The photographs of painter Edwin Burrage Child measure 2.2 linear feet and date from 1902-1936. Included in this collection are original photographic prints and copy prints; 101 negatives; 59 glass plate negatives; and one folder of miscellaneous papers including a sketch by Edwin Burrage Child. Photographs depict artwork, interiors, furniture, and people.
Scope and Contents:
The photographs of Edwin Burrage Child measure 2.2 linear feet and date from 1902-1936. Included in this collection are original photographic prints and copy prints; 101 negatives; 59 glass plate negatives; and one folder of miscellaneous papers including a sketch by Edwin Burrage Child. Photographs depict artwork, interiors, furniture, and people.
Photographs of people and other subjects depict several portrait images of Edwin Burrage Child, as well as many photographs and negatives of unidentified groups and events, children, men building a log cabin structure at Child's Dorset, Vermont home, and several models for painting.
Photographs of landscapes, buildings, and animals include a series of landscape photographs of Central Park, complete with the city in the background; many images of the Dorset, Vermont landscape with Child's house and barn structures depicted; landscapes with rainclouds and lightning, also in Dorset, Vermont; and images of horses attached to carriages and wagons, and cows and sheep, as well as several images of a dead horse on the streets of a small town.
Photographs of interiors, furniture, and lighting are made up primarily of copy prints and negatives, and include images of pieces of furniture, light fixtures and sconces, as well as entire interior rooms of what is probably Child's Dorset home. Additionally, photographs of Child's studio with paintings hung on walls are also found here.
Photographs of artwork make up the bulk of the collection, with original prints, copy prints, negatives, and glass plate negatives of primarily portrait paintings by Edwin Burrage Child. Many of the original photographic prints have been annotated on the backs with descriptive information about the portrait model, where they are from, and their occupation. Some annotations contain anecdotal information about Child's interactions or experiences with the sitters, and have been written by Child's youngest son, Sargent Burrage Child. While some of the descriptive information has been identified as written by both Edwin Burrage Child and Sargent Burrage Child, some writing could not be identified. A set of glass plate negatives without prints also depicts several of Child's landscape paintings. Additionally, a dismantled photograph album contains original prints of Child's portraits of men, women, and children, as well as containing the most descriptive information of all the prints in the collection.
Miscellaneous papers contains a sketch with note by Edwin Burrage Child; a handwritten letter in pencil, on Child's stationery, by Child; a typed exhibition inventory of portraits in the Washington, D. C. exhibit, "Portraits by Edwin Burrage Child," in 1930; and a copy of the 5 x 7 glass plate negatives box that previously stored glass plate negatives.
Arrangement:
The collection is arranged as 6 series. Glass plate negatives are housed in Series 6 and are closed to researchers.
Missing Title
Series 1: Photographs of People and Other Subjects, circa 1908-circa 1936 (15 folders; Box 1)
Series 2: Photographs of Landscapes, Buildings, and Animals, 1903-circa 1936 (24 folderst; Box 1)
Series 3: Photographs of Interiors, Furniture, and Lighting, circa 1902-circa 1936 (0.1 linear feet; Box 1)
Series 4: Photographs of Artwork, 1902-1936 (28 folders; Boxes 2-3, 6)
Series 5: Miscellaneous Papers, circa 1930 (1 folder; Box 3)
Series 6: Glass Plate Negatives, 1910-circa 1930 (0.9 linear feet; Boxes 4-5)
Biographical / Historical:
Edwin Burrage Child (1868-1937) was a landscape and portrait painter who lived and worked in New York City and Dorset, Vermont, and was most known for his male portraiture.
Child was born in Gouverneur, New York in 1868 to Jonathan Bush Child and Sarah Burnham. In the 1880s, Child attended Amherst College and received art lessons during the summers from artist Margaret C. Whiting (1860-1946). In 1890, he graduated from Amherst College and moved to New York City to pursue a career as an artist, becoming a student in 1891 at the Art Students League. Child's artistic debut was in 1892 at the National Academy of Design annual exhibition. From 1891 to 1895, he studied under painter, muralist, and stained-glass designer John LaFarge (1835-1910), and worked as his assistant from 1896-1901. Edwin Burrage Child then spent many years working as an illustrator and writer for leading periodicals such as Scribner's, Harper's, McClure's, and others.
As a landscape painter, Child was awarded a medal at the Louisiana Purchase Exhibition in St. Louis in 1904, and the majority of his landscapes were modeled from his summer home in Dorset, Vermont. In 1908, his focused moved to easel painting -- primarily landscapes and portraits. Child was most known for his portraits of intellectual males, with sitters including Senator Dwight M. Morrow, Governor Wilbur L. Cross of Connecticut, Professor John Dewey, and painter Ivan G. Olinsky, among many others. His work appeared in shows at the National Academy of Design and the Society of Independent Artists in New York, as well as the Pennsylvania Academy of Fine Arts, the Art Institute of Chicago, and the Corcoran Gallery of Art in Washington, D. C. He also had many one-man shows over the years, primarily in New York City. In 1930, the National Gallery of Art in Washington, D. C. held an exhibition of his portraits.
