Search Results

Interviewee:

Shaw, Richard, 1941 Sept. 12-  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Archives of American Art  Search this

Names:

Archives of American Art  Search this

Braunstein/Quay Gallery  Search this

San Francisco Art Institute -- Students.  Search this

Braunstein, Ruth, 1923-  Search this

Chanco, Pauletta, 1959-  Search this

Hudson, Robert, 1938-  Search this

Melchert, Jim, 1930-  Search this

Extent:

12 Items (Master: 12 videocassettes (Beta) (30 min. each), sd., col., 1/2 in.)

12 Items (Duplicate: 12 videocassettes (30 min. each) (VHS), sd., col., 1/2 in.)

1 Item (Edited version: "Richard Shaw : Love of the Common Object": 1 videocassette (60 min.) (Beta), sd., col., 1/2 in.)

1 Videocassettes (VHS) (Edited version: "Richard Shaw: Love of the Common Object" (10 min.), sd., col., 1/2 in.)

Type:

Collection descriptions

Archival materials

Videocassettes (vhs)

Video recordings

Interviews

Place:

San Francisco Bay Area (Calif.)

Date:

1998 April 3 and 6

Scope and Contents:

An interview with Richard Shaw conducted 1998 April 3 and6, by Paul J. Karlstrom, for the Archives of American Art, at Shaw's home and studio, Fairfax, California, and at the Quay Gallery, San Francisco, California.

The interview covers the development of Shaw's career, life, and art. The first session took place in Shaw's studio and introduces his living and working environment. Shown is a step-by-step technical demonstration of Shaw creating his trompe l'oeil ceramic pieces. Shaw discusses his family background, values, his choice of a semi-rural environment of Marin County in which to live; bohemianism; connections with the counter-culture of northern California; relationships with other artists and friends and their importance to the development of his ideas and creativity; the differences in art communities of northern and southern California and the East and West coasts; experiences at the San Francisco Art Institute and instructors there which influenced him, as well as the influences of San Francisco in general. He described his illusionism, alchemy of technique, and his artistic philosophy and goals in his art. The second session took place at the Braunstein/Quay Gallery where a Shaw exhibit was then on display. The interview focused on his work, their meaning, and the evolution of ideas and expressions; his collaboration with Robert Hudson; the idea of a broader collaboration in the Bay Area over the years, especially in the 1960s, and the changes since then; and Shaw's reflections on the importance of ceramics in Bay Area art, his role, and direction for the future. The video was directed by David Bolt, the cameraman was Robert Boudreaux, and sound technician was William Steffanacci. In addition to Shaw, other participants include Shaw's wife, Martha; Ruth Braunstein, owner of the Braunstein/Quay Gallery; Pauletta Chanco, painter and former student; and James Melchert, sculptor and art administrator.

Biographical / Historical:

Richard Shaw (1941- ) is a ceramicist and sculptor from the San Francisco Bay Area, California.

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.

Restrictions:

For information on how to access this interview contact Reference Services.

Occupation:

Ceramicists -- California -- San Francisco Bay Area  Search this

Topic:

Ceramics  Search this

Genre/Form:

Video recordings

Interviews

Sponsor:

Funding for this interview was provided by the Mrs. Yoshiko Mori Fund.

Identifier:

AAA.shaw98

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw982e72bf5-f6e7-469b-ab87-547ca0d4e70b

EDAN-URL:

ead_collection:sova-aaa-shaw98

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2019-11-21T23:17:21.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_7_IbPsRVhAA

Creator:

Siegriest, Louis Bassi, 1899-1989  Search this

Subject:

Stoddart, Edna  Search this

Gile, Selden Connor  Search this

Westaway, Mae  Search this

Guggenheim, Hazel  Search this

Federal Art Project (Calif.)  Search this

Type:

Sketchbooks

Citation:

Louis Siegriest papers, 1927-1981. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Federal aid to the arts -- California -- San Francisco  Search this

Art and state -- California -- San Francisco  Search this

Graphic arts  Search this

Theme:

Sketches & Sketchbooks  Search this

New Deal  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7180

(DSI-AAA_SIRISBib)209317

AAA_collcode_siegloui

Theme:

Sketches & Sketchbooks

New Deal

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209317

Creator:

Chittenden, Alice Brown, 1859-1944  Search this

Citation:

Alice Brown Chittenden papers, 1860-1974. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women painters  Search this

Scrapbooks  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7411

(DSI-AAA_SIRISBib)209568

AAA_collcode_chitalic

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209568

Interviewee:

Siegriest, Louis Bassi, 1899-1989  Search this

Interviewer:

Karlstrom, Paul J  Search this

Subject:

St. John, Terry  Search this

Clapp, William Henry  Search this

D'Harnoncourt, Rene  Search this

Gay, August Franc̜ois  Search this

Gile, Selden Connor  Search this

Logan, Maurice  Search this

Van Sloun, Frank J.  Search this

Von Eichman, Bernard J.  Search this

Society of Six  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Louis Siegriest, 1978 June 21. Archives of American Art, Smithsonian Institution.

