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Carlo Ciampaglia papers

Creator:
Ciampaglia, Carlo Alberto, 1891-1975  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Sketchbooks
Photographs
Business records
Date:
1909-1978
Summary:
The collection measures 5.6 linear feet, dates from 1909-1978, and documents the career of mural painter and interior designer Carlo Ciampaglia. Found within the papers are biographical material, correspondence, business records, notes and writings, art work, interior decorating and mural project files, printed material, and photographs.
Scope and Content Note:
The papers of mural painter and interior designer Carlo Ciampaglia measure 5.6 linear feet and date from 1909 to 1978. Found within the papers are biographical material; correspondence primarily with colleagues discussing projects and the American Academy in Rome Alumni Association's George Washington Bicentennial Exhibition in Washington, D.C.; scattered personal business records including estate documents for various family members and financial material; notes and writings concerning a variety of topics including the Stations of the Cross, decorative encaustic painting, and a typescript about James Whistler; art work including sketchbooks and sketches; printed material including clippings and exhibition catalogs; and photographs of Ciampaglia, family members, and miscellaneous art work. Also found are project files containing correspondence, contracts, financial records, art work, printed material and photographs for fifteen of Ciampaglia's most important commissions.
Arrangement:
All series are arranged chronologically. Glass plate negatives have been housed separately in Boxes 6 and 7, and are closed to researchers. Oversized material from various series has been housed in Boxes 8, 9, 10, and OV 11, and is noted in the Series Descriptions/Container Listing section at the appropriate folder title with see also/see references. The collection is arranged as 8 series:

Series 1: Biographical Material, 1912-1969, undated (Box 1; 8 folders)

Series 2: Correspondence, 1912-1978, undated (Box 1; 45 folders)

Series 3: Business Records, 1923-1961, undated (Box 1; 11 folders)

Series 4: Notes and Writings, 1927, undated (Box 1; 2 folders)

Series 5: Art Work, 1920, undated (Boxes 1, 8; 6 folders)

Series 6: Project Files, 1924-1961, undated (Boxes 1-2, 6-8, OV 11; 2.5 linear feet)

Series 7: Printed Material, 1913-1975, undated (Boxes 3, 8; 32 folders)

Series 8: Photographs, 1909-1960, undated (Boxes 3-5, 7, 9-10; 1.4 linear feet)
Biographical Note:
Carlo Ciampaglia was born March 8, 1891 in Roccaraso, Italy, the son of Natale and Benelde Delmonico Ciampaglia. He came to the United States with his family before his first birthday and became a naturalized citizen in 1919. After attending public schools in Hoboken, New Jersey, Ciampaglia began studying drawing at Cooper Union in 1909, and painting at the National Academy of Design, receiving his diploma in 1917.

In 1920, Ciampaglia married Annette Paltrinieri, and in the same year, he was awarded the Prix de Rome. This prize entitled him to study at the American Academy in Rome, Italy, for the next three years. During this time, he also traveled to other European countries.

Shortly after returning to New York in 1923, Ciampaglia executed a commission for Philadelphia architect Harry Sternfeld to decorate the house of Mr. Frank Potter of Rome, New York. Other commissions included designs for the ceilings of the Chicago Tribune Building, decorations in the chapel of the Fairmount Mausoleum, Newark, and decoration for the niches and ceilings at the First Slovak Girls' Academy, Danville, Pennsylvania.

In 1936, Ciampaglia was commissioned to undertake a major mural project for the Texas Centennial Exposition, for which he completed murals for the transportation, foods, agriculture, and livestock buildings. Three years later, he completed murals for the foods building at the 1939 New York World's Fair.

Ciampaglia lived on his estate, "Woodpeckers' Point," in Middle Valley, New Jersey and maintained a studio on Broadway in New York City. He was also an instructor at Cooper Union and at the Traphagen School of Fashion in New York. He was a member of the Mural Painters Society of America, the Architectural League, and the Allied Artists of America, and was elected an Associate Member of the National Academy of Design.

Carlo Alberto Ciampaglia died in 1975.
Provenance:
The Carlo Ciampaglia papers were donated in 1978 by Rosalie Ciampaglia, the artist's widow.
Restrictions:
The collection is open for research. Use requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Carlo Ciampaglia 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:
Interior decorators -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Sketchbooks
Photographs
Business records
Citation:
Carlo Ciampaglia papers, 1909-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ciamcarl
See more items in:
Carlo Ciampaglia papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ciamcarl
Online Media:

Hildreth Meière papers

Creator:
Meiere, M. Hildreth, d. 1961  Search this
Names:
Exposition internationale (1937 : Paris, France)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Peter A. Juley & Son  Search this
United States. Navy  Search this
Abbott, Berenice, 1898-1991  Search this
Dunn, Louise Meière  Search this
Extent:
27.3 Linear feet
0.068 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1901-2011
bulk 1911-1960
Summary:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.
Scope and Contents:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.