Child was married to Anna Gertrude Sykes in 1894, and they had three children: Katherine E. (1895-1966), Bradford (1896-1948), and Sargent Burrage (1900-1972). Child also made furniture as a hobby and remodeled his home in Dorset Hollow, as well as Gray's Tavern, which later became the Dorset Village Public Library. Additionally, he was a frequent lecturer, speaking at colleges and universities, including Yale, Michigan State College, Columbia, City College of New York, and Massachusetts State College at Amherst. Child spent the last ten years of his life living in Dorset, Vermont, and died in 1937.
Provenance:
The Edwin Burrage Child photographs were transferred to the Archives of American Art on June 6, 1979, from the National Collection of Fine Arts (NCFA) Library.
Restrictions:
Use of original papers requires an appointment. Glass plates are housed separately and not available to researchers. 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.
Edwin Burrage Child photographs, 1902-1936. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Collections Care and Preservation Fund. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The papers of painter, muralist, and educator Charles Pollock measure 3.1 linear feet and date from 1875 to 1994. Found within the papers are biographical materials; family and personal correspondence; subject files on art and professional topics; writings; printed material; artwork, including political cartoons and figurative sketches; and photographs of Pollock, his family and friends, and his work.
Scope and Contents:
The papers of painter, muralist, and educator Charles Pollock measure 3.1 linear feet and date from 1875 to 1994. Found within the papers are biographical materials; family and personal correspondence; subject files on art and professional topics; writings; printed material; artwork, including political cartoons and figurative sketches; and photographs of Pollock, his family and friends, and his work.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1945-1988 (7 folders; Box 1)
Series 2: Correspondence, 1927-1994 (1 linear foot; Boxes 1-2)
Series 3: Subject Files, 1931-1988 (0.8 linear feet; Box 2)
Series 4: Writings, 1935-1965 (2 folders; Box 2)
Series 5: Printed Material, 1930-1990 (4 folders; Box 2)
Series 6: Artwork, 1925-1949 (0.7 linear feet; Box 3, OV 5-8)
Series 7: Photographic Materials, 1875-1987 (0.4 linear feet; Boxes 3-4)
Biographical / Historical:
Painter, muralist, and educator Charles Pollock (1902-1988) lived and worked in East Lansing, Michigan, New York City, Detroit, and Paris, France and painted in a social realist style early in his career before transitioning to abstract works in the 1940s. He is also the eldest brother of the abstract expressionist Jackson Pollock.
Born in Denver, Colorado to Stella McClure and LeRoy Pollock, Pollock received his early art training at the Otis Institute in Los Angeles, California. In 1926, he moved to New York City to attend the Art Students League where he studied under Thomas Hart Benton, with whom Jackson also studied after joining Charles in New York in 1930. In New York, he met and married his first wife, Elizabeth Feinberg Pollock, in 1931.
Pollock moved to Washington, D.C. in 1935 to work for the Resettlement Administration, and after two years, accepted a position as the political illustrator for the United Automobile Workers' newspaper in Detroit. After a short stint as the illustrator and layout editor for the paper, Pollock served as the supervisor of the Michigan WPA Mural Painting and Graphic Arts division from 1938 to 1942.
Upon completion of a three panel mural for Michigan State University in 1942, Pollock was invited to join the faculty of the art department, where he taught lettering, printmaking, typography, and design. During his twenty-five year tenure at the University, he also served as a book designer for the University's Press and continued to develop his abstract painting style. He met and married his second wife, Sylvia Winter Pollock, in 1957. Pollock served as the University of Pennsylvania's artist in residence in 1965 and 1967, and was the recipient of a National Foundation of Arts Grant (1967) and a Guggenheim Grant (1967-1968). The Pollocks moved to Paris in 1970, where Charles died of complications from a stroke in 1988.
Related Materials:
Also found in the Archives of American Art are the Elizabeth Feinberg Pollock memoirs and the Jackson Pollock and Lee Krasner papers.
Separated Materials:
Nine works of art included in the 1975 gift from Elizabeth Pollock were transferred to the Smithsonian American Art Museum, formerly the National Collection of Fine Arts, in 1976.
Provenance:
The papers were donated in 1975 by Pollock's first wife, Elizabeth Feinberg Pollock, with assistance from Charles Pollock on the selection of items. Additional materials were donated in 1988 by his second wife, Sylvia Winter Pollock. From 1991 to 1994, Elizabeth Pollock gifted additional correspondence and photographs to the Archives.