Topic:

Painters -- California -- Oakland -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12472

(DSI-AAA_SIRISBib)212273

AAA_collcode_siegri78

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212273

Creator:

Chittenden, Alice Brown, 1859 or 60-1944  Search this

Extent:

1.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1860-1974

Summary:

The scattered papers of painter Alice Brown Chittenden measure 1.1 linear feet and date from 1860 to 1974. Found are biographical material, correspondence, drawings by Chittenden and others, an inventory of works of art, photographs and albums, printed material, and a clippings scrapbook.

Scope and Contents:

The scattered papers of painter Alice Brown Chittenden measure 1.1 linear feet and date from 1860 to 1974. Found are biographical material, correspondence, drawings by Chittenden and others, an inventory of works of art, photographs and albums, printed material, and a clippings scrapbook.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Alice Brown Chittenden (1859-1944) was a painter active in San Francisco, California. She is known for her paintings of flowers and California wildflowers. Additionally, she taught painting at the Hopkins Art School (later the California School of Design) and the California School of Fine Arts.

Provenance:

Donated 1974 by Virginia Larribeau, granddaughter of Alice B. Chittenden.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- California -- San Francisco  Search this

Topic:

Women artists  Search this

Women painters  Search this

Scrapbooks  Search this

Citation:

Alice Brown Chittenden papers, 1860-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.chitalic

See more items in:

Alice Brown Chittenden papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95358003a-a774-46bb-b9dd-bb72ad9a85bb

EDAN-URL:

ead_collection:sova-aaa-chitalic

Creator:

Siegriest, Louis Bassi, 1899-1989  Search this

Names:

Federal Art Project (Calif.) -- Posters  Search this

Gile, Selden Connor, 1877-1947  Search this

Guggenheim, Hazel  Search this

Stoddart, Edna, d. 1966  Search this

Westaway, Mae  Search this

Extent:

0.9 Linear feet ((partially microfilmed on 2 reels))

4.3 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1927-1981

Scope and Contents:

Art works, biographical material, correspondence, an interview, exhibition material, writings, and printed materials.

REELS 3978-3979: Biographical material; letters from Selden Gile, 1927-1928, photocopies of letters from Siegriest to Mae Westaway, 1951-1956, and other letters; a typescript of an essay, "The Society of Six," by Edward Dora; a transcript of an interview with Siegriest conducted by Corinne Gilb, 1954; photographs of Siegriest, Edna Stoddart, Hazel Guggenheim, and others; financial and legal documents; and exhibition catalogs, announcements, clippings and other printed material.

UNMICROFILMED: Works of art by Siegriest, including 3 progressive proofs and 37 completed silkscreen posters for the Indian Court Federal Building, Golden Gate International Exposition, San Francisco, 1939; a signed silkscreen poster for the Frontiers of American Art National Exhibition, M. H. de Young Memorial Museum, 1939; and nine signed studies for posters. Many of the posters were done for the Federal Art Project.

ADDITION: Correspondence, clippings, catalogs, announcements, personal photographs, junior high school notebooks, and family papers.

Biographical / Historical:

Painter and graphic artist; Oakland, California.

Other Title:

Louis Siegriest and Edna Stoddart papers (microfilm title)

Provenance:

Donated 1980-1981 by Louis Siegriest, and in 1992 by the Siegriest estate via Suzanne Westaway, executor.

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.

Addition: Unmicrofilmed; use requires an appointment and is limited to AAA's Washington, DC, office.

Topic:

Painting, American  Search this

Federal aid to the arts -- California -- San Francisco  Search this

Art and state -- California -- San Francisco  Search this

Graphic arts  Search this

Genre/Form:

Sketchbooks

Identifier:

AAA.siegloui

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e9121f75-ba4a-4d4c-94b9-14b44c58b6be

EDAN-URL:

ead_collection:sova-aaa-siegloui

Collector:

Karlstrom, Paul J.  Search this

Names:

Kienholz, Edward, 1927-  Search this

Oliveira, Nathan, 1928-2010  Search this

Siegriest, Louis Bassi, 1899-1989  Search this

Wood, Beatrice -- Photographs  Search this

Extent:

21 Items (photographic prints)

Type:

Collection descriptions

Archival materials

Date:

1976-1993

Scope and Contents:

Photographs taken or compiled by Karlstrom as Director and Area Collector for the Archives of American Art, including: six color snapshots and five negatives of Louis Siegriest and Nathan Oliveira taken during an oral history interview of Siegriest conducted by Karlstrom; 7 color slides of Edward Kienholz, taken at Kienholz's home in Hope, Idaho, 1975; and 2 snapshots of Beatrice Wood, 1992, taken during an oral history interview session. Also donated is one snapshot of Wood taken by an unknown photographer, Nov. 3, 1993, at Scripps College, Calif.

