Issued March 27, 1959. Contains bearer's address: 718 Mo. Sierra Dr., Beverly Hills, Calif. Also contains description of bearer. Passport documents singer's travels. Stamps/Visas include: Argentina, Australia, Brazil, Britain, Bulgaria, France, Germany, Israel, Italy, Netherlands, Switzerland, Yugoslavia. Anonymous passport photograph.
Local Numbers:
AC0584-0000001.tif (AC Scan)
General:
In Series 9, Box 61, Folder 1.
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
[Jimmy Hamilton, Paul Gonsalves (foreground, playing saxophone), Bobby Boyd, valet and bandboy (background in recording booth), black-and-white photoprint,] 1956
Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Ellington sits in a studio behind a turntable, microphones (one with the letters WIRE) , and other equipment, with the interviewer. Photographer's stamp: Kirk Studio, Indianapolis.
Arrangement:
Box No. 6.
Local Numbers:
AC0301-0000068.tif (AC Scan No.)
95-11930 (SI Neg.)
Series Restrictions:
Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Curtis Fuller at his June 16, 1957 session for "The Opener" at the Van Gelder Studio, New Jersey. Recording session with Mobley, Timmons, Chambers, Taylor. Fuller plays trombone and smoke curls above his head. This photograph became the album's cover image.
Local Numbers:
AC1238-0000001 (AC Scan)
Exhibitions Note:
Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.
Collection Restrictions:
Collection is open for research.
Rights:
Copyright held by Michael Cuscuna, Mosaic Records.
Clifford Brown at his August 28, 1053 session for "The Clifford Brown Sextet (Blue Note) at Audio-Video Studios, New York City [black-and-white photoprint]
John Coltrane and Lee Morgan at Coltrane's September 15, 1957 session for "Blue Train" (Blue Note) at the Van Gelder studio, New Jersey [black-and-white photoprint]
J.J. Johnson and Miles Davis at Davis's session of April 20, 1953 for "The Miles Davis All-Stars" (Blue Note) at WOR Studios, New York City [black-and-white photoprint]
Dexter Gordon and Freddie Hubbard at Gordon's May 6, 1961 session for "Doin' All Right" (Blue Note) at the Van Gelder Studio, New Jersey [black-and-white photoprint]
Hank Mobley and Pepper Adams at Mobley's October 20, 1957 session for "Poppin" (Blue Note) at the Van Gelder Studio, New Jersey [black-and-white photoprint]
Alfred Lion and Thelonious Monk at Monk's May 30, 1952 session for "Genius of Modern Music" (Blue Note) at WOR Studios, New York City [black-and-white photoprint]
Possibly taken in Chicago because the newspaper on the piano is the Chicago Tribune. Box 2, John Miner Negatives "M to Z" ("Billy Strayhorn" envelope). Made on Kodak Safety Film 470.
Local Numbers:
AC1323-0000012.tif (AC Scan No.)
Collection Restrictions:
Collection is open for research.
Collection Rights:
Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Jazz musicians -- 1950-2000 -- United States Search this
The papers of California painter Jay DeFeo measure 1.5 linear feet and date from circa 1940s to 1979. The collection provides scattered documentation of DeFeo's career, and details on her seminal work, The Rose, through biographical material, correspondence with friends and colleagues, personal business records, writings by others, printed material, photographs highlighting DeFeo's prominent role in her community, and artwork.
Scope and Contents:
The papers of California painter Jay DeFeo measure 1.5 linear feet and date from circa 1940s to 1979. The collection provides scattered documentation of DeFeo's career, and details on her seminal work, The Rose, through biographical material, correspondence with friends and colleagues, personal business records, writings by others, printed material, photographs highlighting DeFeo's prominent role in her community, and artwork.
Correspondence, while scattered, contains some significant and illuminating letters. The series includes documentation of Bruce Conner's assistance in managing the moving and conservation of The Rose, correspondence with the Pasadena Art Museum regarding the first public showing of the work, and correspondence with the San Francisco Museum of Art and Tony Rockwell regarding its conservation. Other correspondents of note include Wallace Berman, Irving Blum and Ferus Gallery, Mark Green, Frank Lobdell, Fred Martin, David Simpson, Ruth Terrill, and Eleanor (Nell) Sinton. Throughout the series letters both to and from DeFeo provide details on her thoughts about her work, personal and professional challenges and decisions at various stages of her career, and her artistic growth as she developed her interest in photography and other media.