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.
The papers of painter Leon Dabo date from circa 1888 to 1969 and measure 1.2 linear feet. The collection consists of biographical materials, scattered correspondence, research files relating to the paintings of James Abbott McNeill Whistler, printed mateirals, photographs, and works of art. Also found is a paint palette and brushes reportedly owned by Whistler and a walking stick.
Scope and Contents:
The papers of painter Leon Dabo date from circa 1888 to 1969 and measure 1.2 linear feet. The collection consists of biographical materials, scattered correspondence, research files relating to the paintings of James Abbott McNeill Whistler, printed mateirals, photographs, and works of art. Also found is a paint palette and brushes reportedly owned by Whistler and a walking stick.
Series 1: Biographical Material, 1905-circa 1967 (0.1 linear feet; Box 1-2, OV4)
Series 2: Correspondence, 1905-1935, 1969 (1 folder; Box 1)
Series 3: Research Files, circa 1940-circa 1950 (0.1 linear feet; Box 1, OV5)
Series 4: Printed Material, 1903-1965 (0.3 linear feet; Box 1-2, OV4)
Series 5: Photographs, 1910-1947 (0.2 linear feet; Box 1-2, OV4)
Series 6: Artwork and Artifacts, circa 1888-circa 1920 (0.4 linear feet; Boxes 1-3, artifacts 6-7)
Biographical / Historical:
French-born Leon Dabo (1868-1960) was a tonalist painter active in New York. He is known for his landscapes of the Hudson River Valley, influenced by James Abbott McNeill Whistler.
The eldest child of artist Ignace Scott Dabo and Madeleine Dabo, Leon Dabo was born in France around 1868. To avoid the Franco-Prussian War, the family left France and settled in Detroit, Michigan where Ignace worked as a decorative artist. Leon Dabo moved to New York City to work to support his family after the death of his father, with the goal of sending his brother Theodore Scott Dabo to study art. Ultimately, Dabo focused on his own painting and studied in Paris, Munich and London. In London, he became acquainted with James Abbott McNeill Whistler who became a strong influence on Dabo. After returning to New York City in 1890, he kept a studio in Brooklyn and exhibited throughout the city. During World War I, Dabo served in the British and French military detecting German accents. Later, he served as an interpreter for the United States. Dabo married Jennie Ford in 1889 and had two children, Madeleine and Leon. After Jennie's death, he married Stephanie Ofenthal. Leon Dabo died in 1960 in New York City.
Provenance:
The Leon Dabo papers were donated in several installments by his widow, Stephanie Ofenthal Dabo from 1969 to 1972. A photograph of Dabo taken by Peter Juley was a gift from an unknown donor in 1963.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Letters found here are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe. Some of the folders contain letters from a single correspondent, and some contain a range of correspondents, all of whom are not listed in the folder title.
See Appendix for a list of correspondents from Series 2.
Arrangement note:
The letters are arranged alphabetically by name of sender.
Appendix: Correspondents from Series 2:
What follows is a complete list of correspondents from Series 2: Letters, which supplements the container list in the finding aid. This list also contains details about the letters sent by each individual listed.
Correspondents Identified by First Name Only
Ab: 1962 (1 postcard)
Alice: 1972-1974 (2 letters)
Barb: undated (1 postcard)
Carleen: 1982 (1 postcard)
Carlotta: 1992 (1 letter to Jenny Lee)
Carol: 1989 (1 letter)
Cathy: undated (1 postcard)
Charley: undated (1 letter)
Clary?: 1995 (1 Christmas card to Jenny Lee)
Clay: 1971 (1 postcard)
Diana: 1971 (1 postcard)
Dolores: 1989 (1 letter)
Doug, Sarah, Molly, and Sam: undated (1 letter)
E., D., and L.: 1990 (1 postcard)
Eddie: 1992 (1 illustrated Christmas card)
Edward: undated (1 postcard)
Ernie: 1980 (1 letter)
Grace?: 1972 (1 postcard)
Honey, Francis, Nick, and Carol: 1995(1 Christmas card to Jenny Lee)
Isabelle: undated (1 letter)
Jeanne: 1987 (2 postcards)
Jeff: undated (1 postcard)
Jeffery: 1979 (1 postcard)
Jennifer: 1987 (1 postcard)
Jim: 1976 (1 letter)
Jin: undated (1 postcard)
Joanna: undated (1 postcard)
Joyce: 1992 (1 postcard)
Kate: 1972 (1 postcard)
Ken and Freida: 1972-1986 (2 letters)
Marina and Bruce: 1987-1989 (1 Christmas card and 2 postcards)
Marion: 1978 (1 postcard)
Martin: 1989-1990 (2 postcards)
Michael: 1985 (1 postcard)
Moira?: 1980 (1 postcard)
Ninette: 1962 (1 postcard)
Patsy: 1985 (1 postcard)
Rene: 1977 (1 postcard)
Roberta: undated (1 postcard)
Robyn: 1988-1989 (2 letters)
Roger and Harriet: undated (1 illustrated postcard)
Ross: 1990 (1 letter)
Sevin?: undated (1 postcard)
Steve: undated and 1994 (4 postcards)
Tom: undated (1 postcard)
Tony: 1978 (1 letter)
Wolfgang: undated (1 postcard)
Correspondents Identified by Surname
Advanced Design: 1989 (1 letter)
Agee, Jon and Carol: undated and 1982-1991 (6 letters, including 2 transparencies and 2 illustrated letters)
Albert, Calvin: 1974 (one postcard with photograph of Albert)
Allan Frumkin Gallery, Inc.: see Frumkin: Allan Frumkin Gallery, Inc.
