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Una Hanbury papers

Creator:
Hanbury, Una, 1904-1990  Search this
Names:
Royal Academy of Arts (Great Britain)  Search this
Saunders Sculpture International  Search this
Carson, Rachel, 1907-1964  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Gilpin, Laura  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Oppenheimer, J. Robert, 1904-1967  Search this
Ripley, Sidney Dillon, 1913-2001  Search this
Segovia, Andrés, 1893-  Search this
Extent:
5.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1910-1994
Summary:
The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.
Scope and Contents:
The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.
Arrangement:
The collection is arranged into seven series.

Series 1: Personal Papers, 1926-1983 (Box 1; 4 folders)

Series 2: Business Records, 1965-1991 (Boxes 1-2; 1.2 linear feet)

Series 3: Project Files, 1961-1992 (Boxes 2-3; 1.8 linear feet)

Series 4: Subject Files, circa 1924-1985 (Box 4, OV 7; 1.0 linear feet)

Series 5: Estate of Una Hanbury, 1990-1994 (Boxes 4-5; 0.6 linear feet)

Series 6: Printed Material, 1926-1990 (Box 5; 0.4 linear feet)

Series 7: Photographs, 1910-1991 (Boxes 5-6, 0.3 linear feet)
Biographical / Historical:
Una Hanbury (1904-1990) was a sculptor in Washington, D.C. and Santa Fe, New Mexico. Hanbury was born in Middlesex, England, in 1904; the incorrect birth date of 1909 that she submitted to Who's Who and other biographical reference sources is cited in numerous published articles. Hanbury [née Rawnsley] exhibited artistic talent as a young child and received instruction from animal artist Frank Calderon. After graduation from London's Polytechnic School of Art, she studied for three years at the Royal Academy. Jacob Epstein was her most influential teacher.

Soon after completing her formal education, Una Rawnsley became Una Hanbury and devoted herself full-time to being a wife and mother. During World War II she left England for Bermuda and brought her family to the United States once the war was over. Hanbury settled in Washington, D.C., where she resumed her sculpting career, completing many large scale commissions for public buildings such as the Medical Examiners Building, Baltimore, and St. Mark's Lutheran Church, Springfield, Virginia, among others. She developed a fine reputation as a portrait sculptor, and commissions included busts of Rachel Carson, Enrico Fermi, Buckminster Fuller, Laura Gilpin, Richard Neutra, Georgia O'Keeffe, Robert Oppenheimer, S. Dillon Ripley, and Andrés Segovia. In addition, animals--particularly horses--were a favorite subject since childhood; sculptures were commissioned by several zoos, and horse portraits often were commissioned by owners.

In 1970, Una Hanbury relocated to Santa Fe, New Mexico, where she continued working well into old age and became a significant force in the art life of that region.
Provenance:
The Una Hanbury papers were donated to the Archives of American Art by the artist's daughter, Jillian Poole, in 1999 and 2006.
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 access copy requires advance notice. 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.
Topic:
Portrait sculpture -- 20th century -- United States  Search this
Portrait sculpture, American  Search this
Women sculptors -- New Mexico  Search this
Animal sculptors -- Washington (D.C.)  Search this
Animal sculptors -- New Mexico  Search this
Animal sculpture  Search this
Sculptors  Search this
Women sculptors -- Washington (D.C.)  Search this
Genre/Form:
Photographs
Citation:
Una Hanbury papers, 1910-1994, bulk 1966-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hanbuna
See more items in:
Una Hanbury papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hanbuna
Online Media:

Georgia O'Keeffe letter to Cady Wells

Creator:
O'Keeffe, Georgia, 1887-1986  Search this
Wells, Cady, 1904-1954  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Subject:
O'Keeffe, Georgia  Search this
Type:
Correspondence
Date:
1939
Record number:
(DSI-AAA)15326
See more items in:
Cady Wells papers, 1913-1968
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15326
Online Media:

Georgia O'Keeffe letter to Cady Wells

Creator:
O'Keeffe, Georgia, 1887-1986  Search this
Wells, Cady, 1904-1954  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Type:
Correspondence
Date:
circa 1945
Record number:
(DSI-AAA)20241
See more items in:
Cady Wells papers, 1913-1968
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_20241
Online Media:

Georgia O'Keeffe letter to Elizabeth McCausland

Creator:
O'Keeffe, Georgia, 1887-1986  Search this
McCausland, Elizabeth, 1899-1965  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Type:
Correspondence
Date:
193-
Record number:
(DSI-AAA)12108
See more items in:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12108
Online Media:

Dorothy Miller letter to Georgia O'Keeffe

Creator:
Miller, Dorothy Canning, 1904-2003  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Type:
Correspondence
Date:
1945 Jan. 9
Topic:
Art market  Search this
Record number:
(DSI-AAA)12928
See more items in:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12928
Online Media:

Georgia O'Keeffe printed material, 1905

Creator:
O'Keeffe, Georgia, 1887-1986  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Topic:
Women painters -- New Mexico  Search this
Illustration of books  Search this
Theme:
Women  Search this
Publications  Search this
Record number:
(DSI-AAA_CollID)9206
(DSI-AAA_SIRISBib)211401
AAA_collcode_okeegepm
Theme:
Women
Publications
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211401

Georgia O'Keeffe letters to Claudia O'Keeffe, 1940-1962 and [undated]

Creator:
O'Keeffe, Georgia, 1887-1986  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Subject:
Stieglitz, Alfred  Search this
Topic:
Women artists -- New Mexico  Search this
Art, Modern -- 20th century -- United States  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10637
(DSI-AAA_SIRISBib)214213
AAA_collcode_okeegeor
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214213

Oral history interview with Abraham Walkowitz

Interviewee:
Walkowitz, Abraham, 1880-1965  Search this
Interviewer:
Cowdrey, Mary Bartlett, 1910-1974  Search this
Lerner, Abram  Search this
Names:
"291" (Gallery)  Search this
Armory Show (1913: New York, N.Y.)  Search this
Society of Independent Artists (New York, N.Y.)  Search this
Bliss, Lizzie P. (Lizzie Plummer), 1864-1931  Search this
Boswell, Peyton, 1904-  Search this
Chase, William Merritt, 1849-1916  Search this
Cox, Kenyon, 1856-1919  Search this
Cézanne, Paul, 1839-1906  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Duncan, Isadora, 1877-1927  Search this
Epstein, Jacob, Sir, 1880-1959  Search this
Hassam, Childe, 1859-1935  Search this
Kuhn, Walt, 1877-1949  Search this
Monet, Claude, 1840-1926  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pach, Walter, 1883-1958  Search this
Weber, Max, 1881-1961  Search this
Extent:
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1958 December 8-22
Scope and Contents:
An interview of Abraham Walkowitz conducted by Abram Lerner and Mary Bartlett Cowdrey for the Archives of American Art.
Walkowitz discusses his childhood and schooling; travelling abroad; influence of Claude Monet exhibit; his book, "Artists of Walkowitz: 100 Portraits"; Paul Cezanne's death; meeting artists in Europe; his 1908 exhibition of modern art at the Julius Haas Gallery, New York; getting Max Weber a show at the Haas Gallery; Steiglitz and his "291" Gallery; the Armory Show, especially the roles of Arthur B. Davies, Walt Kuhn, and Walter Pach; reactions to Nude Descending a Staircase; the Society of Independent Artists; thoughts on criticism of his work; his relationship with the critic Peyton Boswell; the importance in his work of dancer Isadora Duncan; opinions on American art, modern art, art schools, students and patrons; good art versus bad art; and the role of critics. Among others he recalls are Lizzie Bliss, William Merritt Chase, Kenyon Cox, The Eight, Jacob Epstein, Childe Hassam, and Georgia O'Keeffe.
Biographical / Historical:
Abraham Walkowitz (1880-1965) was a painter in New York, New York.
General:
Sound has been lost on tape reels; reels discarded.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art critics  Search this
Topic:
Art, American  Search this
Art, Modern -- 20th century  Search this
Eight (Group of American artists)  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.walkow58
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-walkow58