Writings are by others and include reflections by Fred Martin on art and travel, and poems from Wallace Berman's self-published journal, Semina. Personal business records contain significant documentation of preservation costs for The Rose, the purchase of DeFeo's work, Incision, and the lease of the flat that was the site of DeFeo's personal and artistic growth and community for over a decade. Printed material includes scattered articles on artwork by DeFeo and others, posters announcing DeFeo's group and solo exhibitions at Ferus Gallery, and announcements and catalogs for others.
Photographs provide important documentation of DeFeo's pivotal role in the San Francisco art community and include some of the most reproduced images of her and others including Wally Hedrick and Joan Brown, taken by photographers such as Jerry Burchard, Wallace Berman, Wally Hedrick, and DeFeo. Many other personal photographs of group trips to the beach and parties at the Fillmore Street flat capture the camaraderie and vitality of the community to which DeFeo belonged.
Also found are several collages made by DeFeo, and artwork by others including Wallace Berman, and sketches by Al Wong.
Arrangement:
The collection is arranged as 7 series
Missing Title
Series 1: Biographical material, 1948-1969 (2 folders; Box 1)
Series 2: Correspondence, circa 1950-1979 (0.4 linear feet; Box 1, OV 3)
Series 3: Writings, circa 1950s-circa 1960s (0.1 linear feet; Box 1, OV 3)
Series 4: Personal Business Records, 1955-1974 (3 folders; Box 1)
Series 5: Printed Material, 1956-1975 (0.2 linear feet; Box 1, OV 3)
Series 6: Photographs, circa 1940s-circa 1970s (0.5 linear feet; Boxes 1-2, OV 3)
Series 7: Artwork, circa 1950s-circa 1960s (0.3 linear feet; Box 2)
Biographical / Historical:
Expressionist and symbolist painter, photographer, and educator Jay DeFeo (1929-1989) was a central figure in the progressive community of artists, poets, and musicians of the San Francisco Bay Area in the 1950s-1960s. She devoted eight years to producing her most celebrated painting, The Rose, and was known for her endlessly experimental cross-disciplinary work in painting, drawing, photography, and collage.
DeFeo was born in Hanover, New Hampshire, and was three years old when her family moved to the San Francisco Bay Area. She attended the University of California Berkeley and earned bachelor's and master's degrees in studio art in 1950-1951. She then traveled for eighteen months on a scholarship to France, Spain, North Africa, and Italy and spent six months in Florence producing her first significant body of work.
DeFeo returned to San Francisco in 1953 and married fellow artist Wally Hedrick in 1954. The couple rented a Victorian flat at 2322 Fillmore Street and actively participated in Beat counterculture, throwing large parties for their friends including artists, musicians, painters, poets, and photographers. Joan and Bill Brown were neighbors and the four artists shared ideas and space to such an extent that they cut a door in an adjoining wall so they could come and go between their two apartments with ease.
DeFeo's first solo exhibition was held at the Dilexi Gallery in 1959, and Dorothy Miller selected her work for her landmark Sixteen Americans exhibition the same year. After an exhibition at Ferus Gallery in 1960, DeFeo turned down other gallery affiliations to work almost exclusively on The Rose. Completed in the Fillmore Street flat in 1966, DeFeo's monumental work was first exhibited at the Pasadena Art Museum in 1969, and was later moved to the San Francisco Art Institute to await conservation.
DeFeo and Hedrick divorced in 1969, and DeFeo moved to Larkspur in Marin County to regroup from personal set-backs and the draining experience of working on The Rose. She taught part-time at various art institutions in California, and in 1981 moved to Oakland and joined the art faculty at Mills College, becoming a tenured professor in 1986. She worked prolifically as an artist to the end of her life.
The Rose underwent extensive conservation and in 1995 was purchased by the Whitney Museum of American Art for the museum's permanent collection. DeFeo's work has been exhibited extensively in the United States and Europe and can be found in the collections of major museums throughout the United States and abroad.
Related Materials:
The Archives of American Art has an oral history interview with DeFeo conducted 1975 June 3-1976 January 23 by Paul Karlstrom for the Archives of America Art. An 83 page transcript is available online. The Bancroft Library at the University of California, Berkeley holds some of DeFeo's archival materials.
Provenance:
Donated between 1975-1981 by Jay DeFeo.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco Search this
Photographers -- California -- San Francisco Search this
Collection of the Smithsonian National Museum of African American History and Culture, Gift of W. Allen Taylor, son of "Walkin' Talkin' Bill Hawkins," The First Black Disc Jockey of Cleveland, Ohio
Object number:
2018.91.2.18
Restrictions & Rights:
Unknown - Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