Allison, Ann: 1964-1976 (2 letters)
American Art and Antiquities: 1978 (1 letter)
American Iris Society: 1988 (1 letter)
American Journal of Archaeology: 1970 (1 letter)
American National Red Cross: 1947 (1 letter)
American Turkish Society: 1973 (1 invitation)
Ames, Arthur: 1938 (1 letter)
AOI Construction, Inc.: 1986 (1 letter)
Archaeological Institute of America, New York Society: 1979 (5 letters)
Archaeometry: 1979 (1 letter)
Archives of American Art: 1976-1991 (5 letters)
Archives of the New York School: 1989 (1 letter)
Art Dealers Association of America, Inc.: 1979 (1 letter)
Art Edifices Enterprises: 1976-1979 (2 letters)
Art for Mexico: 1986 (1 letter)
Art in America: undated (1 letter)
Artists for CORE: 1965 (1 letter)
Artists for SEDF
(Scholarship, Education and Defense Fund for Racial Equality, Inc.): 1967-1968 (3 letters)
Arts Commission of San Francisco: 1988 (1 letter)
Aruz, Joanna: 1972-1986 (4 letters)
Ashford: 1 undated photograph of children
Ashton, Dore and Matti: undated (1 illustrated postcard to Jenny Lee)
Atasoy, Sumer: undated and 1970-1972 (3 letters)
Auerbach, Dorthy: 1989-1990 (2 letters)
Australian National Gallery: see Graham, Lanier
Axe, Martin: undated and 1985-1987 (3 letters)
B., F.: 1964 (1 postcard)
Barger, Illia: 1989 (1 letter including a photograph of an art work)
Barnes Foundation: 1985 (1 letter)
Barnett: David Barnett Gallery: 1971-1973 (4 letters, including a photograph of art work by Kadish)
Barnoya, Miguel Benedict: 1982 (1 letter)
Baskin, David: 1991 (1 letter with illustrated envelope and 6 picture postcards)
Beckmann, Hannes: 1969 (1 letter)
Beeblitz, Patricia: 1972 (1 letter)
Bell, Leland: see Parsons School of Design
Benson, Elaine M.. (Benson Gallery): 1975 (1 letter and 1 postcard)
Kadish, Reuben, to Bromberg, Prof. (State University College, New Paltz, N.Y.): 1968 (1 letter)
Kadish, Reuben, to Constan, Eugene: undated (1 letter)
Kadish, Reuben, to Goldman, Shifra: undated (1 letter)
Kadish, Reuben, to Guggenheim, John: 1986-1987 (3 letters)
Kadish, Reuben, to Kadish family: 1990 (1 letter)
Kadish, Reuben, to Kadish, Ruth and Moishe: 1984 (1 letter)
Kadish, Reuben, to Kyle, Mr.: 1967 (2 letters)
Kadish, Reuben, to Lee, Jenny: 1987-1992 (66 letters)
Kadish, Reuben, to Mayer, Musa (Ingie): [1988] (1 letter)
Kadish, Reuben, to Mitchel, Julio: 1988 (1 postcard)
Kadish, Reuben, to Page, Lee: 1981 (1 letter)
Kadish, Reuben, to Pound, Brandy: undated (2 letters)
Kadish, Reuben, to Reed, Susan: 1992 (1 letter)
Kadish, Reuben, to Rodriguez family: undated and 1989 (2 letters)
Kadish, Reuben, to Spring, Bob: 1992 (1 letter)
Kaufman, B. John: undated (5 photographs of art work)
Kean College of New Jersey: 1981 (1 letter)
Kenkeleba House, Inc.: 1987 (2 letters and an exhibition announcement)
Kettenbach, Friedel: 1985 (1 Christmas card)
Klayman, Toby Judith: 1981 (1 letter)
Klinger, Randy: 1988 (1 letter)
Kohn, Gabe: 1959-1962 (6 letters)
Krafft, Jo: undated (1 letter)
Kroeplin, Jim: 1974 (1 letter)
Kupferman, Lawrence: 1943-1944 (6 letters)
Kyle, Thomas: see Kadish, Reuben; see Museum of Contemporary Crafts
L., Howard: 1980 (1 letter)
Lacy, Bill: see Lee, Jenny
Landmark Gallery, Inc.: 1977-1978 (2 letters)
Langsner, Jules: undated and 1937-1963 (36 letters, including a photograph of a railroad yard, and 9 photographs of Delhi, India)
Lebt?, Bill: 1967 (1 letter)