Whitney Museum of American Art artists' files and records

Creator:
Whitney Museum of American Art  Search this
Names:
Whitney Studio Club  Search this
Whitney Studio Galleries  Search this
Baziotes, William, 1912-1963  Search this
Bellows, George, 1882-1925  Search this
Benton, Thomas Hart, 1889-1975  Search this
Bloom, Hyman, 1913-  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Burlin, Paul, 1886-1969  Search this
Cadmus, Paul, 1904-1999  Search this
Cassatt, Mary, 1844-1926  Search this
Curry, John Steuart, 1897-1946  Search this
Davis, Stuart, 1892-1964  Search this
De Creeft, José, 1884-1982  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Evergood, Philip, 1901-1973  Search this
Feininger, Lyonel, 1871-1956  Search this
Gatch, Lee, 1902-1968  Search this
Glackens, William J., 1870-1938  Search this
Gorky, Arshile, 1904-1948  Search this
Graves, Morris, 1910-  Search this
Gross, Chaim, 1904-1991  Search this
Grosz, George, 1893-1959  Search this
Harnett, William Michael, 1848-1892  Search this
Hartley, Marsden, 1877-1943  Search this
Henri, Robert, 1865-1929  Search this
Hofmann, Hans, 1880-1966  Search this
Hopper, Edward, 1882-1967  Search this
Inness, George, 1825-1894  Search this
Karfiol, Bernard, 1886-1952  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lachaise, Gaston, 1882-1935  Search this
Lawson, Ernest, 1873-1939  Search this
MacIver, Loren, 1909-1998  Search this
Marin, John, 1870-1953  Search this
Marsh, Reginald, 1898-1954  Search this
Motherwell, Robert  Search this
Mount, William Sidney, 1807-1868  Search this
Nevelson, Louise, 1899-1988  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Pollock, Jackson, 1912-1956  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Pène Du Bois, Guy , 1884-1958  Search this
Reder, Bernard, 1897-1963  Search this
Rimmer, William, 1816-1879  Search this
Rivers, Larry, 1925-2002  Search this
Rothko, Mark, 1903-1970  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sheeler, Charles, 1883-1965  Search this
Sloan, John, 1871-1951  Search this
Smith, David, 1906-1965  Search this
Stella, Joseph, 1877-1946  Search this
Tobey, Mark  Search this
Twachtman, John Henry, 1853-1902  Search this
Tworkov, Jack  Search this
Walkowitz, Abraham, 1880-1965  Search this
Weber, Max, 1881-1961  Search this
Wyant, A. H. (Alexander Helwig), 1836-1892  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Zorach, William, 1887-1966  Search this
Extent:
78 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1914-1966
Scope and Contents:
REELS N591-N597: Photographs of the Museum, Juliana Force, Herman Moore; scrapbooks on the Whitney Studio Club, Whitney Studio Galleries and the Museum, 1927-1965.
REELS N599-N604: Notebooks of Edwin W. Dickinson; photographs and provenance information for works by Philip Evergood; a catalog of information and some photographs of Chinese ink drawings and other works by Reginald Marsh; and photographs and information on Bernard Reder, Jack Tworkov, Max Weber (portions also microfilmed on reel NY59-8 (fr. 497-658), reel NY59-9 (fr. 1-51), and William Zorach.
REELS N604-N609: Exhibition catalogs, 1946-1966, for artists and groups shows at the Museum, including Robert Feke, William Rimmer, Ralph Blakelock, Albert Maurer, Albert Pinkham Ryder, Yasuo Kuniyoshi, Thomas Cole, Max Weber, Arshile Gorky, Mark Tobey, John Sloan, Loren MacIver, I. Rice Pereira, George Grosz, Reginald Marsh, Charles Burchfield, Morris Graves, Theodore Roszak, John Marin, Hans Hofmann, Bradley Tomlin, Stuart Davis, Milton Avery, Lee Gatch, Jose De Creeft, Maurice Prendergast, Edward Hopper, Hyman Bloom, Robert E. Jones, Balcomb Greene, Karl Zerbe, Arthur G. Dove, William Zorach, Philip Evergood, Bernard Reder, Herbert Feber, Oliver O'Connor Barrett,Arthur B. Davies, Jose De Rivera, Paul Burlin, Joseph Stella, Jack Tworkov, Ivan Albright, Stuart Davis, Edwin Dickinson, John Quidor, and Niles Spencer.
REELS N646-N694: Artists' files on: Oliver O'Connor Barrett,William Baziotes, George Bellows, Thomas Hart Benton, Peter Blume, James Brooks, Patrick Henry Bruce, Charles Burchfield, Paul Burlin, David Burliuk, Paul Cadmus, Mary Cassatt, Thomas Cole, Glenn Coleman, Jon Corbino, John Steuart Curry, Jo Davidson, Arthur B. Davies, Jose DeCreeft, Charles Demuth, Jose De Rivera, Arthur Dove, Guy Pène du Bois, Stuart Davis, Frank Duveneck, Ralph Earl, Eastman Johnson, The Eight, Philip Evergood, Robert Feke, Lyonel Feininger, Ernest Fiene, George Fuller, Lee Gatch, William Glackens, Arshile Gorky, Balcomb Greene, Chaim Gross, George Grosz, William Harnett, Marsden Hartley, Childe Hassam, John Heliker, Robert Henri, Hans Hofmann, George Inness, Leon Kelly, Franz Kline, Karl Knaths, Leon Kroll, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Robert Laurent, Ernest Lawson, Jack Levine, Seymour Lipton, George B. Luks,
Stanton Macdonald-Wright, Loren MacIver, John Marin, Reginald Marsh, Alfred Maurer, K. H. Miller, Robert Motherwell, William Mount, Jerome Myers, Louise Nevelson, Georgia O'Keeffe (portions also microfilmed on reels NY59-13 (fr. 98-115, 406-424, 586-685), reel NY59-14 (entire), and reel NY59-15 (fr. 1-140, 145-153), I. Rice Pereira, Bernard Perlin, Joseph Pollett, Jackson Pollock, Reginald Pollack, Henry V. Poor, Richard Pousette-Dart, Maurice Prendergast, Abraham Rattner, Bernard Reder, Ad Reinhardt, William Rimmer, Larry Rivers, Hugo Robus, Theodore Roszak, Mark Rothko, Concetta Scarvaglione, Henry Schnakenberg, Ben Shahn, John Sloan, David Smith, Eugene Speicher, Theodoros Stamos, Joseph Stella, Maurice Sterne, Mark Tobey, Bradley Tomlin,Trajan, Allen Tucker, John Twachtman, Jack Tworkov, Abraham Walkowitz (also on reel NY/59-15) , Max Weber, James M. Whistler, Gertrude Whitney, Grant Wood, Alexander Wyant, Mahonri Young, and William Zorach.
REELS NWH 1-NWH 7: Artist files on Charles Sheeler, Bernard Karfiol, Louis Eilshemius; scatterred records of the Whitney Studio Club and Museum, 1914-1945, including minutes, Oct. 15, 1930, and Whitney Studio ledgers, 1928-1931; catalogs of one-man shows, 1932-1945; catalogs of annual painting exhibitions, 1932-1940, sculpture, watercolor and drawing exhibitions, 1933-1945, and group exhibitions, 1932-1945; and clippings, Oct. 1935-1936.
REELS NY59/8 (fr. 256-end)-NY59/10: Files on Max Weber, including biographical material, lists of work, and miscellany. Also found (NY59/8 frames 354-383) are ca.20 letters from Weber to Abraham Walkowitz, 1907-1924.
Biographical / Historical:
Whitney Museum of American Art is an American art museum in New York, New York. Founded by Gertrude Vanderbilt Whitney and formally opened in 1931. Previous to its opening as a museum it was known as the Whitney Studio Club (1914-28) and Whitney Studio Galleries (1928-30).
Provenance:
The Weber files on reels NY59/8-10 were lent for microfilming 1959 by the Whitney Museum of American Art; the remainder was lent 1964-1967; additional material from the Museum was lent at the same time, and subsequently donated, including the papers of Lloyd Goodrich, Juliana Force, Thomas B. Clarke, the American Art Research Council, and Gertrude Vanderbilt Whitney; these have each been cataloged separately. Portions of Weber, and O'Keeffe material that was microfilmed in 1959 were refilmed in 1967.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Modern -- 20th century -- United States  Search this
Artists -- Exhibitions -- New York (State) -- New York  Search this
Art, American  Search this
Function:
Art museums -- New York (State) -- New York
Identifier:
AAA.whitmuse
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitmuse

Aline Meyer Liebman papers

Creator:
Liebman, Aline Meyer, 1879-1966  Search this
Names:
Museum of Modern Art (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Benton, Thomas Hart, 1889-1975  Search this
Bluemner, Oscar, 1867-1938  Search this
Borglum, Gutzon, 1867-1941  Search this
Lachaise, Gaston, 1882-1935  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Marin, John, 1870-1953  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Stieglitz, Alfred, 1864-1946  Search this
Strand, Paul, 1890-1976  Search this
Weston, Edward, 1886-1958  Search this
Extent:
1.3 Linear feet
0.4 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1906-1978
Scope and Contents:
Correspondence, photographs, business and financial records, printed matter, scrapbooks, and exhibition catalogs document Mrs. Liebman's acquisition of modern American art, European painting and decorative arts, her interest in and support of photography, her encouragement of individual artists, the inception and early history of the Museum of Modern Art, and her own painting career.
REEL 4203: Correspondence with Ansel Adams, Oscar Bluemner, Gutson Borglum, Gaston Lachaise, Stanton Macdonald-Wright, John Marin, the Museum of Modern Art, Alfred Stieglitz and An American Place, Paul Strand and Edward Weston, among many others. Among the business records are receipts for works of art purchased by Mrs. Liebman. Photographs show a photography exhibition opening (1935). Printed matter, mainly newspaper clippings and gallery announcements, relates to artists represented in the Liebman Collection, exhibitions which included loans from the Liebman Collection, and events in which Aline Meyer Liebman participated. Four scrapbooks (1936-1947), comprised of printed matter, correspondence, and photographs, relate to Aline Meyer Liebman's career as a painter. Six exhibition catalogs date from 1921 to 1935. Other material concerns Edgar Degas, Artistide Maillol, Pablo Picasso, Diego Rivera, and Gino Severini.
ADDITION (NOT MICROFILMED): Letters, 1906-1978; invoices for paintings purchased, 1929-1931; financial statements; photographs of Liebman's apartment, works in the Liebman Collection, paintings by Aline Meyer Liebman, and exhibition installations; and a catalog of Parke-Bernet's 1955 Liebman sale.
Biographical / Historical:
Aline Meyer Liebman (1879-1966) was a painter, art patron, and collector of modern art from New York, N.Y. Born in Los Angeles, Calif., Aline Meyer Liebman studied at Barnard College, and with Stefan Hirsch and Henry Mosler. She exhibited at Walker Galleries (1936), San Francisco Museum of Modern Art (1937), Bennington College (1937), Portland Museum (1939), and Weyhe Gallery (1943), among others.
Provenance:
Donated 1986 and 1989 by Margaret Liebman Berger, Aline Meyer Liebman's daughter.
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.
Occupation:
Art patrons -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Painters -- United States  Search this
Photographers -- United States  Search this
Topic:
Art -- Collectors and collecting  Search this
Art, Modern -- 20th century -- United States -- Collectors and collecting  Search this
Art patronage -- New York (State) -- New York  Search this
Modernism (Art) -- Collectors and collecting  Search this
Photography, Artistic -- Collectors and collecting  Search this
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.liebalin
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-liebalin

William Innes Homer papers

Creator:
Homer, William Innes  Search this
University of Delaware. Dept. of Art History  Search this
Delaware Art Museum  Search this
Names:
Adams, Ansel, 1902-1984  Search this
Benton, Thomas Hart, 1889-1975  Search this
Eakins, Thomas, 1844-1916  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Seurat, Georges, 1859-1891  Search this
Smith, David, 1906-1965  Search this
Walters, Carl, 1883-1955  Search this
Extent:
6.6 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1938-1980
Scope and Contents:
Correspondence, writings, notes, forms, printed material, exhibition records, research material and photographs.
REEL 2814: frames 561-576: Photocopies of letters from George Barker to Homer, 1961-1965, regarding Thomas Eakins.
UNMICROFILMED: Correspondence with dealers, patrons and museum curators concerning an exhibition of the sculpture of Carl Walters, 1956-1958, including some notes and a few photographs of Walter's sculpture; letters, mainly from artists; and a photocopy of Shinn's "Everett Shinn Treatment, #1 and #2, 1945-1978. Among the correspondents are: Ansel Adams, Peggy Bacon, Saul Baizerman, Maurice Becker, Thomas H. Benton, Charles Burchfield, Faber Birren, Mrs. Homer Boss, Imogen Cunningham, Nell Daniel, Andrew Dasburg, Randall Davey, Stuart Davis, Theodore Lux Feininger, Lyonel Feininger, Laura Gilpin, Edith Halpert, Jay Hambidge, Emil Holzhauer, Lotte Jacobi, Mrs. William Sargent Kendall, Leon Kroll, Julien Levy, Stanton Macdonald-Wright, Lewis Mumford, Georgia O'Keeffe, John H. Rhoades, Margery Ryerson, David Smith, Carl Sprinchorn, Edward Steichen, Mrs. Allen Tucker, and Carl Zigrosser. Also included are writings, notes, and printed material concerning the "Index of Dissertations and Theses in American Art" section of the Arts in America: A Bibliography (1979), edited by Bernard Karpel, covering years ca. 1930-1975.
Records of the 1975 exhibition "Avant-garde Painting and Sculpture in America, 1910-1925," organized by the Department of Art History and Division of Museum Studies, University of Delaware, in cooperation with the Delaware Art Museum. Included are correspondence regarding research, loans to the exhibition, and publicity; a grant proposal; photographs of artists, works of art, and installations of the exhibition; and an outline for the catalog.
Notebooks, 9 v. containing citations to dissertations and theses relating to American art, 1980-1997, compiled under Homer's direction, as a follow up to his "Index of Dissertations and Theses in American Art" section of the Bibliography of the Arts in America From Colonial Times to Modern Times (1979).
Homer's research material on Georges Seurat, ca. 1956-1980, including correspondence; essays, notes and draft writings; photocopies and microfilms of rare printed material; responses to questionnaires regarding ownership of paintings; bibliographies; biographical material on scientists and others who influenced Seurat; photographs and color transparencies of works by Seurat and his colleagues; and miscellany. Also included are correspondence and research notes on other Neo-Impressionists.
Biographical / Historical:
Art historian, educator; Newark, Del.; b. 1929. William Innes Homer is an art historian whose areas of expertise include European and American painting from 1865 to 1925 and American art after World War II. He has taught at Princeton University and Cornell University, but is most closely associated with the University of Delaware, where he is Professor Emeritus. He taught there from 1966 until his retirement in 1999.
Related Materials:
William Inned Homer papers are located at Georgia O'Keeffe Museum, Michael S. Engl Family Foundation Library and Archive.
Provenance:
Donated 1980-2004 by William Homer. Photocopies of letters from Barker to Homer were discarded after microfilming.
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.
Occupation:
Art historians  Search this
Art historians -- Delaware  Search this
Educators -- Delaware  Search this
Topic:
Art, American  Search this
Art, American -- Exhibitions  Search this
Art, Modern -- 20th century -- United States -- Exhibitions  Search this
Avant-garde (Aesthetics)  Search this
Identifier:
AAA.homewill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-homewill

