Journal of a 1922 European trip and correspondence (1915-1972), notes and writings, and printed material concerning Alfred Steiglitz, New Deal art and other topics.
REEL 3947: Seventeen letters from Alfred Stieglitz (1921-1938) discuss modern art, his 291 gallery, and the artists exhibiting there. Other correspondents include Aline Barnsdall, principally writing about the theatre, Simon Lissim, Dorothy Norman, Faith Vilas and Andrew Wyeth. Additional materials consist of notes (1939), Cheney's manuscript on "Stieglitz and Modern Art", writings (ca. 1930s) including "A Brief Delivered to the WPA-Federal Theatre Project," clippings (1921-1972), exhibition announcements and catalogs (1923-1969) and miscellaneous printed material.
REEL 4283: An undated letter to Cheney from Egmont Arens, editor of PLAYBOY, inviting him to a New Year's Eve party; and a 65-page journal (January 4 - March 13, 1922) in which Cheney records his impressions of museums, art galleries, architecture, and the theater in Europe. Cheney was especially interested in the state of "modern" art and was most impressed with Berlin, Munich, and Dresden. He also visited Amsterdam, Brussels, Oxford, London, Antwerp, Paris, and several places in Italy. In addition to critiques of the museums and art he saw, the journal records conversations with collectors and museum officials. Much of this work was in preparation for his book A PRIMER OF MODERN ART, published in 1924.
Biographical / Historical:
Art historian and writer; b. 1886; d. 1980.
Related Materials:
Papers of Sheldon Cheney, 1900-1980, are also located at UC Berkeley's The Bancroft Library.
Provenance:
The donor, John T. Cheney, is the son of Sheldon Cheney.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
An interview of Raymond Jonson conducted 1980 Aug. 9, by Susan Platt, for the Archives of American Art.
Jonson speaks of his early work in theater design; the art scene in the 1920s; the inspiration of the Southwestern landscape; the importance of lighting in his work; the transition in his work from figurative to abstract; spirituality in his work; Santa Fe as an artistic community; arts critics; arts publications; and the social realist painters.
Biographical / Historical:
Raymond Jonson (1891-1982) was a painter from Albuquerque, N.M. During the Depression he painted murals for several New Deal art programs. He taught at the University of New Mexico where the Jonson Gallery was erected in his honor. It houses the most complete permanent collection of Jonson's work.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
United States. Department of the Treasury Search this
Extent:
0.2 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1933-1934
Scope and Contents:
66 cards identifying specific projects, giving the project title, location, artists involved and miscellaneous information; and 400 cards giving biographical information on participating artists.
Biographical / Historical:
PWAP, the first of the New Deal art programs, was established under the Department of the Treasury in December 1933 to assist unemployed artists by enabling them to work on the decoration of non-federal public buildings. Although it lasted only until the following summer, it engaged nearly 4,000 artists in all parts of the country and served as an important precedent for subsequent federal art programs, such as the Federal Art Project of the Works Progress Administration. Michigan was in Region 9 of the PWAP regions.
Provenance:
Provenance unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Selected records of the PWAP include the following series: Central Office (Washington, D.C.) Correspondence and Related Records, including progress reports, minutes of meetings, and finance records (reels DC1-3); Correspondence and Personal Files of Edward P. Rowan, Technical Director (reels DC3-4); Central Office Correspondence With Artists (reels DC5-7); Central Office Files and Publicity Materials, including correspondence of project director Edward Bruce (reel DC8); Newspaper Clippings (reels DC8-9); Correspondence and Related records of Cecil Jones, Business Director (reels DC9-12); Final Reports on Projects, Report Materials and Project Issuances (reel DC12); Regional Office Records (reels DC12-13); and selected Correspondence of the New York Regional Office (Region 2) With Artists concerning administrative details of employing artists (DC 112-115).
Biographical / Historical:
The Public Works of Art Project (PWAP), the first of the New Deal art programs, was established under the Department of the Treasury in December 1933 to assist unemployed artists by enabling them to work on the decoration of non-federal public buildings. Although it lasted only until the following summer, it engaged nearly 4,000 artists in all parts of the country and served as an important precedent for subsequent federal art programs, such as the Federal Art Project of the Works Progress Administration. Later art projects administered under the Department of the Treasury were the Section of Fine Arts, originally the Section of Painting and Sculpture, and the Treasury Relief Art Project, both of which served to employ artists to decorate federal buildings across the United States.