Lee, Jenny: undated and 1985-1992 (61 letters, including clippings, exhibition announcements, 2 books -- Dreams: Visions of the Night -- by David Coxhead and Susan Hiller, and -- Italian Renaissance Sculpture -- by John Pope-Hennessy, and 8 photographs of the Watts Towers; 7 letters are illustrated); see Kadish, Reuben. Letters to: Fox, George: 1987 (1 letter); Lacy, Bill: 1987 (1 letter); McNamara, Mary: 1987 (1 letter); Miller, Lee Ann (Cooper Union): 1987 (1 letter)
Leggist?, Gihuan: 1937 (1 letter)
Lehman: Herbert H. Lehman College: 1976 (1 letter)
Leong, Jim: 1990 (1 letter, including a resume)
Lesher, Derek: 1992 (1 letter)
Levine, Marsha: undated and 1973-1986 (12 letters)
Metropolitan Museum of Art: 1975- 1986 (2 letters)
Mexican Muralists in the United States: Their Work and Influence (NEH research project): 1980-1982 (7 letters)
Michigan State University: 1966 (1 letter)
Millburn Corporation: 1988 (1 announcement for New York Aegean Bronze Age Colloquium)
Miller, Lee Ann (Cooper Union): see Lee, Jenny
Mills, J. D.: 1984-1986 (3 Christmas cards)
Ministero per i Beni Culturali e Ambientali: 1989 (2 letters in Spanish)
Minneapolis Institute of Arts: 1959 (2 letters)
Mirski, Boris: 1945 (1 letter)
Mitchel, Julio: see Kadish, Reuben
Montgomery family: 1973-1986 (14 letters, including 19 photographs of family members and sculpture)
Moore, Lucile and Jim Al: 1985-1986 (2 Christmas cards)
Morgan, Dane D.: 1963 (1 letter)
Moss, Tobey C.: 1986 (1 letter)
Museu de Arte Moderna de Sao Paulo: 1959 (1 letter)
Museum of Contemporary Crafts: 1967 (1 letter)
Museum of Modern Art: 1963 (1 letter)
Mythic Arts Africa: 1987 (1 letter from Jenny Lee)
National Academy of Design: undated (1 letter)
National Gallery of Art: 1975 (1 letter)
National Geographic Society: undated (1 form letter)
National Museum of American Art: 1986-1990 (7 letters)
National Social Welfare Assembly, Inc.: 1967 (1 letter)
NBC News: undated (1 letter)
Neininger, Urban and Jean: undated and 1937-1989 (28 letters)
Nemanic, Todd: 1981 (1 exhibition announcement)
Newark Museum: 1968 (1 letter)
Newark Public School of Fine and Industrial Art: undated and 1956-1960 (4 letters)
Newbill, Al: 1976-1987 (4 letters)
New Jersey State Council on the Arts: 1989 (1 letter)
New Jersey State Museum: 1976-1991 (10 letters)
New York Civil Liberties Union: 1972 (1 postcard)
New York Studio School: 1971-1977 (5 letters)
New York University: 1963 (1 letter)
North Jersey Cultural Council: 1970-1974 (2 letters)
O'Connell, Hilda: undated and 1963-1990 (18 letters); see Kadish, Barbara
Odate, Gerlinde: 1966-1974 (2 letters, including one with an illustration)
O'Keeffe, Georgia: see Stark, Leonard
Oles, James: 1991 (1 postcard)
Oord, A. and B.: 1984 (1 postcard)
Oregon: University of Oregon: 1973-1976 (4 letters)
Pace, Stephen: 1976-1987 (1 letter and an exhibition announcement)
Page, Lee: see Kadish, Reuben
Panero, Lorenza (Laurie): 1989-1991 (1 letter enclosing a typescript "The Three Masters of Mexican Muralism and Their Impact on the Development of American Art", and 1 exhibition announcement in Spanish)
Parsons School of Design: 1991 (1 announcement for memorial for Leland Bell)
Pekarsky, Mel: 1992 (7 letters)
Perrone, Francis S., M.D.: 1972 (1 invoice)
Phillips, Bill and Helen: 1947-1981 (2 letters and a press release)
Pollock: see McCoy, Sande
Pollock, Charles and Sylvia: undated and 1972-1990 (18 letters)
Pollock, Jackson: 1944-1947 (5 letters)
Pollock-Krasner Foundation: 1988-1992 (6 letters)
Polyn, Winifred: 1989 (1 postcard)
Port Authority of N.Y. & N.J.: 1979 (1 letter)
Potter, Jeffrey: 1990-1991 (2 letters, including a typescript "A Note on Joseph Meert")