Biographical material includes an autobiographical narrative written by Meière, her many awards and certificates, membership information, passports, her U.S. Navy service records from World War I, documentation of her brief marriage and family genealogy, obituaries, and memorial service documentation. Also found are extensive writings and research conducted by Meière's daughter, Louise Meière Dunn, which include a complete list of Meière's commissions, detailed biographical narratives, and records of Meière's works held elsewhere.

The papers contain Meière's personal and family correspondence, travel correspondence, and business correspondence regarding professional activities. Much of the correspondence with family and friends was written during Meière's extensive travels over the world. Both family and travel correspondence have extensive indexes, summaries, and in some cases, transcripts prepared by Meière's daughter, Louise Meière Dunn. Some of the indexes, summaries and transcripts are digital. Writings include poetry and diaries kept during childhood and school years, travel diaries, essays and talks written about Meière's work, writings Meière prepared for committees of the National Mural Painters Association, and detailed travelogues of her trips to Constantinople and the Balkans in 1933, to Russia in 1936, her "Grand Tour" to Australia, Southeast Asia, India, Africa, and Europe in 1952-1953, and her "Holy Land" tour of the Middle East in 1954.

Civilian War Service Records document Meière's efforts at war relief organization during and after the Spanish Civil War and during World War II. The Spanish Civil War files include extensive photographs provided by the Spanish government as well as three motion picture films documenting refugees and damaged architecture and public artwork shot by Meière during a trip sponsored by Franco's government. World War II activities concern Meière's efforts to organize artists in the United States to design and execute murals and other works of public art at military facilities around the U.S.

Travel records include maps, ephemera, slides, and 83 motion picture films taken on trips abroad between 1933 and 1958. Trips include Eastern and Western Europe, the Mediterranean Region and the Middle East, South America, Mexico and Guatemala, India, Sub-Saharan Africa, Southeast Asia, Australia, New Zealand, Scandinavia, and the UK. The motion picture films are mostly shot in Kodachrome color and many contain intertitles prepared by Meière to identify locations for travel lectures.

Printed materials consist primarily of clippings and publications that reference Meière's work, contain profiles of her, or contain published writings by her. A single published educational film is also found, given to her by an Australian filmmaker friend. Additional photographs, digital photographs and moving images include personal photographs of Meière, with portraits by Peter A. Juley and Sons and Berenice Abbott, photographs of many of her commissioned works, and a few photographs of artwork by others. Home movies show Meière with friends in 1926 and 1940. Among the photographic documentation of artworks by Meière and others are motion picture films of the 1939 New York World's Fair, the D.C. Municipal Building Frieze, and the 1937 Paris Fair; also found are 311 lantern slides and 201 glass copy negatives of her own completed works as well as murals she documented while traveling, notably murals in Norway and Oberammergau, Bavaria, taken in the 1930s.

Eight sketchbooks date to her early years as an art student and artist and include many figure studies, landscapes, and theatrical sketches made at home and abroad.
Arrangement:
This collection is arranged in 8 series. Indexes, summaries, and transcripts prepared by Louise Meière Dunn that relate directly to archival materials in the collection are found throughout the collection with the material they describe. These indices are particularly rich in Series 2, Correspondence.

Series 1: Biographical Material, 1915-2003 (0.6 linear feet; Boxes 1, 14, OV18)

Series 2: Correspondence, 1901-2011 (3 linear feet; Boxes 1-4, RD19, 0.038 GB; ER01-ER03)

Series 3: Writings, 1904-1960 (1.3 linear feet; Boxes 4-5)

Series 4: Civilian War Service Records, 1938-2006 (1.3 linear feet; Boxes 5-6, 15, FC 28-30)

Series 5: Travel Records, 1933-1958 (12.8 linear feet; Boxes 6-10, 15, OV18, FC 31-111)

Series 6: Printed Material, 1913-1998 (2.1 linear feet; Boxes 10-12, 15, FC 112)

Series 7: Photographs and Moving Images, 1915-1966 (5.8 linear feet; Boxes 12-13, 16, 20-27, FC 17, 113-127, 0.029 GB; ER04)

Series 8: Sketchbooks, 1911-1922 (0.4 linear feet; Box 13)
Biographical / Historical:
Hildreth Meière (1892-1961) was born in Flushing, New York, and had a prolific career from 1921-1961 as an architectural muralist working primarily in an Art Deco style. Meière painted murals and designed for various mediums including mosaic, metal, and stained glass. In 1956 the American Institute of Architects awarded Meière their Fine Arts Medal.

Meière was educated at New York's Convent of the Sacred Heart, Manhattanville, the Art Students League in New York, the California School of Fine Arts (now San Francisco Art Institute), and the School of the Art Institute of Chicago, in addition to pursuing studies in Italy. Her major commissions include the Nebraska State Capitol at Lincoln, the National Academy of Sciences, the Resurrection Chapel of the National Cathedral in Washington, D.C. In New York, she designed the Art Deco plaques on the exterior wall of Radio City Music Hall; created mosaic interiors for the Irving Trust Building at 1 Wall Street; and provided ecclesiastical decorations for St. Patrick's Cathedral, St. Bartholomew's Episcopal Church, Temple Emanu-El, and elsewhere. She also created murals for the Chicago 1933 Century of Progress Fair, and the 1939 New York World's Fair.