Biographical / Historical:

Karlstrom: Director and area collector of the Archives of American Art, San Francisco office. Siegriest: painter and graphic artist; Oakland, California. Oliveira: painter and teacher; Stanford, California. Keinholz: assemblage artist; California and Idaho. Wood: Ceramist, Calif.

Provenance:

Donated by Paul Karlstrom 1980-2001.

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:

Assemblage artists -- Idaho -- Hope  Search this

Topic:

Artists -- Idaho -- Photographs  Search this

Painters -- California -- Photographs  Search this

Identifier:

AAA.karlpaul

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94908906d-6770-4ac9-9904-0e01d93c4466

EDAN-URL:

ead_collection:sova-aaa-karlpaul

Creator:

Siegriest, Louis Bassi, 1899-1989  Search this

United States. Works Progress Administration  Search this

Names:

Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this

Extent:

16 Posters (color silkscreen, 25 x 36 inches; 12x 18 inches)

Culture:

Anishinaabe (Chippewa/Ojibwa)  Search this

Apache  Search this

Diné (Navajo)  Search this

Haida  Search this

Eskimos  Search this

Pomo  Search this

Pueblo  Search this

Seneca  Search this

Type:

Collection descriptions

Archival materials

Posters

Works of art

Place:

San Francisco (Calif.)

North America

Date:

1939

Scope and Contents:

The collection consists of posters created for the Indian Court exhibit at the Golden Gate International Exposition. The posters were created as part of the Federal Art Project (FAP) of the Works Progress Administration (WPA). The designs were adapted by Louis Siegriest from work produced by indigenous artists. The artists who contributed resource material received limited recognition for their work; some remain unknown.

Siegriest created eight (8) posters for the Indian Court exhibit. This collection includes one complete set of all eight (8) posters and one (1) explanatory label, and one incomplete set of seven (7) posters.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Louis Bassi Siegriest (1899-1989) was an American painter and commerical artist based in California.

Historical Note:

The Golden Gate International Exposition (1939=1940) was a World's Fair celebrating "Pacific Unity" and the opening of the San Francisco–Oakland Bay Bridge and the Golden Gate Bridge.

Local Numbers:

NAA MS 4883

Related Materials:

The Archives of American Art holds the Louis Siegriest papers and an Oral history interview with Louis Siegriest.

Provenance:

The provenance of the collection is unknown. It is possible that the two sets of posters were received from different sources.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Posters

Citation:

MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4883

See more items in:

MS 4883 Posters from the Indian Court in the Federal Building at the Golden Gate International Exposition

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw316518c2d-b47b-442f-9cc0-a919aaf05f5a

EDAN-URL:

ead_collection:sova-naa-ms4883

Interviewee:

Siegriest, Louis Bassi, 1899-1989  Search this

Interviewer:

Karlstrom, Paul J.  Search this

St. John, Terry  Search this

Names:

Society of Six  Search this

Clapp, William Henry, 1879-1954  Search this

D'Harnoncourt, Rene, 1901-1968  Search this

Gay, August Franc̜ois, 1890-1948  Search this

Gile, Selden Connor, 1877-1947  Search this

Logan, Maurice, 1886-1977  Search this

Van Sloun, Frank J., 1879-1938  Search this

Von Eichman, Bernard J., 1899-1970  Search this

Extent:

30 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1978 June 21

Scope and Contents:

An interview of Louis Siegriest conducted 1978 June 21, by Terry St. John and Paul Karlstrom, for the Archives of American Art.

Siegriest speaks of his background; studying with Frank Van Sloun at the Mark Hopkins School; the Society of Six and its members, Seldon Gile, Bernard Von Eichman, Maurice Logan, William Clapp, and August Gay; living in Milwaukee and working in commercial art; returning to San Francisco and pursuing landscape painting; working for the WPA under Rene D'Harnoncourt; doing camouflage work with the U.S. Army in World War II; a controversy about and cancellation of an exhibit of his work at the De Young Museum; collage in the 1950s; his travels; the Bay area art scene; his associations with younger artists; his recent work.

Biographical / Historical:

Louis Siegriest (1899-1989) was a painter from Oakland, California.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hrs., 15 min.

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.

Topic:

Painters -- California -- Oakland -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.siegri78

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93d976d9d-0599-44c5-812a-11ad77376178

EDAN-URL:

ead_collection:sova-aaa-siegri78

Creator:

Sinton, Marian W., 1894-1980  Search this

Names:

Anderson, Carlo  Search this

Feldman, Bella Tabak, 1930-  Search this

Oliveira, Nathan, 1928-2010  Search this

Patchen, Kenneth, 1911-1972  Search this

Rose, Henri Marie, 1922-  Search this

Siegriest, Louis Bassi, 1899-1989  Search this

Thiebaud, Wayne  Search this

Van Hoesen, Beth, 1926-2010  Search this

Extent:

0.2 Linear feet ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1962-1971

Scope and Contents:

Thirty-nine letters, mostly thank-yous, to Sinton from mainly San Francisco Bay Area artists Carlo Anderson, Bella T. Feldman, Nathan Oliviera, Henri Marie Rose, Louis Siegriest, Wayne Thiebaud, Beth Van Hoesen and others; and a clipping dated September 16, 1967, about the poetry of Kenneth Patchen.

