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.
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
[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.
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
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
The papers of photographer Nickolas Muray measure 1.5 linear feet and date from 1910 to 1978. Found within the papers are biographical materials; business and personal correspondence, including a handful of letters from Frida Kahlo; writings; teaching files, primarily of photography courses taught at New York University; printed material; artwork; and photographic materials of Muray, his family and friends, and his work.
There is a 0.6 linear feet Unprocessed Addition which includes biographical material, correspondence, photographs, research notes and a diary about Africa, and a subject file on the book The Revealing Eye, Personalities of the 1920s, written by Paul Gallico with photographs taken by Muray, 1967.
Scope and Contents:
The papers of photographer Nickolas Muray measure 1.5 linear feet and date from 1910 to 1992. Found within the papers are biographical materials; business and personal correspondence, including a handful of letters from Frida Kahlo; writings; teaching files, primarily of photography courses taught at New York University; printed material; artwork; and photographic materials of Muray, his family and friends, and his work.
There is a 0.6 linear feet Unprocessed Addition which includes biographical material, correspondence, photographs, research notes and a diary about Africa, and a subject file on the book The Revealing Eye, Personalities of the 1920s, written by Paul Gallico with photographs taken by Muray, 1967.
Arrangement:
The collection is arranged as 2 series.
Missing Title
Series 1: Nickolas Muray papers, 1910-1978 (0.9 linear feet; Boxes 1-2, OV 3)
Series 2: Unprocessed Addition, 1927-1992 (0.6 linear feet; Boxes 4-5)
Biographical / Historical:
Photographer Nickolas Muray (1892-1965) lived and worked in New York, New York and was known for his portrait, fashion, and advertising photography and for his mastery of the carbro color printing process.
Born in Szeged, Hungary, Muray spent time in Budapest as an engraver's apprentice and moved to Germany at the age of 16 to expand his technical knowledge of photo-engraving and photography. In 1913, Muray immigrated to America where he worked as a photo engraver at Stockinger Engraving Co. and eventually opened his own photography studio in 1920. After successfully completing a commission to photograph Broadway star Florence Reed, Muray continued to build his portfolio with regular commissions for Harper's Bazaar and Vanity Fair to photograph movie stars, artists, musicians, artists, and models. In the 1930s, Muray mastered the carbro printing process and established one of the first color labs in America. His color fashion and advertising work continued to appear regularly in Vogue, Ladies' Home Journal, Woman's Home Companion, McCall's and other periodicals.
In addition to his professional work, Muray wrote reviews for Dance magazine and represented the United States in 1928 and 1932 as a member of the Olympic fencing team. He maintained a long distance affair with artist Frida Kahlo throughout the 1930s, eventually ending the relationship but remaining friends until her death in 1954. In 1942, Muray married his fourth wife, Margaret (Peggy) Schwab, with whom he had a daughter, Mimi. Muray died of a heart attack in 1965.
Provenance:
The papers were donated in 1988 and 2019 by Muray's daughter, Mimi Murray.
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.
Photographic prints taken by photographer William Claxton (October 12, 1927-October 11, 2008) of jazz musicians.
Scope and Contents:
Collection consists of twenty-eight photographic prints processed in 1999 by a professional laboratory for photographer William Claxton. The prints document jazz artists in recording sessions and performing throughout the United States. It is divided into two series: Series 1, Duke Ellington, 1955-1960, and Series 2, Other Artists, 1955-1970.
Arrangement:
The collection is divided into two series.
Series 1: Duke Ellington, 1955-1960
Series 2: Other Artists, 1951-1970
Materials in the Archives Center, National Museum of American History:
Archives Center, National Museum of American History
Duke Ellington Collection, NMAH.AC.0301
William H. Quealy Collection of Duke Ellington Recordings, NMAH.AC.0296
Duke Ellington Oral History Project, NMAH.AC.0368
Billy Strayhorn Ephemera Collection, NMAH.AC.0383
Collection of Duke Ellington Ephemera and Related Audio-visual Materials, NMAH.AC.0386
Robert Udkoff Collection of Duke Ellington Ephemera, NMAH.AC.0388
Frank Driggs Collection of Duke Ellington Photographic Reference Prints, NMAH.AC.0389
New York Chapter of the Duke Ellington Society Collection, NMAH.AC.O390
Felix Grant Collection, NMAH.AC.0410
Carter Harman Collection of Interviews with Duke Ellington, NMAH.AC.0422
Archives Center Collection of Music Transcriptions of Duke Ellington Compositions, Carter Harman NMAH.AC.0430
Jazz Oral History Collection about Duke Ellington, NMAH.AC.0431
Herman Leonard Photoprints, NMAH.AC.0445
Don Brown Collection of Duke Ellington Recordings, NMAH.AC.0472
Betty McGettigan Collection of Duke Ellington Memorabilia, NMAH.AC.0494
Dr. Theodore Shell Collection of Duke Ellington Ephemera, NMAH.AC.0502
Jay McCarter Phonograph Record Collection, NMAH.AC.0541
Tom Whaley Collection, NMAH.AC.0652
Edward and Gaye Ellington Collection of Duke Ellington Materials, NMAH.AC.0704
Andrew Homzy Collection of Duke Ellington Stock Arrangements, NMAH.AC.0740
John Gensel Collection of Duke Ellington Materials, NMAH.AC.0763
W. Royal Stokes Collection of Music Publicity Photoprints, Interviews and Posters, NMAH.AC.0766
Milt Gabler Papers, NMAH.AC.0849
Paquito D'Rivera Music Manuscripts and Photograph, NMAH.AC.0891
Charismic Productions Records of Dizzy Gillespie, NMAH.AC.0979
Floyd Levin Jazz Reference Collection, NMAH.AC.1222
Al Celley Collection of Duke Ellington Materials, NMAH.AC.1240
James Moody Papers, NMAH.AC.1405
Provenance:
The National Museum of American History purchased the collection on March 31, 1999.
Restrictions:
Collection is open for research. Gloves required with unprotected photographs.
Rights:
Copyright restrictions. Contact staff for information.
Topic:
Musicians -- 1950-1960 -- United States Search this
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]