She was also an active officer in the Art Students League and the National Society of Mural Painters. Some of her most inspired collaborations were with the architect Bertram Goodhue in the 1920s, and only his sudden death in 1924 put an end to them, although some projects were finished with the successor firm.

Meière died in 1961 at the age of 68. Her work is remembered in several major publications, including The Art Deco Murals of Hildreth Meière by Catherine Coleman Brawer and Kathleen Murphy Skolnik, with photographs by Meière's granddaughter, Hildreth Meière Dunn, published in 2014; and the catalog of the 2009 exhibition at St. Bonaventure University, curated by Brawer and photographed by Dunn, entitled Walls Speak: the Narrative Art of Hildreth Meière.
Provenance:
A majority of the collection placed on deposit 2001 by Louise Meière Dunn, daughter of Hildreth Meière. The collection was donated incrementally by Dunn through 2012. Donations occurred 2001-2007, and again in 2010-2012.
Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Hildreth Meière 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:
War relief  Search this
Travel  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
World War I, 1914-1918  Search this
Women artists  Search this
Mosaicists -- New York (State) -- New York  Search this
Art commissions  Search this
Motion pictures (visual works)  Search this
Genre/Form:
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Citation:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meiemari
Online Media:

Howard Chandler Christy letters, 1949

Creator:
Christy, Howard Chandler, 1873-1952  Search this
Subject:
Gilcrease, Thomas  Search this
Topic:
Art, American  Search this
Record number:
(DSI-AAA_CollID)10033
(DSI-AAA_SIRISBib)212855
AAA_collcode_chrihowa
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212855

Eleanor Piacenza papers relating to Thomas Hart Benton

Creator:
Piacenza, Eleanor, 1909-2002  Search this
Names:
Benson, Rita  Search this
Benton, Thomas Hart, 1889-1975  Search this
Mumford, Lewis, 1895-1990  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pollock, Jackson, 1912-1956  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1915-1988
Scope and Contents:
The papers of Eleanor Piacenza date from 1915-1988 and measure 12.6 linear feet. Included are biographical information, correspondence, writings, research files, interviews, and printed material compiled by Piacenza regarding the life and work of her brother-in-law, the American painter Thomas Hart Benton.
Biographical material on Benton includes information regarding Benton's childhood and awards and honors. Correspondence includes photocopies of Benton's letters home to his family, his business correspondence (some photocopies), copies of letters to Rita Benson, copies of correspondence between Benton and friends and associates, including David McCullough, Frances Tenenbaum, Roger Medearis and Jason McCoy.
Writings are by Benton, including his reflection on the occassion of his death, and by Piacenza regarding Benton and includes a 3 1/2 in. disk with writings organized by chapter, and books regarding Missouri. Research files pertain to Benton's exhibitions and murals, and artists Lewis Mumford, Georgia O'Keeffe, Jackson Pollock, Rita Benson, and Alfred Steiglitz, among others. Other files relate to Benton's music, including transcriptions, sheet music, and lyrics. Also included are copies of interview transcripts with Benton. Printed material incudes exhibition catalogs and programs and newspaper clippings regarding Benton, his work, and exhibitions.
Biographical / Historical:
Eleanor Piacenza was married to Louis Piacenza, brother of Rita Benton,Thomas Hart Benton's wife.
Related Materials:
Additional Eleanor Piacenza papers regarding Thomas Hart Benton can be found at the Harry S. Truman library.
Provenance:
Donated 2004 by Jules Worthington, Piacenza's first husband.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Muralists -- Missouri  Search this
Genre/Form:
Interviews
Identifier:
AAA.piacelea
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-piacelea

Henry Varnum Poor papers

Creator:
Poor, Henry Varnum, 1887-1970  Search this
Names:
Montross Gallery  Search this
Skowhegan School of Painting and Sculpture  Search this
Benton, William, 1900-1973  Search this
Biddle, George, 1885-1973  Search this
Billing, Jules  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Caniff, Milton Arthur, 1907-1988  Search this
Ciardi, John, 1916-  Search this
Czebotar, Theodore  Search this
Deming, MacDonald  Search this
Dickson, Harold E., 1900-  Search this
Dorn, Marion, 1896-1964  Search this
Duchamp, Marcel, 1887-1968  Search this
Esherick, Wharton  Search this
Evergood, Philip, 1901-1973  Search this
Garrett, Alice Warder  Search this
Houseman, John, 1902-1988  Search this
Marston, Muktuk  Search this
Meredith, Burgess, 1907-1997  Search this
Mumford, Lewis, 1895-1990  Search this
Padro, Isabel  Search this
Poor, Anne, 1918-  Search this
Poor, Bessie Breuer  Search this
Poor, Eva  Search this
Poor, Josephine Graham  Search this
Poor, Josephine Lydia  Search this
Poor, Peter  Search this
Sargent, Elizabeth S.  Search this
Smith, David, 1906-1965  Search this
Steinbeck, John, 1902-1968  Search this
Watson, Ernest William, 1884-1969  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Date:
1873-2001
bulk 1904-1970
Summary:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Scope and Content Note:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)
Biographical Note:
Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.
Related Material:
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Provenance:
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Henry Varnum Poor 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:
War artists  Search this
Topic:
Architects -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Authors -- New York (State) -- New York  Search this
War posters  Search this
Educators -- New York (State) -- New York  Search this
Pottery -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Artists' studios  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Citation:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.poorhenr
See more items in:
Henry Varnum Poor papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-poorhenr
Online Media:

Lewis W. Rubenstein papers

Creator:
Rubenstein, Lewis W. (Lewis William), 1908-2003  Search this
Names:
Busch-Reisinger Museum  Search this
Fogg Art Museum  Search this
Curry, John Steuart, 1897-1946 -- Caricatures and cartoons  Search this
Lebrun, Rico, 1900-1964  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958 -- Caricatures and cartoons  Search this
Interviewer:
Catlin, Stanton L. (Stanton Loomis)  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1923-1993
Scope and Contents:
Journals, correspondence, writings, sketchbooks, interview, photographs and printed material document Rubenstein's painting career. A series of files relate to Rubenstein's longtime friendship with his teacher, Rico Lebrun.
The bulk of the collection consists of 60 v. of journals, 1930-June 1993, in which Rubenstein writes and sketches about his ideas for "time paintings," scrolls, films, his travels as a Fulbright scholar with his wife, Erica, his summers spent in Provincetown, Mass., "gallery pounding" in New York City trying to sell his work, inspirational biblical quotes, and various artist friends and colleagues, including Rico Lebrun, Walter Pach, Hans Hofmann, Ben Shahn, Karl Knaths, Olin Dows, Philip Guston, and Lloyd Goodrich.
Correspondence (0.2 ft.) relates to Rubenstein's nomination to the National Academy of Design, 1963, his murals in the Busch-Reisinger Museum and the Fogg Museum at Harvard University, the publication of an article by his wife Erica, regarding their stints as Fulbright scholars in Tokyo, illustrated by Lewis, and correspondence of a general nature from friends, colleagues, and admirers. Among the correspondents are Lynd Ward (Rubenstein's sponsor for the N.A.D. nomination), Derek Bok, president of Harvard, Olin Dows, and Edward Rowan, whose 1940 letter concerns Rubenstein's designs for murals for the Wareham, Mass. Post Office for the Section of Fine Arts.
Files on Rico Lebrun (ca. 0.8 ft.), contain several original and extensive photocopies of letters from Lebrun to Rubenstein, and a few letters from Constance Lebrun after her husband's death; a photograph of Lebrun with Constance and photographs of Lebrun's work, 39 drawings, 1933-1949, including studies for "The Cruxifixion" and "Portia"; a caricature of Diego Rivera working on a mural, and of John Steuart Curry by Lebrun, exhibition catalogs, clippings, and other printed material, and writings on Lebrun.
Art work by Rubenstein includes 9 v. of sketchbooks, 1930-1975, containing ink, pencil and charcoal drawings, and a caricature of Walter Pach.
The interview is a partial transcript (7 p.) of Rubenstein conducted by art historian Stanton L. Catlin, 1993, regarding Jose Clemente Orozco and a mural by him commissioned by the Museum of Modern Art, 1940, on which Rubenstein assisted. Also related to Orozco is a notebook containing technical details about the mural.
Photographs are mainly of Rubenstein's murals and paintings, but include several of him, and an album of snapshots of the Rubensteins and Lebruns in Europe, 1930-1932.
Printed material (1.2 linear ft.), documents exhibitions, awards, and works of art, and consists of exhibition announcements and catalogs, clippings, newsletters, Foreign Service journals, news releases, cartoons by Rubenstein, and postcards of Rubenstein's work. Two scrapbooks of newspaper clippings, 1935-1955, cover exhibitions.
Biographical / Historical:
Painter, printmaker, educator. Professor of painting at Vassar College. Rubenstein trained in frescoe painting with Rico Lebrun in Italy, and retained a lifelong friendship with him. His mural commissions include the Busch-Reisinger Museum and the Fogg Museum at Harvard, the Jewish Center in his hometown of Buffalo, N.Y., and the Wareham, Mass. Post Office for the WPA's Section of Fine Arts in 1940. Rubenstein attended Harvard University. He began his long teaching career at Vassar College in 1939. He began doing "Time Paintings" in late 1940s, executed on long canvases and viewed on special scrolled frames, merging Western and Far Eastern scroll painting styles.
Provenance:
Rubenstein donated the Lebrun drawings 1982-1987, and the remainder in 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Muralists  Search this
Topic:
Mural painting and decoration, American  Search this
Mural painting and decoration -- 20th century -- United States  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.rubelewi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rubelewi