Biographical / Historical:

Art collector; Hillsborough, Calif.

Provenance:

Donated 1985 by Ruth Steiner, daughter of Marian Sinton. The material formed part of a larger collection of prints and drawings from the estate of the late Mr. and Mrs. Edgar Sinton and donated to the Achenbach Foundation for the Graphic Arts, California Palace of the Legion of Honor (Fine Arts Museum of San Francisco).

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:

Painters -- California  Search this

Topic:

Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this

Identifier:

AAA.sintmari

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw963ed4abf-fa67-411f-83d7-d2f4f1c47165

EDAN-URL:

ead_collection:sova-aaa-sintmari

Creator:

Ferlinghetti, Lawrence, 1919-2021  Search this

Type:

Drawings

Sketchbooks

Citation:

Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)22141

AAA_collcode_ferllawr

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22141

Creator:

Ferlinghetti, Lawrence  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

1980-2020

Summary:

The Lawrence Ferlinghetti papers measure 3.1 linear feet and date from 1980 to 2020. The papers document Ferlinghetti's career as a poet and artist through exhibition files, inventories, correspondence and other professional files; clippings, exhibition announcements, exhibition catalogs, and other printed material; sketches, sketchbooks, lithographs, and other artwork; and photographs and slides of Ferlinghetti and his artwork.

Scope and Contents:

The Lawrence Ferlinghetti papers measure 3.1 linear feet and date from 1980 to 2020. The papers document Ferlinghetti's career as a poet and artist through exhibition files, inventories, correspondence and other professional files; clippings, exhibition announcements, exhibition catalogs, and other printed material; sketches, sketchbooks, lithographs, and other artwork; and photographs and slides of Ferlinghetti and his artwork.

Arrangement:

The collection is arranged into four series.

Series 1: Professional Files, 1988-2020 (0.9 linear feet; Box 1)

Series 2: Printed Material, 1982-2019 ( 0.7 linear feet; Boxes 1-3, 5)

Series 3: Artwork, 1980-2005 (1.2 linear feet; Boxes 2-5)

Series 4: Photographic Material, 1990-2009 (0.3 linear feet; Box 2)

Biographical / Historical:

Lawrence Ferlinghetti (1919-2021) was a painter, poet, and activist in San Francisco, California. Ferlinghetti was born in Yokers, New York. He studied journalism at the University of North Carolina Chapel Hill, and completed a Ph.D. in comparative literature at the University of Paris. In the 1950s, Ferlinghetti established City Lights, a publishing house in San Francisco. Ferlinghetti was also a poet writing in the vein of T. S. Eliot. Ferlinghetti painted throughout his lifetime and exhibited works throughout the United States. Ferlinghetti died in 2021.

Provenance:

Donated in 2022 by the Lawrence Ferlinghetti Artworks Trust via Joseph Sasser, Trustee.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records in this collection must use access copies. Contact References 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.

The donor has retained all intellectual property rights, including copyright, that they may own in the following material: artwork created by Lawrence Ferlinghetti.

Occupation:

Painters -- California -- San Francisco  Search this

Poets -- California -- San Francisco  Search this

Genre/Form:

Drawings

Sketchbooks

Citation:

Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ferllawr

See more items in:

Lawrence Ferlinghetti papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f95c09b7-5492-4405-a46b-68dc5e437c98

EDAN-URL:

ead_collection:sova-aaa-ferllawr

Creator:

Hibi, Hisako, 1907-1991  Search this

Hibi, Matsusaburo George, 1886-1947  Search this

Extent:

3.3 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

circa 1906-2000

Scope and Contents:

The papers of Japanes American artists Hisako Hibi and Matsusaburo "George" Hibi measure 3.3 linear feet and date from circa 1906-2000. These papers are mainly focused on Hisako Hibi's life and career, with some small elements related to Matsusaburo "George" Hibi. Included are biographical material consisting of immigration documents and interview transcripts; scrapbooks; photographs of family members; printed material including catalogs and newspaper clippings; personal and professional correspondence; records of works sold, loaned and donated; and few sketches. Also found is Matsusaburo's handwritten account of founding the art school at Topaz camp.

Biographical / Historical:

Hisako Hibi née Shimizu (1907-1991) was Japanese American an artist in Hayward and San Francisco, California. She was married to­ artist Matsusaburo "George" Hibi (1886-1947). Both artists were incarcerated at the Topaz relocation center in Utah during World War II.

Provenance:

Donated in 2022 by Ibuki Hibi Lee, Hisako and Matsusaburo "George" Hibi's daughter.