Oral history interview with Edith Gregor Halpert

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Names:
C.W. Kraushaar Art Galleries  Search this
Daniel Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
Ferargil Galleries  Search this
Grand Central Art Galleries  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
New Gallery (New York, N.Y.)  Search this
Bacon, Peggy, 1895-1987  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Barrie, Erwin S., 1886-1983  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brackman, Robert, 1898-  Search this
Bridgman, George Brant, 1864-1943  Search this
Brixey, Richard de Wolfe  Search this
Cahill, Holger, 1887-1960  Search this
Calder, Alexander, 1898-1976  Search this
Cary, Elisabeth Luther, 1867-1936  Search this
Chase, William Merritt, 1849-1916  Search this
Coleman, Glenn O., 1887-1932  Search this
Crowninshield, Frank, 1872-1947  Search this
Daniel, Charles, 1878-1971  Search this
Davis, Stuart, 1892-1964  Search this
Demuth, Charles, 1883-1935  Search this
Deskey, Donald, 1894-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Fergusson, John Duncan, 1874-1961  Search this
Field, Hamilton Easter  Search this
Force, Juliana, 1876-1948  Search this
Ford, Ford Madox, 1873-1939  Search this
Frost, Robert, 1874-1963  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Goodyear, A. Conger (Anson Conger), 1877-1964  Search this
Greenberg, Clement, 1909-1994  Search this
Halpert, Samuel, 1884-1930  Search this
Hartley, Marsden, 1877-1943  Search this
Hirsch, Stefan, 1899-1964  Search this
Hopkinson, Charles, 1869-1962  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930-  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Kroll, Leon, 1884-1974  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Levine, Jack, 1915-2010  Search this
Levy, Julien  Search this
Locke, Charles, 1899-  Search this
Luks, George Benjamin, 1867-1933  Search this
Léger, Fernand, 1881-1955  Search this
Marin, John, Jr., 1915?-1988  Search this
McBride, Henry, 1867-1962  Search this
Mellon, Paul  Search this
Mercer, Henry Chapman  Search this
Montross, N. E. (Newman E), 1849-1932  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pascin, Jules, 1885-1930  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956  Search this
Pound, Ezra, 1885-1972  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Edward G., 1893-1973  Search this
Rockefeller, Abby Aldrich  Search this
Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this
Saklatwalla, Beram K.  Search this
Sandburg, Carl, 1878-1967  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Siporin, Mitchell, 1910-1976  Search this
Soutine, Chaim, 1893-1943  Search this
Steichen, Edward, 1879-1973  Search this
Stein, Gertrude, 1874-1946  Search this
Stella, Frank  Search this
Stern, Louis E., 1886-1962  Search this
Stieglitz, Alfred, 1864-1946  Search this
Tannahill, Robert Hudson  Search this
Vollard, Ambroise, 1867-1939  Search this
Weber, Max, 1881-1961  Search this
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Williams, William Carlos, 1883-1963  Search this
Wittenberg, Philip, 1895-1987  Search this
Zerbe, Karl, 1903-1972  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
436 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Date:
1962-1963
Scope and Contents:
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art 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. The transcript was microfilmed in 1996.
Topic:
Art -- Economic aspects  Search this
Art dealers -- New York (State) -- New York -- Interviews  Search this
Camouflage  Search this
Folk art -- Collectors and collecting  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Identifier:
AAA.halper62
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halper62

Jerry Bywaters papers

Creator:
Bywaters, Jerry  Search this
Names:
Dallas Art Association  Search this
Dallas Museum of Fine Arts  Search this
Albright, Ivan, 1897-1983  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Bellows, Emma Louise Story  Search this
Benton, Thomas Hart, 1889-1975  Search this
Canaday, John, 1907-1985  Search this
Cisneros, José, 1910-  Search this
D'Harnoncourt, Rene, 1901-1968  Search this
Dobie, J. Frank (James Frank), 1888-1964  Search this
Goodrich, Lloyd, 1897-1987  Search this
Hertzog, Carl  Search this
Hurd, Peter, 1904-1984  Search this
Kimball, Fiske, 1888-1955  Search this
Lea, Tom, 1907-  Search this
Mayor, A. Hyatt (Alpheus Hyatt), 1901-1980  Search this
Nicholson, Ben, 1894-  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Wyeth, Andrew, 1917-2009  Search this
Zorach, William, 1887-1966  Search this
Interviewee:
Cullinan, Nina J., 1896 or 9-1983  Search this
Staub, John F., 1892-  Search this
Extent:
1 Linear foot ((on 6 microfilm reels))
3 Photographic prints (Unmicrofilmed, b&w, 8 x 10 in and smaller.)
Type:
Collection descriptions
Archival materials
Photographic prints
Sound recordings
Interviews
Date:
[ca. 1900-1979]
Scope and Contents:
Personal papers, mainly correspondence, as well as files on Texas art and artists compiled by Bywaters.
REELS 1512-1513: Correspondence, ca. 1950-1979, with artists, museum personnel, writers, and others; biographical data; a 20 p. transcript of an interview of Bywaters by Marla Redelsperger, October 3, 1975; a 2 part "Autobiographical Sketch With Slides of Works" delivered June 18, 1975, in Dallas; a monograph by Bywaters, ART MUSEUMS: REPOSITORIES OR CREATIVE CENTERS; exhibition catalogs of the Dallas Museum of Fine Arts; printed material about Bywaters; a personal photograph and photos of his works. Among the correspondents are Ivan Le Lorraine Albright, Alfred Barr, Mrs. George Bellows, Thomas Hart Benton, John Canaday, Jose Cisneros, René d'Harnacourt, J. Frank Dobie, Lloyd Goodrich, Carl Hertzog, Peter Hurd, Fiske Kimball, Tom Lea, A. Hyatt Mayor, Ben Nicholson, Georgia O'Keeffe, Andrew Wyeth, and William Zorach.
REELS 1648-1649: Files on 55 Texas artists, containing biographical material, photographs, and catalogs. The files were the result of Bywaters' solicitation of information as director of the Dallas Museum of Fine Arts and as a field worker for the Archives of American Art's Texas Documentation Pilot Project. Artists include: Jose Arpa, Henri Bert Bartscht, Keveau Bassett, John Biggers, Son Bradley, Milesio Casas, Cecil Long Casebier, Pat Colville, Ben L. Culwell, George Dahl, Otis Dozier, Edward G. Eisenlohr, Philip Hohn Evett, Xavier Gonzales, Wilfred Higgons, Dorothy Hood, DeForrest Judd, Chapman Kelly, Edmund D. Kinzinger, Tom Lea, Amy Freeman Lee, William Lester, Jim Love, Keith McIntyre, David McManaway, Octavio Medellin, Perry Nichols, Eleanor Onderdonk, Julian Onderdonk, Robert J. Onderdonk, Robert Preusser, Stephen T. Rascoe, Frank Reaugh, William Reily, Herbert Rogalla, E. M. Schiwetz, Lawrence Scholder, Vera Simons, Everett Spruce, Tom Stell, Robert Tiemann, Allie Tennant, Chester Toney, Olin H. Travis, Charles Unlauf, Wilbert Verhelst, Donald Vogel, Donald Weismann, Ralph White, Charles T. Williams, Bill Wiman, Dan Wingren, and Roger Winter.
REELS 3752-3753: Transcripts of oral history interviews with art patron Nina Cullinan (17 p.; reel 3752), and architect John F. Staub (31 p.; reel 3753), both conducted by Susan Bodin October 23, 1975. [Original cassette tapes are with the collection: Cullinan (1); Staub (2).
UNMICROFILMED: Three photographs relating to Bywaters' book Seventy-Five Years of Art in Dallas," 1978. One taken by Rogers, ca. 1918, is annotated "early art patron, Dallas," is of a woman inspecting possible purchases. Two taken by C.E. Arnold show the Dallas Fine Arts Building (destroyed in 1957) exterior, and an interior view, 1920, showing the Dallas Art Association permanent collection.
Biographical / Historical:
Painter, art historian, and museum director; Dallas, Texas. Director of the Dallas Museum of Fine Arts. Born 1906. Died 1989.
Provenance:
Donated 1979 by Jerry Bywaters except for the correspondence on reel 1512, which he lent for microfilming. Microfilmed as part of the Archives of American Art's Texas project. Three photographs were inadvertently not microfilmed.
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.
Occupation:
Artists -- Texas  Search this
Museum directors -- Texas -- Dallas  Search this
Painters -- Texas -- Dallas  Search this
Topic:
Painting, American  Search this
Art patrons -- Texas -- Interviews  Search this
Architects -- Texas -- Interviews  Search this
Function:
Art museums -- Texas -- Dallas
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bywajerr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bywajerr