Oral history interview with Richard Tuttle, 2016 November 14-17

Interviewee:
Tuttle, Richard, 1941-  Search this
Interviewer:
McElhinney, James, 1952-  Search this
Type:
Interviews
Sound recordings
Topic:
Artists -- New York (State) -- New York -- Interviews  Search this
Installations (Art) -- New York -- New York  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17419
(DSI-AAA_SIRISBib)384977
AAA_collcode_tuttle16
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_384977

Oral history interview with Ethel Magafan, 1964 Nov. 5

Interviewee:
Magafan, Ethel, 1915 or 6-1993  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Subject:
Federal Art Project (N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- New York (State)  Search this
Muralists -- New York (State) -- Interviews  Search this
Painters -- New York (State) -- Interviews  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)12460
(DSI-AAA_SIRISBib)213648
AAA_collcode_magafa64
Theme:
New Deal
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213648

Oral history interview with Guy and Genoi Pettit Maccoy, 1965 July 24

Interviewee:
Maccoy, Guy C. (Guy Crittington), 1904-1981  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
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
Record number:
(DSI-AAA_CollID)11792
(DSI-AAA_SIRISBib)213787
AAA_collcode_maccoy65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213787
Online Media:

Oral history interview with Buckley Mac-Gurrin, 1964 June 20

Interviewee:
Mac-Gurrin, Buckley, 1896-1971  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- California -- Los Angeles  Search this
Record number:
(DSI-AAA_CollID)12334
(DSI-AAA_SIRISBib)213788
AAA_collcode_macgur64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213788
Online Media:

Oral history interview with Louis Schanker, circa 1963

Interviewee:
Schanker, Louis, 1903-1981  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Painters -- Connecticut -- Stamford -- Interviews  Search this
Printmakers -- Connecticut -- Stamford -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12390
(DSI-AAA_SIRISBib)213821
AAA_collcode_schank63
Theme:
Lives of American Artists
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213821

Oral history interview with Richard Haas, 2009 Jan. 13 and Mar. 16

Interviewee:
Haas, Richard, 1936-  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Subject:
United States  Search this
Type:
Sound recordings
Interviews
Topic:
Muralists -- New York (State) -- New York -- Interviews  Search this
Trompe l'oeil painting  Search this
Record number:
(DSI-AAA_CollID)15677
(DSI-AAA_SIRISBib)282736
AAA_collcode_haas09
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_282736
Online Media:

Sol Wilson papers, 1919-1975

Creator:
Wilson, Sol, 1896-1974  Search this
Subject:
Hopper, Edward  Search this
Bouché, Louis  Search this
Burliuk, David  Search this
Evergood, Philip  Search this
Babcock Galleries  Search this
Topic:
Painting, American  Search this
Record number:
(DSI-AAA_CollID)9380
(DSI-AAA_SIRISBib)211577
AAA_collcode_wilssol
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211577

Judson Smith papers, 1887-1975

Creator:
Smith, Judson Dejonge, 1880-1962  Search this
Subject:
Ernst, Jimmy  Search this
Fiene, Ernest  Search this
Gies, Joseph  Search this
Knight, Frederic C.  Search this
Kuniyoshi, Yasuo  Search this
McFee, Henry Lee  Search this
Montminy, Pierre  Search this
Reinhardt, Ad  Search this
Rosen, Charles  Search this
Tomlin, Bradley Walker  Search this
Wheelock, Warren  Search this
Bouché, Louis  Search this
Carlson, John F.  Search this
Colman, Anne  Search this
Dasburg, Andrew  Search this
Diebenkorn, Richard  Search this
Dudensing, F. Valentine  Search this
Woodstock School of Painting  Search this
Record number:
(DSI-AAA_CollID)8661
(DSI-AAA_SIRISBib)210841
AAA_collcode_smitjuds
Theme:
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210841

Wendell Jones papers, 1933-1969

Creator:
Jones, Wendell, 1899-1956  Search this
Subject:
Burlin, Paul  Search this
Cherry, Herman  Search this
Greenwood, Marion  Search this
Guston, Philip  Search this
Hague, Raoul  Search this
Kuniyoshi, Yasuo  Search this
Martin, Fletcher  Search this
Hopper, Jo N. (Josephine Nivison)  Search this
Speicher, Eugene Edward  Search this
Watson, Forbes  Search this
Bruce, Edward  Search this
Rowan, Edward Beatty  Search this
Force, Juliana  Search this
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Type:
Scrapbooks
Topic:
Artists -- New York State -- Woodstock -- Photographs  Search this
Record number:
(DSI-AAA_CollID)6719
(DSI-AAA_SIRISBib)208844
AAA_collcode_jonewend
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208844