Restrictions:

This collection is temporarily closed to researchers due to archival processing. For more information, please contact Reference Services.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- California -- San Francisco  Search this

Printmakers -- California -- San Francisco  Search this

Topic:

Women artists  Search this

Asian American artists  Search this

Japanese American artists  Search this

Japanese Americans -- Forced removal and internment, 1942-1945  Search this

Genre/Form:

Scrapbooks

Identifier:

AAA.hibihisa

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96ad4ec94-a26a-44a8-94e1-868fddd32f1d

EDAN-URL:

ead_collection:sova-aaa-hibihisa

Creator:

Gershoy, Eugenie, 1901?-1983 or 6  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Federal Art Project (N.Y.)  Search this

Woodstock Artists Association (Woodstock, N.Y.)  Search this

Yaddo (Artist's colony)  Search this

Baker, Mildred, 1905-  Search this

Blanch, Arnold, 1896-1968  Search this

Blanch, Lucile, 1895-1981  Search this

Breeskin, Adelyn Dohme, 1896-1986  Search this

Calder, Alexander Stirling, 1870-1945  Search this

Dehn, Virginia  Search this

Force, Juliana, 1876-1948  Search this

Fruhauf, Aline, 1909-1978  Search this

Gottlieb, Harry, 1895-  Search this

Hart, Agnes, 1912-1979  Search this

Knight, Frederic C., 1898-1979  Search this

Marantz, Irving, 1912-1972  Search this

Millay, Edna St. Vincent, 1892-1950  Search this

Nakian, Reuben, 1897-1986  Search this

Picken, George, 1898-  Search this

Pollet, Joseph C., 1897-1979  Search this

Presser, Josef, 1906-1967  Search this

Refregier, Anton, 1905-  Search this

Scaravaglione, Concetta, 1900-1975  Search this

Soyer, Moses, 1899-1974  Search this

Soyer, Raphael, 1899-1987  Search this

Thomson, Virgil, 1896-  Search this

Varda, Jean  Search this

Extent:

7.2 Linear feet

Type:

Collection descriptions

Archival materials

Prints

Christmas cards

Sketchbooks

Sketches

Photographs

Place:

Woodstock (N.Y.)

Date:

1914-1983

Summary:

The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.

Scope and Content Note:

The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.

Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.

Arrangement:

The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.

Missing Title

Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)

Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)

Series 3: Business Records, 1952-1978 (box 6; 5 folders)

Series 4: Notes, 1967-1970, undated (box 6; 3 folders)

Series 5: Writings, 1970, undated (box 6; 2 folders)

Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)

Series 7: Printed Material, 1932-1983, undated (boxes 7, 9; 19 folders)

Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)

Biographical Note:

Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.

With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.

Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.

In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.

Eugenie Gershoy died in 1986.

Related Material:

Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.

Provenance:

The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Draftsmen (artists) -- New York (State) -- New York  Search this

Ceramicists -- New York (State) -- New York  Search this

Topic:

New Deal, 1933-1939  Search this

Federal aid to the arts  Search this

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Women artists  Search this

Women painters  Search this

Women ceramicists  Search this

Women sculptors  Search this

Function:

Artists' studios -- New York (State)

Genre/Form:

Prints

Christmas cards

Sketchbooks

Sketches

Photographs

Citation:

Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.gerseuge

See more items in:

Eugenie Gershoy papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9140504d0-90c4-45af-91c8-9c39b74aa139

EDAN-URL:

ead_collection:sova-aaa-gerseuge

Creator:

Sharrer, Honoré, 1920-2009  Search this

Names:

American Academy of Arts and Letters  Search this

Forum Gallery (New York, N.Y.)  Search this

Handmacher-Vogel, Inc.  Search this

Terry Dintenfass, Inc.  Search this

Women's Caucus for Art  Search this

Blume, Peter, 1906-1992  Search this

Bridaham, Lester Burbank  Search this

Caiserman-Roth, Ghitta, 1923-  Search this

Calderwood, Kathy, 1945-  Search this

Carpenter, Mary  Search this

Crutchfield, Mary  Search this

Goodwin, Betty  Search this

Kirstein, Lincoln, 1907-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Oda, Mayumi, 1941-  Search this

Poland, Reginald  Search this

Sachs, Honoré  Search this

Sharrer, Madeleine  Search this

Tooker, George, 1920-2011  Search this

Zagorin, Adam  Search this

Zagorin, Perez  Search this

Extent:

9.45 Linear feet

1.12 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Photographs

Date:

circa 1920-2007

Summary:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Scope and Contents:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Biographical material includes biographical notes and resumés, awards, paintbrushes used by Sharrer, and sales records, as well as comprehensive documentation, compiled 2004-2007 by her husband, Perez Zagorin, and her son, Adam Zagorin, of Sharrer's artwork in their possession. Included are digital images of Sharrer's artwork.