Related Materials:
AAA has filmed, and described separately, selected records of the Treasury Relief Art Project (reels DC14-38) and the Section of Fine Arts (reels DC38-43) from record group 121. In addition, selected records of the WPA Federal Art Project (National Archives record group 69) were also filmed (reels DC44-DC111 and DC129-130).
Provenance:
Series microfilmed by AAA were selected from the National Archives record group 121, Records of the Public Buildings Service. Additional records of the PWAP are preserved at the National Archives. Series which were not microfilmed include: correspondence of L.W. Roberts, assistant secretary of the Treasury; the central file of the Advisory Committee and the Project; card lists of allocated paintings and other works of art; and receipt cards for works of art.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
The papers of Martyl Langsdorf, professionally known by just her first name, Martyl, date from 1918 to 1977 and measure 2.6 linear feet. Included within the collection is correspondence; subject files; biographical data; writings and notes; sketches; photographs; exhibition catalogs and announcements; guest books; price lists; receipts; reproductions; clippings; and printed materials.
Sketches, 1936-1975, made in the United States, Mexico, Europe, and Japan. In addition there is a 1929 newspaper clipping.
Biographical data; letters, 1936-1937, to her mother Aimee Schweig from Thomas Hart Benton, John Steuart Curry, Joe Jones and Grant Wood; files of letters from Carl Holty, Horst W. Janson and Lancelot Law Whyte; a file on Charles Hawthorne containing his painting notes and a photo; subject files on the ACA Gallery, Bulletin of Atomic Scientists, Art Institute of Chicago, Feingarten Gallery, Kovlar Gallery, Oriental Institute, the Renaissance Society, and the Unitarian Church of Evanston, Illinois, containing correspondence and financial material; writings and notes; sketches of Langsdorf by friends; exhibition catalogs and announcements; guest books; price lists; receipts for sales and rentals of her paintings; printed material on the St. Genevieve School of art; and photographs, ca. 1935-1970, of Langsdorf, her family, her paintings, exhibition installations, Langsdorf at work on a mural for the Unitarian Church of Evanston, Illinois, and artists Thomas Hart Benton, Arnold Blanch, Adolf Dehn, Doris Lee, Boardman Robinson, Sequieros, and others, and a photograph by Fritz Henle, 1940, of a picnic at the Colorado Springs Fine Arts Center.
Correspondence with Edward Rowan of the Public Buidlings Administration, Section of Fine Arts, and contracts, 1940-1944, concerning Langsdorf's watercolors for the Carville, La. Marine Hospital, murals for post offices in Russell, Kansas and St. Genevieve, Missouri, and for the Recorder of Deeds Building in Washington, D.C., and for related exhibitions; a photocopy of a letter from collector Joseph Hirshhorn, Jan. 18, 1943, regarding his purchases of Langsdorf's work; general correspondence, 1958-1972; price lists; and printed material, 1937-1976, including press releases, archaelogical newsletters, exhibition announcements and clippings.
Biographical / Historical:
Martyl (1917-2013) was a painter in Chicago, Illinois. Full name is Martyl Schweig Langsdorf.
Provenance:
Material on reels 2992-2994 donated 1977 by Martyl S. Langsdorf. Material on reel 1364 lent for microfilming 1977 by Langsdorf. Unmicrofilmed material is a combination of the unfilmed portion of the 1977 gift and the 1990 transferred material from General Services Administration. The GSA received the material originally from Martyl Langsdorf for their files on New Deal art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Notes (1940-1941); printed material (1937-1938) and photographs (1934-1937) documenting the New Deal art work of mural painter Emmanuel Jacobsen.
A list of historic figures proposed for inclusion in the Herzl Junior College mural illustrating "Significant Men and Women in the History of Science and Civilization"; a 3-page typewritten list (1940) of artists representing the Illinois Art Project in the "American Art Today" exhibition at the New York World's Fair; an 11-page bulletin listing January 1941 exhibitions; seven clippings concerning exhibitions by Illinois artists (1937-1938); a 1938 exhibition catalog "Art for the Public by Chicago Artists" and a copy of the May 1937 issue of FORTUNE magazine containing an article on "Unemployed Arts".
Subjects of photographs include the murals for the Mann School, Oak Park, Illinois; Bloom Township High School, Chicago Heights, Illinois (1936-1937); Herzl Junior College, Chicago, Illinois; Jacobson at work; an unused sketch; a tapestry and Ethel Spears at work on a mural.