Hananiah Harari papers

Creator:
Harari, Hananiah, 1912-2000  Search this
Extent:
0.4 Linear feet ((425 items))
Type:
Collection descriptions
Archival materials
Date:
1939-1983 [and undated]
Scope and Contents:
Correspondence, undated and 1940-1983, with his wife Freda, his parents and friends, art dealers, clients for whom he did portraits, galleries, museums, publishers and others; writings and photocopies of writings, undated, 1972 and 1975, about art, his paintings and dreams; statements and receipts for sale of his works of art; loan agreements, shipping invoices and receipts, 1941-1977, for works borrowed for exhibitions at the Museum of Modern Art, Cerberus Gallery Inc., New York City, University of New Mexico, Albuquerque, Tennis Hall of Fame, Newport, Rhode Island, and New York WPA Artists, Inc.; 8 exhibition announcements and catalogs, 1939-1981; and an undated notation that Harari won the Emy Herzfeld Award for his painting BAROQUE PORTAL.
Also includes 2 photocopies of articles, 1 newspaper clipping and other printed material about Harari; 23 photographs of Harari, his friends, his studios in Cagnes-sur-Mer, France and in Manhattan and Brooklyn, New York, and his works of art.
Biographical / Historical:
Painter, cartoonist, muralist, commercial artist, educator; New York City. Born in Rochester, N.Y. Died July 19, 2000.
Provenance:
Donated 1983 by Hananiah Harari.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Identifier:
AAA.harahana
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-harahana

Lee Woodward Zeigler papers

Creator:
Zeigler, Lee Woodward, 1868-1952  Search this
Names:
Enoch Pratt Free Library  Search this
Federal Art Project (U.S.)  Search this
Public Works of Art Project  Search this
United States. Works Progress Administration  Search this
Bruce, Edward, 1879-1943  Search this
Cram, Ralph Adams, 1863-1942  Search this
Force, Juliana, 1876-1948  Search this
Grainger, Percy, 1882-1961  Search this
Leiber, Fritz, 1882-1949  Search this
Murray, Oscar H., 1882-1957  Search this
Osgood, Charles Grosvenor, 1871-1964  Search this
Wheeler, Joseph Lewis, 1884-  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1911-1968
Scope and Contents:
Biographical material, correspondence files, writings, photographs, and printed material.
Biographical material includes Zeigler's Works Progress Administration identification card, 1936, obituaries, 1952, a biographical sketch, pages from an engagement book, 1914-1917, and an address book.
Correspondence, 1920-1941, relates to Zeigler's freelance painting, mural designs for Tiffany Studios, mural commissions for churches and other public and private commissions, including the Chapel of the Transfiguration Glendale, Oh. (1927-1928), St. Michael's Church, N.Y.C. (1929); Calvary Church, Cincinnati, Oh. (1936-1937), the "Faerie Queene" murals in the Enoch Pratt Free Library, Baltimore, Md. (1933-1941); WPA-FAP projects in New York State (1933-1937), including murals for Washington Hall, West Point Military Academy, the Stony Point Battlefield Museum, Stony Point-on-the Hudson, and the Newburgh Free Academy, Newburgh. Among the correspondents are architects responsible for the designs of the buildings, such as Ralph Adams Cram and O.H. Murray, individuals associated with the execution of the projects, including Charles Osgood and Joseph L. Wheeler; and WPA adminstrators Edward Bruce and Juliana Force.
Printed material includes clippings, ca. 1910-1948, regarding Zeigler's works of art and his involvement in the war effort and local politics; exhibition catalogs and programs, ca. 1925, 1940-1968; and reproductions of Zeigler's illustrations for bookplates, Christmas cards, magazines, including Gunter's Magazine, Harper's Weekly, and Life, ca.1890-1900, and for limited edition books by such authors as Jane Austen, Honore' de Balzac, Amelia E. Barr, Theophile Gautier, Charles Kingsley, and William Stearns Davis, ca.1890-1915.
Photographs consist of three portraits of Zeigler, ca. 1930-1940, and photographs of works by him, ca.1900, 1915, 1993, and by others ca. 1900-1913. Also included are portrait of actor Fritz Leiber, ca. 1900, a snapshot of Percy and Ella Grainger, 1929.
Also included are copyrights for Zeigler's art work, 1911, 1944, 1945, 1979; an unpublished typescript of a short story by Zeigler, "Story of the Son of Roland"; a sketch of a suit of armor created by Zeigler, ca. 1945; a project file regarding a statue of "Ushabti," created by Zeigler, 1923-1924; and a guestbook from an exhibition at the Vanderbilt Galleries, 1941.
Biographical / Historical:
Illustrator, muralist; Baltimore, Md. Studied at the Maryland Institute of Art and was founding member of the Charcoal Club of Baltimore. He began his career as an illustrator and later specialized in mural painting.
Provenance:
Donated 1979 and 1994 by Audrey Z. Archer-Shee; Zeigler's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Architects  Search this
Illustrators  Search this
Muralists -- Maryland -- Baltimore  Search this
Topic:
Mural painting and decoration -- 20th century -- United States  Search this
Mural painting and decoration -- 20th century -- Maryland -- Baltimore  Search this
Mural painting and decoration, American  Search this
Church decoration and ornament -- United States  Search this
Identifier:
AAA.zeiglee
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zeiglee