Pound, Brandy: 1976 (1 letter); see Kadish, Reuben
Preston, Joanna: 1969-1989 (11 letters)
Printmaking Workshop: 1976-1980 (4 letters)
Pritchard, Norman: 1976 (1 Christmas card)
Provost, Larry: 1990 (1 letter)
Pye, Elizabeth: 1970 (1 letter)
Queens College: 1969 (2 letter)
Racz, David: undated (1 postcard)
Rantz, Clark T.: 1979 (1 letter)
Rapee, George and Jody: 1992 (1 letter)
Reddy, Krishna: 1974-1980 (1 letter and 9 letters from other concerning Reddy, including one letter from Stanley William Hayter)
Reed, Susan: see Kadish, Reuben
Reim, Johannes and Lois Borgenicht: 1987 (1 birth announcement)
Renfro, Claudia: undated and 1988-1992 (7 letters, including an illustrated Christmas card)
Resika, Paul: 1989 (1 postcard)
Richards: 1990 (2 photographs of a man with a child)
Richardson, Louise and Joe: undated and 1985-1986 (1 letter and 3 Christmas cards)
Ringwood Manor Association of Arts: 1975 (1 letter)
Ripton, June and James: 1984-1986 (3 Christmas cards)
Rodriguez, Melinda and Nickolas: 1989-1991 (4 letters, including a photograph of Nickolas); see Kadish, Reuben
Roecker and Gnazzo: 1986 (1 postcard)
Root, William Pitt: see Masini, Donna
Ross, Tim: 1985 (illustrated New Year's announcement)
Ru, Ridley: see San, Tamar
Ruben, Richards: 1991 (1 wedding announcement)
Rubenfeld, Florence: 1989 (2 letters)
Rubinson, Karen S.: 1987 (1 letter)
Sacartoff, Elizabeth: 1946 (3 letters)
San, Tamar, and Ridley Ru: undated (1 letter)
San Francisco Friends of the Urban Forest: 1993 (1 certificate for memorial trees for Reuben and Barbara Kadish)
Spanish Bay Galleries: 1991 (1 illustrated letter)
Spring, Bob: see Kadish, Reuben
Stable Gallery: 1958 (1 letter)
Stanzl, Gouter: 1970 (1 letter)
Stark, Leonard: undated and 1937-1966 (73 letters, including one with illustrations, one enclosing a cut-out silhouette portrait, one enclosing a photograph of a boy with a raccoon and one, dated 1947, enclosing a photograph of a film shoot with Georgia O'Keeffe)
Stewart, Jack: 1972 (1 postcard)
Stony Brook: 1990-1992 (6 letters)
Sun, Carol: 1990 (2 letters, including an exhibition announcement and clippings)
University of Oregon: see Oregon: University of Oregon
Unver, Huseyin: 1968 (2 letters)
Vergette, Helen: 1978 (1 postcard)
Vidal, Francine: 1986 (1 letter)
Vulliemoz, Yvonne: 1987-1995 (1 postcard and 1 Christmas card)
Waxman, Wendy: 1989 (1 letter)
Wayne, June: see Tamarind Lithography Workshop, Inc.
Weatherspoon Art Gallery: 1973 (1 letter)
Weeks, Leigh K.: 1974-1987 (2 letters)
Welles, Halsted (Hal): undated and 1962-1966 (3 postcards and a calling card)
Wibroe-Sanders, Suzi: 1989-1990 (2 letters)
Williams, Govaine: 1986 (1 letter)
Williams, Julian and Le: undated and 1977-1990 (1 letter, 1 wedding invitation, and 3 Christmas cards [2 with photos of microbes and a forest])
Wines, Gul and Suzan: 1986 (1 Christmas card)
Witkin, Joy: 1990 (1 letter)
Wong, Jimmy, and Songsri Chang: 1985 (1 Christmas card)
Wood, Betty: 1975 (1 letter and a postcard)
Woodward/White, Inc.: 1983 (1 letter)
Works Progress Administration - California: 1937 (1 letter)
Wu, Nancy: 1987 (6 letters)
Zogbaum, Wilfrid: 1960-1962 (2 letters)
Collection Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
The Richard Haas papers measure 6 linear feet and are dated 1937 to 2012, bulk 1970-2012. His work and career as a muralist, printmaker, and educator are documented by correspondence, writings, printed material, sketchbooks, and photographs.