Provenance:
Donated 1988 by Emmanuel Jacobson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Correspondence; writings, speeches and notes; clippings and other printed material; a list of requisitions for interior decoration; sketches; correspondence of Emerson J. Griffith, State Administrator for Oregon's Works Progress Administration; lyrics of George Natanson's song "Hail to Timberline"; and photographs of Griffith and Floyd Dell at Timberline Lodge. Also included is correspondence regarding the WPA crafts exhibit at the New York World's Fair.
Biographical / Historical:
Margery Hoffman Smith (1888-1981) was a painter, craftsman, and interior decorator from San Francisco, California. Smith was art director for the Timberline Lodge project on Mount Hood, Oregon, which was built under the authority of the WPA in the 1940s. She became the assistant state director of the Federal Art Project in Oregon.
Provenance:
Lent by Sarah Munro, 1982, who served as the Vice President of Friends of Timberline.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Material primarily relating Rein's work as research associate on the NEA funded project "Federal Support for the Visual Arts: The New Deal and Now," directed by Francis V. O'Connor. Included are letters, 1967-1968, some concerning miscellaneous research projects, and the installation of art work on city property in New York state through various WPA programs including PWAP, TRAP, and WPA-FAP; photocopies of letters to Franklin Roosevelt; minutes of a meeting; a list of sponsors of the Washington area committee for the abolition of the House Un-American Activities Committee, 1968; questionnaire forms; letters, 1967, and forms for an independent survey of WPA-FAP works of art installed in schools and institutions in Washington, D.C.; clippings, 1961-1968; and printed material.
Biographical / Historical:
Art historian; Washington, D.C.
Provenance:
Donated by Richard Rein, the son of Selma Rein.
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.
Reports of work in the 13th region (New Mexico), written by the supervisor, Gustave Baumann. Included are detailed personal and professional comment on numerous artists in the Santa Fe, Taos, and Albuquerque projects, among them Emil Bisttram, Tom Lea, Ward Lockwood, Olive Rush, and Will Shuster; a work journal and commentary on various artists and their projects; and commentary on the physical situation, psychological climate and supervisory problems associated with the projects.
Biographical / Historical:
The Public Works of Art Project (PWAP), the first of the New Deal art programs, was established under the Department of the Treasury in December 1933 to assist unemployed artists by enabling them to work on the decoration of non-federal public buildings. Although it lasted only until the following summer, it engaged nearly 4,000 artists in all parts of the country and served as an important precedent for subsequent federal art programs, such as the Federal Art Project of the Works Progress Administration.
Provenance:
Lent for microfilming 1964 by Gustave Baumann.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United States. Department of the Treasury Search this
Extent:
0.4 Linear feet ((700 items))
Type:
Collection descriptions
Archival materials
Date:
1933-1934
Scope and Contents:
Receipts for works of art deposited with the New York Regional Committee by the Public Works of Art Project. Receipts state the artists' names, addresses, employment dates, amount, medium and location of work.
Biographical / Historical:
PWAP, the first of the New Deal art programs, was established under the Department of the Treasury in December 1933 to assist unemployed artists by enabling them to work on the decoration of non-federal public buildings. Although it lasted only until the following summer, it engaged nearly 4,000 artists in all parts of the country and served as an important precedent for subsequent federal art programs, such as the Federal Art Project of the Works Progress Administration. The PWAP divided the 48 states into 16 regions in order to administer its programs more efficiently.
Provenance:
Provenance unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
United States. Work Projects Administration Search this
United States. Works Progress Administration Search this
Extent:
1 Linear foot ((on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1909-1961
Scope and Contents:
Correspondence, New Deal materials, exhibition and financial records.
Two brief biographies by Frances Foy for "Leading American Women"; Illinois Academy of Fine Arts membership cards for Foy and Dalstrom; correspondence, with the Art Institute of Chicago and other museums, local galleries, dealers, and arts organizations such as the Renaissance Society, American Federation of Arts, and Chicago Society of Etchers; a letter of 3/26/34 from fellow artist Rifka Angel regarding selection of artists for Public Works of Art Projects; New Deal art project materials, including correspondence about a mural commemorating Marian Anderson's 1939 concert at Lincoln Memorial and with federal agencies,concerning commissions, contracts, vouchers, drawings and blueprints for projects, announcements, speeches, and articles on the government art programs.