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

Carl Zigrosser papers

Topic:
Modern school magazine
Creator:
Zigrosser, Carl, 1891-  Search this
Names:
American Artists Group  Search this
Armory Show (1913: New York, N.Y.)  Search this
Art Institute of Chicago  Search this
Art in America  Search this
Independent Citizens Committee for the Arts, Sciences, and Professions  Search this
John Simon Guggenheim Memorial Foundation  Search this
Philadelphia Museum of Art  Search this
Print Club (Philadelphia, Pa.)  Search this
Print Council of America  Search this
Solomon R. Guggenheim Museum  Search this
Tamarind Lithography Workshop  Search this
Weyhe Gallery  Search this
Whitney Museum of American Art  Search this
Arms, John Taylor, 1887-1953  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Boyd, E. (Elizabeth), 1903-1974  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Calder, Alexander, 1898-1976  Search this
Carrington, Fitz Roy, 1869-1954  Search this
Castellón, Federico, 1914-1971  Search this
Colker, Ed, 1927-  Search this
Cook, Howard Norton, 1901-1980  Search this
Dehn, Adolf, 1895-1968  Search this
Durieux, Caroline, 1896-1989  Search this
Dwight, Mabel, 1876-1955  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Girard, André  Search this
Hayter, Stanley William, 1901-1988  Search this
Hopper, Edward, 1882-1967  Search this
Huntley, Victoria Hutson, 1900-1971  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Kent, Rockwell, 1882-1971  Search this
Keppel, Frederick, 1845-1912  Search this
Kimball, Fiske, 1888-1955  Search this
Kohn, Misch, 1916-  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lankes, Julius J., 1884-1960  Search this
Lasansky, Mauricio, 1914-  Search this
Mauzey, Merritt, 1898-  Search this
McNulty, Kneeland  Search this
Michener, James A. (James Albert), 1907-  Search this
Mitchell, Marian  Search this
Nalbandian, Karnig  Search this
Norman, Dorothy, 1905-1997  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pach, Walter, 1883-1958  Search this
Rivera, Diego, 1886-1957  Search this
Ronnebeck, Arnold, 1885-1947  Search this
Rose, Ruth Starr, 1887-1965  Search this
Rosenwald, Lessing J. (Lessing Julius), 1891-1979  Search this
Ruellan, Andrée, 1905-2006  Search this
Schniewind, Carl Oscar, 1900-1957  Search this
Seidenberg, Roderick, 1889-1973  Search this
Spratling, William, 1900-1967  Search this
Spruance, Benton, 1904-1967  Search this
Sternberg, Harry, 1904-2001  Search this
Stieglitz, Alfred, 1864-1946  Search this
Teng, Kuei  Search this
Valentin, Curt, 1902-1954  Search this
Warneke, Heinz (Heinrich), 1895-1983  Search this
Weston, Edward, 1886-1958  Search this
Wickey, Harry  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
30 Linear feet ((on 63 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1891-1971
Scope and Contents:
Personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on prints and printmaking and his personal relationships with artists.
Included are: correspondence with family and with over 900 printmakers, painters, sculptors, acquaintances, friends, associates, organizations, museums, publishers, and magazines; general correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine; files of correspondence from Zigrosser's work at: the Philadelphia Museum of Art, 1932-1971; John Simon Guggenheim Memorial Foundation; Solomon R. Guggenheim Foundation and Museum, 1946-1971, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum; Print Council of America, 1954-1971, regarding exhibitions, council meetings and other matters; and the Tamarind Workshop, 1960-1971.
Of particular interest is material relating to the 1913 Armory Show, including Zigrosser's annotated catalog, notes and sketches. Also included are speeches and notes, 1930-1968; manuscripts for lectures and unpublished materials; memorabilia; a photo album of sculpture by John B. Flannagan; art work, including prints and drawings by Karig Nalbandian, prints by Rockwell Kent, and oversized works of art on paper by Mabel Dwight, Wanda Gag and Kent; family photograph album; journals and pamphlets (covers only); and diaries, 1916-1971, discussing personal and professional events such as art openings, conversations and activities with Rockwell Kent, Alfred Stieglitz, and Georgia O'Keeffe, among others.
Among the correspondents are: the American Artists Group, John Taylor Arms, Art in America magazine, Art Institute of Chicago, Alfred Barr, E. Boyd, Charles Burchfield, Alexander Calder, Fitz Roy Carrington, Federico Castellon, Ed Colker, Howard N. Cook, Crown Publishers, Adolf Dehn, Caroline Durieux, John Bernard Flannagan, Andre Girard, Stanley William Hayter, Edward Hopper, Victoria Hutson Huntley, Independent Citizens Committee for the Arts, Sciences and Professions, R. Sturgis Ingersoll, Frederick Keppel, Rockwell Kent, Fiske Kimball, Misch Kohn, Yasuo Kuniyoshi, Julius Lankes, Mauricico Lasansky, Merritt Mauzey, Kneeland McNulty, James A. Michener, Marian Mitchell,
Museum of Non-Objective Painting (Solomon R. Guggenheim Museum), Karnig Nalbandian, Dorothy Norman, Georgia O'Keeffe, Walter Pach, Harold Paris, Print Club (Philadelphia), Diego Rivera, Ruth Starr Rose, Arnold Ronnebeck, Lessing J. Rosenwald, Andre Ruellan, Carl Oscar Schniewind, Roderick Seidenberg, William Spratling, Benton Spruance, Alfred Stieglitz, Harry Sternberg, Tamarind Lithography Workshop, Kuei Teng, U.S. Office of War Information, Curt Valentin, Heinz Warneke, Edward Weston, Weyhe Gallery, Whitney Museum of American Art, Harry Wickey, and Adja Yunkers.
Biographical / Historical:
Print curator; Philadelphia, Pa.; d. 1975. Graduated Columbia University in literature. Worked with prints in New York City at Keppel and Co. and Weyhe Gallery; print curator at Philadelphia Museum of Art 1940-1963; author of books on prints and art works.
Provenance:
Lent for microfilming, 1991, by the University of Pennsylvania Special Collections Department, Van Pelt Library. Zigrosser donated the papers to the University in 1972. Portions of the papers not microfilmed include research files, manuscript materials for published work, family records, and journals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the Curator of Manuscripts, Rare Book & Manuscript Library, University of Pennsylvania. 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.
Occupation:
Artists -- United States  Search this
Printmakers -- United States  Search this
Museum curators -- Pennsylvania -- Philadelphia  Search this
Topic:
Art, American  Search this
Prints -- societies, etc  Search this
Prints -- Collectors and collecting  Search this
Prints, American  Search this
Prints, European  Search this
Identifier:
AAA.zigrcarl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zigrcarl