Wendell Jones papers

Creator:
Jones, Wendell, 1899-1956  Search this
Names:
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Bruce, Edward, 1879-1943  Search this
Burlin, Paul, 1886-1969  Search this
Cherry, Herman  Search this
Force, Juliana, 1876-1948  Search this
Greenwood, Marion, 1909-1970  Search this
Guston, Philip, 1913-1980  Search this
Hague, Raoul, 1905-1993  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Martin, Fletcher, 1904-1979  Search this
Rowan, Edward Beatty, 1898-1946  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
0.5 Linear feet ((200 items))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1933-1969
Scope and Contents:
Letters, undated and 1937-1961, mostly dealing with Jones' mural in the Rome, N.Y. Post Office, done for the Section of Fine Arts; correspondence with Edward Bruce, Forbes Watson, Juliana Force, Edward Rowan, and Eugene Speicher; photographs of Jones, his family, his paintings, and of other Woodstock area artists including Philip Guston, Yasuo Kuniyoshi, Harry Burlin, Herman Cherry, Marion Greenwood, Raoul Hague, Fletcher Martin, and Dorothy Varian; a contract, 1940, for a the Post Office mural; and other business records including check stubs, vouchers and receipts.
Also included are a manuscript by Jones entitled "Article of Faith" for MAGAZINE OF ART, October, 1940; a scrapbook of clippings; and exhibition catalogs, 1957-1969, a press release, 1938, and several clippings, 1933-1948.
Biographical / Historical:
Painter and muralist; Woodstock, N.Y.; b. 1899; d. 1956.
Provenance:
Donated 1982 and 1983 by Jane Jones widow of Wendell Jones.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Muralists -- New York -- Woodstock  Search this
Painters -- New York (State) -- Woodstock  Search this
Topic:
Artists -- New York State -- Woodstock -- Photographs  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.jonewend
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jonewend

Juan Sánchez papers

Creator:
Sánchez, Juan, 1954-  Search this
Extent:
5.4 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
circa 1972-2010
Summary:
The papers of printmaker, muralist, painter and teacher Juan Sánchez measure 5.4 linear feet and date from circa 1972 to 2010. The collection documents Sánchez's career through professional files that include three video recordings for a project, one video recording of an interview for the University of Colorado, correspondence, proposals, and a file regarding Sánchez's Louis Armstrong mural. Also found are printed materials, such as exhibition announcements and catalogs, invitations, magazines and journals, and posters relating to Sánchez and other artists; and artwork that includes prints and mock-ups for various projects.
Scope and Contents:
The papers of printmaker, muralist, painter and teacher Juan Sánchez measure 5.4 linear feet and date from circa 1972 to 2010. The collection documents Sánchez's career through professional files that include three video recordings for a project, one video recording of an interview for the University of Colorado, correspondence, proposals, and a file regarding Sánchez's Louis Armstrong mural. Also found are printed materials, such as exhibition announcements and catalogs, invitations, magazines and journals, and posters relating to Sánchez and other artists; and artwork that includes prints and mock-ups for various projects.
Arrangement:
The collection is arranged as three series.

Series 1: Professional Files, circa 1974-2010 (Box 1, OV 10; 0.5 linear feet)

Series 2: Printed Materials, circa 1972-2009 (Boxes 1-5, OVs 7, 10; 4.0 linear feet)

Series 3: Artwork, 1986-2007 (Boxes 4-6, OVs 8-9; 0.9 linear feet)
Biographical / Historical:
Juan Sánchez (1954- ) is a printmaker, muralist, painter, and teacher in Brooklyn, New York. He received a Bachelor of Fine Arts from Cooper Union in 1977 and a Master of Fine Arts from Rutgers University in 1980. He has been the recipient of several awards including the Guggenheim Fellowship. He is known to be one of the most influential Nuyorican artists. His artwork often deals with themes of Puerto Rican identity and culture. Sánchez teaches at Hunter College in New York.
Provenance:
The papers were donated in 2017 by Juan Sánchez.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Topic:
Hispanic American artists  Search this
Genre/Form:
Video recordings
Citation:
Juan Sánchez papers, circa 1972-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sancjuan
See more items in:
Juan Sánchez papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sancjuan

William Gropper papers

Creator:
Gropper, William, 1897-1977  Search this
Names:
Federal Art Project  Search this
Heritage Gallery  Search this
Crowninshield, Frank, 1872-1947  Search this
Gropper, Sophie  Search this
Henri, Robert, 1865-1929  Search this
Horowitz, Benjamin, 1912-  Search this
Lozowick, Louis, 1892-1973  Search this
Parsons, Frank Alvah, 1868-1930  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Date:
1916-1983
Summary:
The papers of painter, illustrator, muralist, and political activist William Gropper measure 3.3 linear feet and date from 1916-1983. Almost one-half of the collection consists of printed materials, including full issues of New Masses, Liberator, and Der Hammer, all featuring illustrations by Gropper. Circa 600 letters include those written to Gropper by Frank Crowninshield, Robert Henri, Louis Lozowick, Raphael Soyer, and others. Also found are photographs of Gropper, his family, colleagues, and friends, as well as scattered writings and notes, business records, biographical information, three drawings, and a fabric sample designed by Gropper.
Scope and Content Note:
The papers of painter, illustrator, muralist, and political activist William Gropper measure 3.3 linear feet and date from 1916-1983.