Exhibition records include receipts, loan agreements, checklists, and shipping forms. Financial records include invoices, pricelists, purchase orders, receipts, remittances, and vouchers from private customers. Printed materials include news clippings, brochures, advertisements from art supply companies; articles on exhibitions, newsletters from arts organizations, announcements and catalogs of exhibitions, and a copy of Dali's "Declaration of the Independence of the Imagination and the Rights of Man to His Own Madness" 1939.
Arrangement:
I. Biographical. II. Correspondence. III. New Deal materials. IV. Exhibitions. V. Financial. VI. Printed matter. VII. Lists and notes.
Biographical / Historical:
Muralists and painters; Chicago, Ill. Married in 1923. Worked on the Public Works of Art Project and Federal Art Project. Painted several post office murals. Belonged to local arts organizations such as the Renaissance Society and the No-Jury Society of Artists. Foy, who used her maiden name professionally, gained recognition locally for her paintings of flowers.
Provenance:
Donated 1987 by Lars M. Dalstrom, son of Frances Foy and Gustaf O. Dalstrom.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
32 U-Matic videorecordings of unedited interviews, varying in length from fifteen minutes to three hours, of artists, craftspersons, administrators, and historians, associated with New Deal art in California. One videotape, which features Dr. Francis V. O'Connor, is an introduction to the project. The interviews were conducted and recorded in subjects' homes or studios by Lydia Modi Vitale and Steven Gelber. This videotape project was one in conjunction with a 1976 exhibit at the museum entitled NEW DEAL ART: CALIFORNIA.
Interviewees include: Belle Baranceanu (March 9, 1975, 1 tape), Edward Biberman (March 15, 1975, 1 tape), Helen and Margaret Bruton (February 26, 1975, 2 tapes), Ralph Chesse (February 18, 1975, 1 tape), Joseph Danysh (April 24, 1975, 2 tapes), Lorser Feitelson and Helen Lundeberg (March 14, 1975, 2 tapes), Jason Herron (March 6, 1975, 1 tape),
Charles Kassler (March 10, 1975, 2 tapes), Albert King (March 6, 1975, 2 tapes), Daniel M. Mendelowitz (February 17, 1975, 1 tape), Francis V. O'connor (date unknown, 1 tape), Richard and Anne O'Hanlon (February 19, 1975,2 tapes), Hilda Preibisius (March 9, 1975, 1 tape), Leroy Robbins (March 13, 1975, 2 tapes), Jacques Schnier (February 27, 1975, 2 tapes) Jean Swiggett (March 11, 1975, 1 tape), Herman Volz (February 28, 1975, 4 tapes), Glenn Wessels (February 22, 1975, 2 tapes), Bernard Zakheim (February 15, 1975, 2 tapes).
Provenance:
Duplicates made from original videocassettes lent by the University of California, de Saisset Art Gallery and Museum, 1984.
Restrictions:
This collection is open for research. Use requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
Authorization to publish, quote or reproduce requires written permission from de Saisset Museum, University of Santa Clara. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
This series contains research files and administrative materials related to O'Connor's publications on the WPA/FAP and New Deal artists, Federal Support for the Visual Arts: The New Deal and Now (1969), New Deal Art Projects: An Anthology of Memoirs (1972), Art for the Millions (1973), and Federal Art Patronage Notes (publication, 1974-1984). Documents include correspondence with publishers, research notes, financial records, drafts, proofs, and final reports.
Arrangement:
The series is arranged as 4 subseries. Materials are arranged by document type.
Missing Title
2.1: -- Federal Support for the Visual Arts: The New Deal and Now -- , 1939-1985
2.2: -- New Deal Art Projects: An Anthology of Memoirs -- , 1968-1972
2.3: -- Art for the Millions -- , 1965-1973
2.4: -- Federal Art Patronage Notes -- , 1971-1985
Collection 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.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
Correspondence, drafts, administrative records, research data, computer printouts, and final reports related to O'Connor's National Endowment sponsored project, Federal Support for the Visual Arts (FSVA). This project was an analysis to measure the effectiveness of New Deal art projects by tracing the history of the projects, surveying the subsequent careers of participating artists, and measuring the economic value of surviving artworks where possible. The project's final report was published in 1969 and references documentation collected in Series 1.1-1.3.
Collection 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.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
Correspondence, book covers, index, and an interview transcript related to the book, New Deal Art Projects, which collects the memoirs of ten artists and administrators who participated in New Deal art projects. The interview transcript is an edited version of the conversation that appears in the book between Audrey McMahon, Olive Gavert, Marchal Landgren, Jacob Kainen, Belisario Contreras, and Francis O'Connor.
Collection 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.
Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