Scope and Content Note:
The Richard Haas papers measure 6 linear feet and are dated 1937 to 2012, bulk 1970-2012. His work and career as a muralist, printmaker, and educator are documented by correspondence, writings, printed material, sketchbooks, and photographs.
Haas's correspondence relates to commissions, exhibitions, lectures, publications, teaching, and other professional activities. Correspondents include clients, galleries, professional organizations, critics, artists, architects and others. Also found is small amount of personal correspondence. Writings and notes by Haas include artist's statements, notes, lectures, a travel diary, papers and class notes from his undergraduate and graduate student days. Writings about him are a New Museum exhibition catalog text and a student paper. Subject files relate to Haas's professional activities and interests. They document exhibitions and projects, relationships with galleries, membership and participation in various organizations, and routine business matters. Sketchbooks (17 volumes) contain drawings, sketches, and a few watercolors, along with scattered writings and notes.
Arrangement:
The collection is arranged as 8 series:
Missing Title
Series 1: Biographical Materials, 1990, 2009 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1964-2008 (Box 1; 1 linear feet)
Series 3: Writings and Notes, circa 1954-2012 (Box 2; 0.8 linear feet)
Series 4: Subject Files, 1970-2011 (Boxes 2-4; 2.2 linear feet)
Series 5: Printed Material, 1956-2012 (Boxes 5-6; 1.2 linear feet)
Series 6: Artwork, 1954-2005 (Box 6; 0.1 linear feet)
Series 7: Sketchbooks, 1976-2009 (Box 6; 0.5 linear feet)
Series 8: Photographs, 1937-2006 (Box 6; 0.1 linear feet)
Biographical Note:
Richard Haas (b. 1936) is a mural painter of "architecture of illusion," his term describing the trompe l'oeil architectural subjects for which he is best known. His work as a printmaker also focuses on architecture, with iconic buildings of New York and other cities serving as subject matter. Hass is also an educator who has taught painting and printmaking at University of Minnesota, Michigan State University, Bennington College in Vermont, and School of Visual Arts in New York City.
During World War II, the Haas family moved from Spring Green, Wisconsin to Milwaukee. As a teenager, Richard spent two summers working with his great uncle, a master stone mason employed by Frank Lloyd Wright at Taliesin. He proved to be less interested in stonework than in exploring Wright's library and watching the young architects draw. He considered becoming an architect, but eventually concluded the artistic side of architecture was more attractive than the day to day work of an architect.
After graduating from the University of Wisconsin, Milwaukee (B.S., 1959), Hass worked as an art teacher in a Milwaukee high school. He attended graduate classes at University of Wisconsin, Milwaukee where visiting artist Jack Tworkov was his teacher. At the University of Minnesota (M.F.A., 1964), Haas studied with Peter Busa and Malcolm Myers. As an assistant professor at Michigan State University from 1964 to 1968, Haas's colleagues included Angelo Ippolito and Charles Pollock, and he met a number of important artists and critics who visited the campus. Haas moved to New York City in 1968 and soon accepted a part-time position teaching printmaking at Bennington College. He commuted weekly between New York and Vermont for the next decade.
During the 1960s Haas was a Color-field painter. He also continued making etchings and lithographs, and by 1970 several galleries were selling his architectural prints. His first outdoor mural, painted in the So Ho section of New York City in 1975, attracted attention and commissions followed. Mural commissions include: Boston Architectural Center (1977); Edison Bothers Store, Inc., St. Louis (1984); Home Savings of America, multiple locations in Florida and California (1990-1991); City of Huntsville, Texas (1991); Federal Building and Courthouse, Kansas City, Kansas (1994); and Yorkville Mural, New York City (2004.)
Haas, who began exhibiting while still a student, has participated in a large number of group shows and enjoyed many solo exhibitions. He was elected a National Academician, National Academy of Design, was granted a Guggenheim Fellowship, and has been a MacDowell Fellow. Among other honors, Haas has received the American Institute of Architects Medal of Honor, New York City Municipal Art Society Award, Doris C. Freedman Award for Public Art, and the Jimmy Ernst Award of the American Academy of Arts and Letters.
Mr. Haas, who works in New York City, is represented by David Findlay, Jr. Gallery. His wife, Katherine Sokolnikoff, is a sculptor and arts administrator; they live in Yonkers, New York.