Three folders of scattered Biographical Information are found for William Gropper, his wife Sophie and their children. Business Records consist of lists of artwork, price lists, contracts, receipts, and other financial records. Scattered Writings and Notes include mostly writings about Gropper by others, lists of works of art, and miscellaneous writings. Works of Art include three original drawings by Gropper and a sample of fabric designed by Gropper. Circa 600 letters within the papers were written to William Gropper between 1916 and 1977 (bulk, 1970s), although Sophie Gropper's correspondence is also included. Found here are letters from Frank Crowninshield, Robert Henri, Louis Lozowick, Frank Alva Parsons, Raphael Soyer, and others. There are also letters concerning Gropper's participation in the Federal Art Project and from Ben Horowitz of the Heritage Gallery who represented Gropper's artwork.

Almost one-half of the collection consists of Printed Materials, including full issues of New Masses, Liberator, and Der Hammer, all featuring illustrations by Gropper. Also found are auction and exhibition catalogs, clippings, press releases, and printed reproductions of Gropper's artwork.

Photographs are of Gropper, his family, colleagues, friends, family vacations, and works of art.
Arrangement:
The collection is arranged into seven series:

Series 1: Biographical Information, circa 1942-1982 (Box 1; 3 Folders)

Series 2: Business Records, circa 1936-1983 (Box 1; 8 Folders)

Series 3: Writings and Notes, circa 1947-1978 (Box 1; 0.2 linear feet)

Series 4: Works of Art, circa 1940s, 1952, after 1958 (Box 1, OV 4; 2 Folders)

Series 5: Correspondence, circa 1916-1983 (Box 1; 0.4 linear feet)

Series 6: Printed Material, circa 1919-1983 (Box 1-3, OV 4; 1.4 linear feet)

Series 7: Photographs, after 1937-circa 1980s (Box 3; 0.8 linear feet)
Biographical Note:
William Gropper was born on December 3rd, 1897 in the Lower East Side of Manhattan. His family was impoverished and his parents worked in the New York garment factories. To help his family, Gropper took odd jobs throughout New York City. When he was not busy working, Gropper nurtured his artistic talents by drawing cartoons on sidewalks and the sides of buildings.

In 1912, Gropper began formal art education at the Ferrer School in Greenwich Village where he was influenced by the Ashcan School of social realists, particularly artists Robert Henri and George Bellows. After the Ferrer School, Gropper studied at the New York School of Fine and Applied Arts on a scholarship granted by Frank Alvah Parsons. Following his education, Gropper worked simultaneously at the New York Tribune and Rebel Worker as a draftsman and cartoonist respectively. He continued a career as a cartoonist and illustrator for publications such as Vanity Fair, New Masses, The Nation, Freiheit, and various Jewish and Hebrew publications for more than thirty years. Gropper's cartoons typically portrayed the everyday worker and the injustices he suffered.

Gropper, who was also a painter, produced powerful imagery of social protest. His subjects included industrial strikes and the labor wars of the coal mining and steel industries. Additionally, William Gropper received several commissions from the Federal Arts Project, Works Progress Administration to create murals for various public buildings around the country, including one for the United States Department of the Interior building in Washington, D.C. Here, he created Construction of the Dam to represent the combination of labor and technology to construct various dams on the Colorado River. The Guggenheim Foundation awarded a fellowship to Gropper to travel to the impoverished Dust Bowl region. This trip inspired a series of illustrations that appeared in The Nation. Gropper's trips to Russia and Poland also served to inspire his art.

Later in his career, William Gropper exhibited his artwork throughout the United States and the world. Gropper was also one of the originial members of the Artists Equity Association founded in 1947. Gropper's artwork can be found in the permanent collections of the Smithsonian Institution, The National Gallery of Art, The Butler Institute of American Art, Princeton University, The Phillips Collection, The William J. Clinton Presidential Library as well as many other museums and universities. William Gropper remained in New York City and the surrounding area with his wife, Sophie until his death in 1977.
Related Material:
Among the holdings of the Archives of American Art is an oral history interview of William Gropper conducted by Bruce Hooton in 1965. The Louis Lozowick papers contain documentation of Lozowick's research and writings for a biography of Gropper.

The Special Collections Research Center at the Syracuse University Library also holds a collection of William Gropper's papers.
Provenance:
The collection was donated by Sophie Gropper, Gropper's widow, in 1984.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The William Gropper 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:
Muralists -- New York (State) -- New York  Search this
Political activists  Search this
Painters -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Art -- Political aspects  Search this
Genre/Form:
Photographs
Drawings
Citation:
William Gropper papers, 1916-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gropwill
See more items in:
William Gropper papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gropwill
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