Correspondence is with family members including Sharrer's mother, Madeleine Sharrer, and her second husband, Reginald Poland; husband Perez Zagorin; son Adam Zagorin; and daughter-in-law, Mary Carpenter Also found is correspondence with artists including Peter Blume, Lester Burbank Bridaham, Gitta Caiserman-Roth, Kathy Calderwood, Mary Crutchfield, Betty Goodwin, Lincoln Kirstein, Mayumi Oda, and George Tooker. Other professional correspondents include galleries, museums, and other art institutions such as American Academy of Arts and Letters, Terry Dintenfass, Forum Gallery, Handmacher-Vogel, Inc., M. Knoedler & Co., Dorothy Miller relating to the 1946 Fourteen Americans exhibition at the Museum of Modern Art, and the Women's Caucus for Art.

Writings and notes comprise drafts of several essays on art by Sharrer, preliminary notes for Tribute to the American Working People, and a mock-up for an unpublished book, "One White Christmas," written by Sharrer's grandmother, Honoré Sachs, and illustrated by Sharrer.

Research and source files consist of source material used throughout the course of Sharrer's career, including printed and photographic material used in the creation of Tribute to the American Working People, and later work dating up to, and including, the last decade of her life.

Printed material comprises announcements and catalogs for exhibitions and events featuring Sharrer, including a catalog for Fourteen Americans, as well as clippings about her and others, such as the Life Magazine cover story "Nineteen Young Americans."

Artwork and sketchbooks include studies for paintings and illustrations, and other preliminary sketches, as well as 14 sketchbooks of pencil and ink sketches dating from circa 1960s t0 2003.

Photographic material consists of photos of Sharrer, her family, friends, colleagues, exhibition installations, and houses. Also found are photos, negatives, and transparencies of Sharrer's artwork, as well as photos of artwork by Madeleine Sharrer and Lester Burbank Bridaham.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1941-2007 (0.44 linear feet; Boxes 1, 10, 1.12 GB; ER01-ER10)

Series 2: Correspondence, 1938-2006 (1.84 linear feet; Boxes 1-3, 10)

Series 3: Writings and Notes, circa 1940s-circa 1990s (5 folders; Boxes 3, 10)

Series 4: Research and Source Files, circa 1920s-2005 (3.43 linear feet; Boxes 3-6, 10-11)

Series 5: Printed Material, circa 1930s-2005 (0.85 linear feet; Boxes 6-7, 11, OV 13, OV 17)

Series 6: Artwork, 1941-circa 1990s (0.8 linear feet; Boxes 7, 11-12, OV 13

Series 7: Sketchbooks, 1960s-2003 (0.55 linear feet; Boxes 7, 12)

Series 8: Photographic Material, circa 1930s-circa 2000 (1.83 linear feet; Boxes 8-9, 12, OVs 13-16)

Biographical / Historical:

Realist painter Honoré Sharrer (1920-2009) lived and worked in New York, Massachusetts, London, Montreal and Charlottesville, Virginia. She was best known for her five-panel painting, Tribute to the American Working People, completed in 1951 and first shown at M. Knoedler & Co. in New York to wide critical acclaim.

Sharrer was born in 1920 in West Point, New York, where her father was an Army officer, and grew up in the United States, the Philippines, Paris, and La Jolla, California. She studied at the Yale University School of Art and the San Francisco Art Institute, and worked as a welder in shipyards in California and New Jersey during World War II. She moved to New York in the 1940s and lived subsequently in Amherst, Massachusetts, London, and Montreal.

Sharrer's Workers and Paintings (1943) was included in the landmark Museum of Modern Art exhibition, Fourteen Americans, in 1946, and her painting, Man at Fountain, was featured in the 1950 Life Magazine cover story, "Nineteen Young American Artists." Tribute to the American Working People, which depicted a factory worker surrounded by smaller scenes of ordinary life, was considered her masterwork, but in the years that followed it's unveiling at M. Knoedler & Co., Sharrer was noticeably absent from the art scene; between 1951 and 1969 she did not have a single solo exhibition. While many of her contemporaries immersed themselves in Abstract Expressionism, Sharrer continued to paint, in meticulous detail, the daily experiences of ordinary working people, and her later work often dealt with female perspectives and was imbued with humor and elements of magical realism.

In 2007 the Smithsonian American Art Museum held an exhibition titled Anatomy of a Painting: Honoré Sharrer's 'Tribute to the American Working People,' which was devoted exclusively to her most famous work, now in the Smithsonian's permanent collection, and the source material she used when painting it. Sharrer's works can also be found in the Metroplitan Museum of Art, the Museum of Modern Art, and the Pennsylvania Academy of Fine Arts.

Sharrer settled in Charlottesville, Virginia, in the early 1990s. She was married to her second husband, historian Perez Zagorin, for 61 years, before her death in 2009. Her mother, Madeleine Sharrer, was also a painter who married Reginald Poland, Director of the Fine Arts Gallery, San Diego, following the death of Sharrer's father, Robert Allen Sharrer.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Perez Zagorin, 2007, January 17-18, and the Madeleine Sharrer papers, 1954-1988.