Related Material:
An interview of Richard Haas conducted January 13 and March 16, 2009, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Haas' studio, in New York, N.Y.
Provenance:
Donated by Richard Haas in 2012.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Educators -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
An interview of Richard Haas conducted 2009 Jan. 13 and Mar. 16, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Haas' studio, in New York, N.Y.
Haas discusses his early interest in architecture; his family connection to Frank Lloyd Wright; attending Taliesin for two summers in 1955 and '56; Meeting Joseph Friebert while an undergraduate student at the University of Wisconsin-Milwaukee; taking studio classes and experimenting with different art styles and techniques; the influence of Abstract Expressionism and Post-Impressionism on his artworks; joining the ROTC program and painting his first mural at Fort Leonard Wood, MO; viewing the murals of Thomas Hart Benton and John Steurt Curry; going to graduate school at the University of Minneapolis, MN and meeting Jack Tworkov and Peter Busa; visiting Mexico on his honeymoon and viewing the murals of "Los Tres Grandes"; teaching art at Michigan State and developing his series, Boxes; the evolution of his art while teaching at Bennington college in Vermont and the shift from architectural drawings into murals; moreover, Haas speaks about the rise of street art in the 1970s and '80s in New York; his first mural at 112 Prince Street; his collaboration with Doris Freeman; the political challenges associated with doing public art; the collaborative process between the artist and architect; the importance of location when choosing a mural and the work's relationship to its environment; furthermore, Haas discusses his GSA projects in Kansas and West Virginia; his other mural commissions, particularly White House Detention Center, 1997; and the impact of technology on the medium. Throughout the conversation, Haas speaks about fellow artists Richard Serra, James Rosinquist, Malcolm Myers, as well as architects Philip Johnson, Grant Marani and Tim Vreeland.
Biographical / Historical:
Richard Haas (1936- ) is a trompe l'oeil muralist from New York, N.Y. Haas was educated at the University of Wisconsin and University of Minnesota.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Muralists -- New York (State) -- New York -- Interviews Search this
An interview of Jean Charlot conducted by Miriam L. Lesley and Alice Hollis on 1961 August 18 for the Archives of American Art.
Charlot speaks of a fresco painting for Our Lady of Sorrows church in Farmington, Michigan; how he decides upon a fresco design and subject; the technical aspects of the work; his feelings about Asian art; church architecture and its relation to art; teaching art history; the influences in his past which directed him into painting. Also present during the interview are Paul Hendrickson and Brother James Roberts.
Biographical / Historical:
Jean Charlot (1898-1979) was a painter, illustrator, lithographer, and teacher in Honolulu, Hawaii. Full name Louis Henri Jean Charlot.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 54 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Biographical information, correspondence, printed material, photographs and art work relate to Yaeger's career as an artist, including his work on the WPA Federal Art Project.
Correspondence, 1926-1968, is primarily with museums and galleries concerning loans of Yaeger's art, prizes, invitations to submit works of art, and acknowledgments of gifts, 1926-1968. Correspondents include Clyde H. Burroughs, E.P. Richardson, Robert B. Harshe, and Daniel Catton Rich.
Photographs, ca. 1935, show fellow WPA artists, among them Diego Rivera in front of his mural at the Detroit Institute of Arts, Jos(eph) Sparks, and Leonard Jungwirth; Yaeger working on a mosaic; a group photo of John Pappas, Paul McPharlin, Jerry Sylvester and Sparks; and color photos of Yaeger's mosaic work at the Scarab Club. Original art work includes a linoleum print, 1976 by Yaeger, sketches and watercolors for his WPA murals at the Ford School Library and the Brodhead Naval Armory, and 3 greeting cards from fellow artist Frederick Papsdorf, 1951-1975.
Also found are lists of paintings, 1923-1931; printed materials, 1923-1989, including exhibition announcements and catalogs, many for Annual Exhibitions for Michigan Artists; clippings, and newsletters addressed to the "Friends of Edgar Yaeger" (ca. 1988-1989).
Biographical / Historical:
Painter, mural painter, mosaicist; Detroit, Mich. His WPA mural commissions included the Brodhead Naval Armory, Ford Elementary School, the Public Lighting Commission Building, and the Grosse Pointe South High School Library.
Provenance:
Donated 1990-1991 by Edgar Yaeger.
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.
Business and personal correspondence, contracts, and sketches. Most files remain in their original annotated folder.
Biographical / Historical:
Lumen Martin Winter (1908-1982) was a painter, muralist, and sculptor from Michigan and New York. Winter's more well known works include his Apollo XIII lithographs and medallions, a mural in the AFL-CIO headquarters and the United Nations building in NYC, and several religious statues in churches and army chapels.
Provenance:
Received in the Washington, D.C. from unidentified sender April, 1999.
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.
