuque, New Mexico.
Provenance:
The William Penhallow Henderson papers were donated by Carlton Colquitt, on behalf of the estate of his late wife, Alice Henderson Rossin, the daughter of William Penhallow Henderson, in 1988.
Restrictions:
Open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of mural painter and illustrator Arthur Sinclair Covey measure 5.7 linear feet and date from 1882 to 1960. Found within the papers are biographical material; correspondence with art institutions, patrons, and colleagues; scattered business and financial records; notes and writings by Covey and others, including a transcript of an interview with Covey by a radio station; art work and sketchbooks by Covey and his colleagues including Paul Bransom, Harvey Dunn, and Edward Penfield; project files concering Covey's mural projects; a scrapbook of clippings; additional printed material; and photographs of Covey, family members, colleagues, and art work.
Scope and Content Note:
The papers of mural painter and illustrator Arthur Sinclair Covey measure 5.7 linear feet and date from 1882 to 1960. Found within the papers are biographical material; correspondence with art institutions, patrons, and colleagues; scattered business and financial records; notes and writings by Covey and others, including a transcript of an interview with Covey by a radio station; art work and sketchbooks by Covey and his colleagues including Paul Bransom, Harvey Dunn, and Edward Penfield; project files concering Covey's mural projects; a scrapbook of clippings; additional printed material; and photographs of Covey, family members, colleagues, and art work.
Arrangement:
The collection is arranged into nine series according to type of material and further arranged in chronological order. Oversized material from various series has been housed in Boxes 6-8 and Oversized Folders 9-12, and is noted in the Series Descriptions/Container Listing section at the appropriate folder title with see also/see references.
Series 2: Correspondence, 1915-1960, undated (Box 1, OV 9; 28 folders)
Series 3: Business Records, 1915-1958, undated (Box 1; 14 folders)
Series 4: Notes and Writings, 1923-1958, undated (Box 1; 10 folders)
Series 5: Art Work, 1921-1957, undated (Box 1, 6, OV 9-10; 23 folders)
Series 6: Project Files, 1916-1959 (Box, 1-2, 6, OV 9-12; 68 folders)
Series 7: Scrapbook, 1914-1960 (Box 8; 1 folder)
Series 8: Printed Material, 1882-1959, undated (Box 2-4, 7; 2.4 linear feet)
Series 9: Photographs, 1891-1959, undated (Box 5, 7-8; 21 folders)
Biographical Note:
Arthur Sinclair Covey was born June 13, 1877 in Leroy, Illinois, son of Byron and Emeline Edwards Covey. His boyhood was spent in various small towns in Missouri and Kansas. As a teenager in 1893, Covey "made the run" to claim land at the opening of the Cherokee Strip in Oklahoma.
From 1895 to 1896, Covey attended Southwestern College in Winfield, Kansas, followed by three years of study under Frank Duveneck, among others, at the Chicago Art Institute, from which he graduated in 1899. From 1900 to 1901, he worked as a staff artist and art editor for the Indianapolis Press and the Cleveland Plain Dealer. For the next two years, he taught at the Chicago Art Institute and established his own studio.
In 1904, Covey traveled to the Royal Academy in Munich where he was a student of Karl Marr, and, from 1905 to 1908, served as assistant to British mural painter Frank Brangwyn and taught at the London School of Art. In 1908, Covey returned to New York and married Mary Dorothea Sale, with whom he had two children, Margaret Sale Covey and Laird Fortune Covey.
Covey received official recognition for his artwork when he assisted Robert Reid and Jules Guerin on murals for the 1914-1915 Panama-Pacific Exposition and received the Bronze Medal. The following year, Covey completed his first commission to paint murals for the Wichita, Kansas, Library, and continued to work steadily on mural projects for the rest of his career.
Following the death of his wife in 1917, Covey married children's book illustrator Lois Lenski in 1921. They had a son, Stephen John Covey.
In 1925, Covey received the Architectural League's Gold Medal of Honor in Painting for his murals at the Kohler Company. From 1926 to 1929, he served as President of the national Mural Painters Society, and from 1929 to 1942, he taught pictorial composition at the National Academy Schools in New York. From 1938 to 1939, Covey created pierced brass on redwood murals for the exterior of the Contemporary Arts Building at the New York World's Fair. In 1939, he decorated the dome and globe of the Land Plane Building at La Guardia Airport in New York.
In the 1950s, Lois Lenski Covey's failing health required that the couple move permanently to Florida's warmer climate.
Arthur Sinclair Covey died on February 5, 1960, in Tarpon Springs, Florida.
Provenance:
The Arthur Sinclair Covey papers were donated from 1961 to 1965 by the artist's widow, Lois Lenski Covey.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