Provenance:

The Honoré Sharrer papers were donated in 2006 and 2007 by Perez Zagorin, Sharrer's husband. A small addition was donated by Adam Zagorin, Sharrer's son, in 2018.

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.

Occupation:

Painters -- Virginia  Search this

Painters -- New York (State)  Search this

Topic:

Painting -- Equipment and supplies  Search this

Realism  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sketchbooks

Photographs

Citation:

Honoré Sharrer papers, circa 1920-2007. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.sharhono

See more items in:

Honoré Sharrer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c06a9fc-29d0-42ee-9a3a-d6d2558dfc77

EDAN-URL:

ead_collection:sova-aaa-sharhono

Creator:

Bechtle, Robert Alan, 1932-2020  Search this

Type:

Scrapbooks

Sketchbooks

Drawings

Diaries

Video recordings

Citation:

Robert Bechtle papers, circa 1930s-2020. Archives of American Art, Smithsonian Institution.

Topic:

Photo-realism  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)22120

AAA_collcode_bechrobe

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22120

Creator:

Bechtle, Robert, 1932-2020  Search this

Extent:

13.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketchbooks

Drawings

Diaries

Video recordings

Date:

circa 1930s-2020

Summary:

The Robert Bechtle papers measure 13.9 linear feet and date from circa 1930s-2020. The collection documents his career as a photorealist painter in the San Francisco Bay area. Series include biographical material, correspondence, personal business records, exhibition and gallery records, writings which include artist statements interviews and texts by others, teaching files, printed material, photographic material and artwork.

Scope and Contents:

The Robert Bechtle papers measure 13.9 linear feet and date from circa 1930s-2020. The collection documents his career as a photorealist painter in the San Francisco Bay area. Series include biographical material, correspondence, personal business records, exhibition and gallery records, writings which include artist statements interviews and texts by others, teaching files, printed material, photographic material and artwork.

Biographical material includes military service documents including infantry yearbooks, as well as academic records and degrees for Bechtle and his mother, who continued her education later in life. Also included are highschool yearbooks, the senior year issue featuring art direction from Bechtle, as well as resumes and other supplemental material used by Bechtle's employing institutions to grant sabbaticals and other paid leave. Correspondence is mostly from galleries and museums, in addition to letters from various peers. Also included are letters of recommendation written by Bechtle for faculty or graduate art programs, as well as numerous letters by Bechtle to his mother while he was in the military, including photographs of his travels in Europe, especially Germany. Personal business records include grant applications, applications for sabbatical and other paid leave, as well as studio expenses, planners, and miscellaneous travel documents. Exhibition and gallery records include planning documents for key exhibitions, correspondence, financial documents including sales information, and printed materials from galleries Bechtle worked with over the years, as well as mailing lists, print catalogs, print documentation, and inventory records.

Writings include artist statements and interviews, schoolwork including art history and philosophy papers and notebooks, and academic papers written on Bechtle's work. Teaching materials include lessons, readings, materials lists and syllabi particularly concerning painting, design and printmaking courses at San Francisco State University and other schools.

Printed material includes press clipping and a press scrapbook, as well as invitations and posters, press releases and exhibition catalogs, as well as other types of publications featuring Bechtle's artwork and miscellaneous books and pamphlets from Bachtle's European travel.Photographic material includes photographs of Bechtle and his friends and family, his classmates at CCAC and his military colleagues in Germany. Also included are photographs and slides of artwork by Bechtle and others, as well as photographs and slides used to make Bechtle's photorealistic paintings, drawings, and prints. The artwork series includes childhood and early career drawings including sketchbooks by Bechtle, as well as original materials made by Bechtle for his design work including the Kaiser Company, as well as watercolor and tempera works on paper including demonstration works made in the classroom setting.

Arrangement:

The collection is arranged as nine series:

Series 1: Biographical Material , circa 1940s-1999 (1 Linear foot: Box 1)

Series 2: Correspondence, circa 1950-2017 (1.2 Linear feet: Boxes 2-3)

Series 3: Personal Business Records (1 Linear foot: Boxes 3-4)

Series 4: Exhibition and Gallery Records, circa 1960s-2019 (1.3 Linear feet: Boxes 4-5)

Series 5: Writings, circa 1950-2015 (0.8 Linear feet: Boxes 5-6)

Series 6: Teaching Files, circa 1956-1988 (0.2 Linear feet: Box 6)

Series 7: Printed Material, circa 1939-2020 (4.6 Linear feet: Boxes 6-10, 13, Oversize 21)

Series 8: Photographic Material , circa 1930s-2010 (2.8 Linear feet: Boxes 10-15)

Series 9: Artwork, circa 1930s-1999 (1 Linear foot: Box 12, Oversize 16-20)

Biographical / Historical:

Robert Bechtle (1932-2020) was a photorealist painter, educator, and printmaker born in Alameda, California, and lived and worked primarily in the San Francisco Bay Area including a long-time residence in Oakland.