Oral history interview with Joey Kirkpatrick

Interviewee:
Kirkpatrick, Joey  Search this
Interviewer:
Herman, Lloyd E.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Art Institute of Chicago -- Student  Search this
Des Moines Art Center  Search this
Iowa State University -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Pilchuck School  Search this
University of Iowa -- Students  Search this
Burford, Byron, 1920-2011  Search this
Calder, Alexander, 1898-1976  Search this
Chihuly, Dale, 1941-  Search this
Cohen, Reba  Search this
Demetrion, James  Search this
Doty, Mark  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Edwards, Steven Dale  Search this
Giacometti, Alberto, 1901-1966  Search this
Handler, Audrey  Search this
Hinds, Chuck  Search this
Mace, Flora, 1949-  Search this
Moore, Ben  Search this
Morris, William, 1957-  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Patrick, Peggy  Search this
Ragovin, Howard  Search this
Scanga, Italo, 1932-2001  Search this
Schiele, Egon, 1890-1918  Search this
Tagliapietra, Lino  Search this
Vigeletti, Sylvia  Search this
Extent:
2 Items (Sound recording: 2 sound files (2 hr., 2 min.), digital, wav, 2 5/8 in.)
51 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Iowa -- Description and Travel
Date:
2005 August 17-18
Scope and Contents:
An interview of Joey Kirkpatrick conducted 2005 August 17-18, by Lloyd E. Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, which she shares with Flora Mace, in Seattle, Washington.
Ms. Kirkpatrick discusses her childhood in Des Moines, Iowa, as the third daughter among four; her early interest in art and, beginning in fifth grade, working at the Des Moines Art Center; her mother's creativity and love for art and design; visiting her aunt Elaine in Chicago and attending adult classes at the Art Institute of Chicago; seeing an Egon Schiele show at the Des Moines Art Center and its influence on her; her sense, even at an early age, that she was going to be an artist; going to college at the University of Iowa and getting a BFA in drawing; working in ceramics at the University of Iowa and studying under her mentor, Howard Ragovin; beginning to make sculptures out of chicken wire and papier-mâché and becoming interested in three-dimensional forms and planes; her most profound artistic influences, including Arthur Dove, Georgia O'Keeffe, Alexander Calder, and Alberto Giacometti; meeting Steven Dale Edwards during her last year in college and learning how to blow glass from him; blowing glass at a facility geared towards ceramic engineers at Iowa State University in Ames, Iowa, after college; working at the Art Center throughout and continuing to paint while living with her grandmother; working at a daycare center where she functioned as an art therapist; seeing an advertisement in Craft Horizons magazine for Pilchuck Glass School; working as a tree topper in Des Moines to get the money to go to Pilchuck; showing up at Pilchuck with an armful of her drawings; meeting Flora Mace, her collaborator and life partner, at Pilchuck; how the two eventually came to collaborate and cosign their work; and how they work together. A more in-depth discussion of the pair's lifelong collaboration is discussed in a joint interview of Kirkpatrick and Mace. Kirkpatrick also recalls Byron Burford, Peggy Patrick, Reba Cohen, Mark Doty, Jim Demetrion, Dale Chihuly, Chuck Hinds, Italo Scanga, Bill Morris, Ben Moore, Sylvia Vigeletti, Audrey Handler, and Lino Tagliapetra, and others.
Biographical / Historical:
Joey Kirkpatrick (1952- ) is a glass artist from Seattle, Washington. Lloyd E. Herman (1936- ) is a curator and former director of the Smithsonian American Art Museum's Renwick Gallery of Art and is currently from Seattle, Washington.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Ceramics -- Study and teaching  Search this
Decorative arts  Search this
Glass blowing and working  Search this
Sculpture -- Technique  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.kirkpa05
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kirkpa05

Keith Warner papers

Creator:
Warner, Keith, 1895-1959  Search this
Names:
"291" (Gallery)  Search this
American Place (Gallery)  Search this
Whitney Museum of American Art  Search this
Calder, Alexander, 1898-1976  Search this
Dorcely, Roland  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Marin, John, 1870-1953  Search this
Mondrian, Piet, 1872-1944  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Rosenburg, Paul  Search this
Russell, Morgan, 1886-1953  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weber, Max, 1881-1961  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Illustrated letters
Sketches
Date:
1935-1975
Summary:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.
Scope and Contents:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.

Warner's relationships with artists are documented in extensive letters which make up the bulk of the collection. Subjects range from exhibitions, the art market, artists' methods and works, art criticism, and collecting to personal subjects. Letters from Roland Dorcely and Alexander Calder include illustrated letters and postcards. Letters from Calder discuss a mix of business and personal matters, including a discussion of the design of jewelry commissioned for Warner's wife, Edna. Letters from Dorcely document Warner's cultivation, criticism, and collection of Dorcely's work, as well as the hardships of Haitian artists and Dorcely's views on art. The letters are in French with some English translations.

Correspondence with Alfred Stieglitz documents his common endeavor with Warner in collecting the paintings of John Marin, and Stieglitz's gallery, An American Place. Letters associated with An American Place continue after Stieglitz's death in 1946. Found with Alfred Stieglitz's letters are two letters from Georgia O'Keeffe. Max Weber letters include comments on his painting and sculpting, his retrospective show at the Whitney, the art press, national politics, and also refer to Stieglitz and Marin. An extensive group of correspondence with Stanton MacDonald-Wright is mostly undated; MacDonald-Wright writes freely about Stieglitz, the "291" group of artists, and his partner in Synchromism, Morgan Russell. Also included are letters from Piet Mondrian related to collecting, as well as letters from unidentified correspondents.

Warner's collecting files consist of diverse materials concerning his research, writing, and relationships with artists whose paintings he collected, particularly Roland Dorcely and Stanton MacDonald-Wright. Included are biographical sketches; writings about and by the artists, including manuscripts and published materials; newspaper and magazine clippings; exhibition announcements and catalogs; and photographs of works of art. Writings by Roland Dorcely, on the subject of his artistic process and perspective, include handwritten essays in French as well as typed English translations. Published articles from Script magazine (1945-1946) by Stanton MacDonald-Wright document his career as an art critic. Writings on Alexander Calder and Paul Rosenburg, taken from Warner's journal on Calder, and on the early relationship of Alfred Stieglitz and Georgia O'Keeffe, documented on a visit with Stieglitz on May 3, 1944, are also present.

Artwork consists of work by Alexander Calder and Roland Dorcely. Calder's work includes sketches proposing mobiles with notations as to material, scale, and cost. Dorcely's work includes sketches in graphite and ink of abstract figures and objects.
Arrangement:
The collection is arranged as 3 series.

Series 1: Correspondence, 1940-1963 (0.4 linear feet; Box 1-2)

Series 2: Collecting Files, circa 1940-1975 (12 folders; Box 2, OV 3)

Series 3: Artwork, circa 1945-circa 1965 (2 folders; Box 2)
Biographical / Historical:
Keith Warner (1895-1959) was an American art collector. Warner was born and lived in Gloversville, New York, and maintained a manufacturing business that took him to New York City intermittently. Warner began collecting Chinese porcelains after World War I, and a few years later his interest shifted to American abstract painting. Warner retired from business in 1944. His collection was sold gradually after his death, mostly to private collectors, though some works are in museums in the United States and Japan.
Provenance:
The Keith Warner papers were donated in 1992 by Edna K. Allen, wife of Keith Warner.
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.
Topic:
Art -- Collectors and collecting -- New York (State)  Search this
Artists -- United States  Search this
Art -- Haiti  Search this
Art, Abstract -- Collectors and collecting  Search this
Art criticism  Search this
Art, Modern -- 20th century -- Collectors and collecting  Search this
Synchromism (Art)  Search this
Art, American  Search this
Genre/Form:
Photographs
Illustrated letters
Sketches
Citation:
Keith Warner papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warnkeit
See more items in:
Keith Warner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warnkeit
Online Media:

Peter Howard Selz papers

Creator:
Selz, Peter Howard, 1919-  Search this
Names:
College Art Association of America  Search this
Institute of Design (Chicago, Ill.) (Faculty)  Search this
Marlborough Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Pomona College (Claremont, Calif.)  Search this
San Francisco Bay Area Rapid Transit District (Calif.)  Search this
University of California, Berkeley. University Art Museum  Search this
Baykam, Bedri, 1957-  Search this
Beckmann, Max, 1884-1950  Search this
Benton, Fletcher, 1931-  Search this
Bergman, Ciel, 1938-  Search this
Bury, Pol, 1922-2005  Search this
Calder, Alexander, 1898-1976  Search this
Chase-Riboud, Barbara  Search this
Christo, 1935-  Search this
Christo, 1935- (Running fence)  Search this
Conner, Bruce  Search this
Dubuffet, Jean, 1901-  Search this
Feininger, Lyonel, 1871-1956  Search this
Giacometti, Alberto, 1901-1966  Search this
Golub, Leon, 1922-2004  Search this
Graves, Morris, 1910-  Search this
Guston, Philip, 1913-1980  Search this
Hadzi, Dimitri, 1921-2006  Search this
Lebrun, Rico, 1900-1964  Search this
Lindner, Richard, 1901-  Search this
Lipchitz, Jacques, 1891-1973  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Onslow-Ford, Gordon  Search this
Paris, Harold, 1925-  Search this
Petlin, Irving, 1934-  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Tinguely, Jean, 1925-  Search this
Extent:
31.5 Linear feet
0.696 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Scrapbooks
Sound recordings
Video recordings
Place:
San Francisco Bay Area (Calif.)
Date:
1929-2014
bulk 1950-2005
Summary:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.

Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.

The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.

Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.

Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.

Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.

Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.

Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.

Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.

Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.

There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.

Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)

Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)

Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)

Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)

Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)

Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)

Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)

Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)

Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)

Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.

Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.

After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.

In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.

In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.

In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.

Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).

In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Authors -- California -- Berkeley  Search this
Art historians -- California -- Berkeley  Search this
Topic:
Realism  Search this
Political cartoons  Search this
Pop art  Search this
Environment (Art)  Search this
Painting, Abstract  Search this
Ceramics  Search this
Art -- Study and teaching -- California  Search this
Art -- Political aspects  Search this
Art, Modern -- 20th century -- Exhibitions  Search this
Art -- Germany  Search this
Genre/Form:
Photographs
Scrapbooks
Sound recordings
Video recordings
Citation:
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.selzpete
See more items in:
Peter Howard Selz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-selzpete
Online Media:

Richard D. Marshall papers

Creator:
Marshall, Richard, 1947-2014  Search this
Names:
Lever House (New York, N.Y.)  Search this
Museum of Contemporary Art, San Diego  Search this
Whitney Museum of American Art  Search this
Basquiat, Jean-Michel, 1960-1988  Search this
Bourgeois, Louise, 1911-2010  Search this
Calder, Alexander, 1898-1976  Search this
Mapplethorpe, Robert  Search this
Mitchell, Joan, 1926-1992  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pierson, Jack, 1960-  Search this
Ruscha, Edward  Search this
Extent:
15.8 Linear feet
26.07 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Photographs
Video recordings
Date:
1969-2014
Summary:
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and born-digital material primarily reflect Marshall's work outside his role at the Whitney Museum. The exhibition and research files make up the bulk of the collection and document his independent curatorial and writing projects on artists Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Jack Pierson, and Ed Ruscha, as well as his role in building the Lever House Art Collection. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.
Scope and Contents:
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and digital material predominantly reflect Marshall's work outside his role at the Whitney Museum. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.

Thirteen interviews with artists are in the form of transcripts and sound recordings. Interviews are with many artists that Marshall had organized exhibitions for, including Louise Bourgeois, Robert Mapplethorpe, Ed Ruscha, and many featured in the exhibition New Image Painting at the Whitney in 1978.

Exhibition and research files may contain correspondence with artists, galleries, and museums; writings and notes; printed and research material; press packages; photographic material; and administrative documentation related to exhibition logistics, such as floors plans, items lists, consignment records, and shipping receipts. The most robust files and groups of files relate to the artists that Marshall worked with repeatedly over the course of his career, including Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Joan Mitchell, Georgia O'Keeffe, Jack Pierson, and Ed Ruscha. Files relating to the Lever House Art Collection are also found here. The series contains sound and video recordings, as well as digital records containing broadcasts, documentaries, exhibition related material, writings, photographic material, and promotional material about artists from galleries.

Client files include correspondence, invoices, photographic material, floor plans, digital records, and other documentation related to Marshall's business as an independent art consultant.

Other professional files consists of business cards, Museum of Contemporary Art San Diego (MCASD) Board of Trustee's files, and photographic material Marshall accumulated as art editor of the Paris Review.

Printed and digital material consists of books, exhibition announcements, catalogs, press packages, posters, and other material. Material relates to artists and movements Marshall was interested in.

Photographic material is of artworks and is largely unsorted and not identified with any specific project. Formats include black and white photographs, slides, digital photographs, and transparencies.
Arrangement:
The collection is arranged as seven series

Series 1: Interviews, 1972-2009 (0.4 linear feet; Box 1, 0.173 GB; ER01)

Series 2: Exhibition and Research Files, circa 1970-2014 (11.5 linear feet; Box 1-12, OV 17-19, 23.40 GB; ER02-ER49)

Series 3: Client Files, 1998-2014 (1.5 linear feet; Box 12-14, 0.077 GB; ER50-ER51)

Series 4: Other Professional Files, circa 1980-2014 (0.9 linear feet; Box 14)

Series 5: Printed Material, 1969-2014 (0.5 linear feet; Box 15, OV 20, 2.27 GB; ER52)

Series 6: Photographic Material, 1990s-2000s (0.9 linear feet; Box 15-16, 0.145 GB; ER53)

Series 7: Unidentified Electronic Records, circa 2005 (1 folder; 1 folder)
Biographical / Historical:
Richard D. Marshall (1947-2014) was a New York-based curator and art consultant. Born in Los Angeles, Marshall attended the University of California, Irvine, and in 1973 moved to New York to attend the Independent Study Program at the Whitney Museum. He then became a curator at the Whitney from 1974-1993, organizing many biennials and solo exhibitions. While at the Whitney, Marshall also worked as art editor of the Paris Review (1975-1990), and organized exhibitions at other institutions of artists including Louise Bourgeois, Alexander Calder, and Robert Mapplethorpe. In 2003, he became curator of The Lever House Art Collection in New York, and worked with collectors Aby Rosen and Alberto Mugrabi to commission works for the lobby of the building by Tom Sachs, Urs Fischer, Liza Lou, Paula Hayes, and others. Marshall has also published monographs on Ed Ruscha, Jack Pierson, Alex Katz, Georgie O'Keeffe, Joan Mitchell, and Kenny Scharf.
Provenance:
Donated in 2015 by the Richard D. Marshall Estate, via William T. Georgis, executor.
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 archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Art consultants -- New York -- New York  Search this
Topic:
Transcripts  Search this
Curators -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Sound recordings
Photographs
Video recordings
Citation:
Richard D. Marshall papers, 1969-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsrich
See more items in:
Richard D. Marshall papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marsrich
Online Media:

Dorothy C. Miller papers

Creator:
Miller, Dorothy Canning, 1904-2003  Search this
Names:
Betty Parsons Gallery  Search this
Chase Manhattan Bank -- Art collections  Search this
Federal Art Project  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Mark Rothko Foundation  Search this
Municipal Art Exhibition (1st : 1934 : New York, N.Y.)  Search this
PepsiCo, Inc.  Search this
Port Authority of New York and New Jersey -- Art collections  Search this
Rockefeller University  Search this
Smith College -- Students  Search this
Smith College. Museum of Art  Search this
World Trade Center (New York, N.Y.) -- Art collections  Search this
Asher, Elise, 1914-  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Bontecou, Lee, 1931-  Search this
Byars, James Lee  Search this
Cahill, Holger, 1887-1960  Search this
Calder, Alexander, 1898-1976  Search this
Canady, John  Search this
Charlton, Maryette  Search this
Christo, 1935-  Search this
Chryssa, 1933-  Search this
Coggeshall, Calvert, 1907-1990  Search this
Copley, Alfred L.  Search this
Davis, Stuart, 1892-1964  Search this
DeFeo, Jay, 1929-1989  Search this
Feininger, Lyonel, 1871-1956  Search this
Feitelson, Lorser, 1898-1978  Search this
Gorky, Arshile, 1904-1948  Search this
Guggenheim, Peggy, 1898-  Search this
Hartigan, Grace  Search this
Hicks, Edward, 1780-1849  Search this
Horwitt, Will  Search this
Johns, Jasper, 1930-  Search this
Karpel, Bernard, 1911-1986  Search this
Levy, Julien  Search this
Mather, Eleanore Price, 1910-  Search this
Matisse, Pierre, 1900-1989  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Barnett, 1905-1970  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Picasso, Pablo, 1881-1973  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979 -- Art collections  Search this
Rothko, Mark, 1903-1970  Search this
Sage, Kay  Search this
Scharf, William, 1927-  Search this
Sheeler, Charles, 1883-1965  Search this
Sterne, Hedda, 1910-2011  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
34.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Christmas cards
Drawings
Date:
1853-2013
bulk 1920-1996
Summary:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's private art consulting work outside of her curatorial work at the Museum of Modern Art in New York City. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, the World Trade Center, and other miscellaneous corporate and private clients. Miller's work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files of her husband Holger Cahill about his work as Director of the Federal Art Project. There is a scattered documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Also found is Dorothy Miller's collection of artists' Christmas cards and photographs of Miller and others. An addition to the papers includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number professional files are included, the majority of the addition relates to her personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection.
Scope and Content Note:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.

Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.

Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.

Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, Art At Work: Chase Manhattan Bank Collection. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art.

Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing Edward Hicks: His Peaceable Kingdom and Other Paintings. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center.

Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.

The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.
Arrangement:
The collection is arranged as 15 series:

Series 1: Biographical Material, 1917-1986 (Box 1; 0.3 linear ft.)

Series 2: Correspondence and Subject Files, circa 1912-1992 (Boxes 1-8, OV 27; 7.2 linear ft.)

Series 3: Rockefeller Family Art Collections, circa 1949-1985 (Boxes 8-12, 25; 3.9 linear ft.)

Series 4: Rockefeller University Collection, 1923-1984 (Boxes 12-13, OV 27; 1.0 linear ft.)

Series 5: Chase Manhattan Bank Collection, 1959-circa 1985 (Boxes 13-14, 26; 1.4 linear ft.)

Series 6: Port Authority of New York and New Jersey Art Committee, circa 1965-1987 (Boxes 14-15, OV 27; 0.8 linear ft.)

Series 7: Other Corporate and Private Clients, 1968-1984 (Boxes 15-16; 1.3 linear ft.)

Series 8: Other Boards, Committees and Commissions, 1925, 1949-1985 (Boxes 16-20; 3.6 linear ft.)

Series 9: Works Project Administration Federal Art Project Files, 1935-1979 (Box 20, OV 27; 0.5 linear ft.)

Series 10: Edward Hicks Catalog, 1934-1984 (Boxes 20-22; 1.5 linear ft.)

Series 11: Research Files, 1930s-1980 (Boxes 22-23; 0.8 linear ft.)

Series 12: Exhibition Files, 1932-1986 (Box 23; 0.6 linear ft.)

Series 13: Works of Art, circa 1924-circa 1982 (Boxes 23-25; 1.5 linear ft.)

Series 14: Photographs, 1926-circa 1970s (Boxes 24-25; 0.3 linear ft.)

Series 15: Addition to the Dorothy C. Miller Papers, 1853-2003, bulk 1920-1996 (Boxes 28-38, OVs 39-41; 9.9 linear ft.)
Biographical Note:
Dorothy Canning Miller (1904-2003) worked in New York City as a highly influential curator of contemporary and folk art at the Museum of Modern Art and as the first curator of the museum. Later, she was the primary art consultant for Nelson A. Rockefeller, the Rockefeller family, Rockefeller University, Chase Manhattan Bank, and the Port Authority of and New Jersey. Dorothy Miller was also married to Holger Cahill, director of the WPA Federal Art Project.

Dorothy C. Miller was born in Hopedale, Massachusetts in 1904 and received her Bachelor of Arts from Smith College in 1925. She was first introduced to modern art through classes at the Newark Museum taught by John Cotton Dana and Holger Cahill. Miller joined the curatorial staff of the Newark Museum in 1926. The museum was one of the first to organize exhibitions of American folk art, American Primitives (1930-1931) and American Folk Sculpture (1931-1932). Miller worked with Cahill and others on the exhibition and developed a life-long interest in folk art.

After four years at the Newark Museum, Miller moved to New York city, hoping to get involved with the newly opened Museum of Modern Art (MoMA), and, likely, to be with Holger Cahill, with whom she lived with on 8th Street prior to their marriage in 1938. Between 1930 and 1932 she took odd jobs and worked with Mrs. Henry Lang cataloging, researching and installing Lang's collection of Native American art Lang donated to the Montclair Art Museum. At the same time, Holger Cahill was serving as Acting Director of the Museum of Modern Art during an absence of Director Alfred H. Barr. In 1932, Cahill asked Miller to assist him with curating the American Painting and Sculpture, 1862-1932 exhibition at MoMA, and together they also curated the First Municipal Art Exhibition, 1934 at the Rockefeller Center.

In 1934, Barr hired Miller as his assistant and one year later appointed her as MoMA's first curator. Miller spent the next 35 years organizing many of this country's most important exhibitions of contemporary art and building personal relationships with new artists and photographers, as well as the collections of MoMA. Miller retired from MOMA in 1969 and focused more on her art consulting work begun in the late 1950s.

Dorothy Miller's most notable client was Nelson A. Rockefeller. She assisted and advised Rockefeller as he acquired a vast personal collection of modern art - some of which was later donated to MoMA. Just prior to her retirement, Miller organized a large exhibition of Rockefeller's collection. The exhibition catalog written by Miller was the basis for the book she worked on with Rockefeller up until and following his death in 1979, ultimately published as The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. In the preface, Rockefeller credited Miller with being one of the four people to whom he was indebted "for the understanding and endless joy I have found in the collecting of modern art in all forms."

Miller also served as the primary art consultant for projects to furnish federal spaces, including Henry Kissinger's State Department office suite, and the official Vice-Presidential residence at the Admiral's House in Washington D.C.

In 1959 Miller was invited to join the art collection committee of the Chase Manhattan Bank and served on the committee until the mid-1980s, contributing her expertise to the development of one of this country's oldest and largest corporate collections of modern and contemporary art.

Miller was also an advisor to other members of the Rockefeller family, including David Rockefeller, and assisted with developing the art collections of Rockefeller Institute/University. From 1960 through the late 1980s Miller was a member of the art committee for the Port Authority of New York and New Jersey (PANJY) and was responsible for selecting much of the artwork for the World Trade Center in the 1970s. She served on numerous boards and commissions, including the Hancock Shaker Village, the Smithsonian Institution's Hirshhorn Museum and Sculpture Garden, the Empire State Plaza in Albany, Smith College Museum of Art, and the Museum of American Folk Art. She also became a member of the Mark Rothko Foundation Board of Directors after the litigation following Rothko's death between Rothko's executors and his daughter.

In the mid-1970s Miller assisted the Whitney Museum of American with planning an exhibition and supporting catalog of the work of folk artist Edward Hicks. Although the exhibition and catalog were only partially realized in 1980, Miller and Eleanore Price Mather compiled and published a book on Hicks, Edward Hicks: His Peaceable Kingdoms and Other Paintings, published in 1983.

In 1982-1983 Miller received the Art Dealers Association Special Award, an honorary degree from Williams College, and the Skowhegan School of Painting and Sculpture governor's award. In 1984 she was named honorary trustee of the Museum of Modern Art. In 1985 the Smith College Museum of Art honored her important contributions to museum connoisseurship with the exhibition Dorothy C. Miller: With An Eye to American Art.

Dorothy Miller died in 2003 at the age of 99 at her home in Greenwich, New York.
Related Material:
The Archives of American Art holds two oral history interviews with Dorothy C. Miller. The first was conducted by Paul Cummings between May 26, 1970 and September 28, 1971, and details Miller's life from childhood up to, and including, her years at the Museum of Modern Art. The second was conducted by Avis Berman on May 14, 1981 and covers Miller's relationships with Mark Rothko and Clyfford Still. Also found among the holdings of the Archives are the papers of Holger Cahill, Dorothy Miller's husband and colleague.

The Museum of Modern Art Achives holds Dorothy Miller's papers related to her curatorial work at the museum.
Provenance:
The collection was donated by Dorothy C. Miller via Wendy Jeffers between 1986 and 1997, and Reid White, Executor of Miller's estate, in 2004. Two subsequent additions were donated by Wendy Jeffers in 2014 and 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Topic:
Artists -- United States  Search this
Art, Modern -- 20th century  Search this
Art, Modern -- 20th century -- Exhibitions  Search this
Art museum curators -- New York (State) -- New York  Search this
Corporations -- Private collections  Search this
Art -- Private collections  Search this
Folk art  Search this
Genre/Form:
Photographs
Sketches
Christmas cards
Drawings
Citation:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.milldoro
See more items in:
Dorothy C. Miller papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-milldoro
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