Bechtle completed both undergraduate and Master of Fine Arts degrees at the California College of Arts and Crafts by 1958, in between which he served a few year in the United States Military, primarily stationed in Germany. Like the other photorealist painters of his era, Bechtle engineered a style of painting which was based more on keen observation and excruciating detail than any visually discernible stylism. His subjects were largely suburban and mundane and often incorporated images of himself and family members. He would project photographs and incorporate those copied images directly into paintings. In addition to paintings, Bechtle eventually translated his practice into both charcoal drawing and printmaking. He taught at the San Francisco State University where he was named Professor Emeritus in 1999, as well as other schools.

One of the milestones of his career was a retrospective exhibition organized in 2005 by the San Francisco Museum of Modern Art, also traveling to the Corcoran Museum of Art in 2006. Robert Bechtle's work has been exhibited internationally and his paintings and other artworks are held in numerous collections including the San Francisco Museum of Modern Art, Oakland Museum of California, Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art,and the Guggenheim Museum in New York City, the Walker Art Center in Minneapolis, and the Smithsonian American Art Museum in Washington. Bechtle passed in October 2020 from Lewy Dementia and is survived by his second wife Whitney Chadwick and his two children Max and Anne, who were born from his first marriage to Nancy Dalton.

Related Materials:

The Archives of American Art also holds a 1978 September 13- 1980 February 1 oral history intereview with Robert A. Bechtle and a 2010 February 8-9 oral history interview with Robert A. Bechtle.

Provenance:

Donated 2022 by the Robert Bechtle and Whitney Chadwick Revocable Trust via Robert Firehock, representative of the Estate of Robert Bechtle.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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.

The donor has retained all intellectual property rights, including copyright, that they may own in the following material: 40 demonstration works of art on papers by Robert Bechtle.

Occupation:

Printmakers -- California -- San Francisco  Search this

Painters -- California -- San Francisco  Search this

Educators -- California -- San Francisco  Search this

Topic:

Photo-realism  Search this

Genre/Form:

Scrapbooks

Sketchbooks

Drawings

Diaries

Video recordings

Citation:

Robert Bechtle papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bechrobe

See more items in:

Robert Bechtle papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b997eb71-56ba-4747-8ad4-676d3e3b5e20

EDAN-URL:

ead_collection:sova-aaa-bechrobe

Creator:

Huber, James, 1950-1988  Search this

Hossner, Michael, 1954-1990  Search this

Dino Vinti, 1958-1989  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Date:

1950-1993

bulk 1983-1989

Summary:

The papers of Bay Area figurative artists James Huber and Michael Hossner measure 3.1 linear feet and date from 1950 to 1993. This collection documents both James Huber and Michael Hossner's art careers in the San Francisco art scene in the 1970s and 1980s. Also included is material regarding Dino Vinti, an independent curator and curator at Footworks Studio, an alternative center for visual and performing arts. A bulk of this collection is comprised of personal correspondence, personal photographs, and photographs used as studies for works of art, and exhibition announcements and catalogs. The papers document the Bay Area art scene in the 1970s and 1980s of which Huber and Hossner were a part of, alternative spaces, and the devastation of the AIDS epidemic.

Scope and Contents:

The papers of Bay Area Figurative artists James Huber and Michael Hossner measure 3.1 linear feet and date from 1950-1993. Included are personal correspondence; legal documents including a will; personal photographs and photographs used as studies for works of art; DVDs of annotated photographs, master paintings and drawings; printed material consisting of exhibition invitations and programs; and biographical information including artists' statements and address books. Also included is material regarding Dino Vinti, an independent curator and curator at Footworks Studio, an alternative center for visual and performing arts. The papers document the Bay Area art scene in the 1970s and 1980s of which Huber and Hossner were a part of, alternative spaces, and the devastation of the AIDS epidemic.

Arrangement:

The collection is arranged as 3 series.

Series 1: James Huber papers (1.0 linear foot; Box 1, OV 5)

Series 2: Michael Hossner papers (0.7 linear feet; Box 1-2)

Series 3: Dino Vinti papers (1.4 linear feet; Box 2-3, OV 6-7)

Biographical / Historical:

James Huber (1950-1988) and Michael Hossner (1954-1990) were Bay Area Figurative artists in San Francisco, California. Dino Vinti (1958-1989) was a independent curator and curator at Footworks Studio.

James Huber (1950-1988) was a Bay Area Figurative artist in San Francisco, California. His art is representative of the Bay Area Figurative Style and gay community. Huber's works can be categorized into three themes: Figurative, Abstract, and Landscape. Huber co-founded (along with Phil Linhares and David McClay) Open Studios in San Francisco. Open Studios is a national movement of artist-driven presentation of their work. James Huber created more than 900 paintings and sculptures before passing from complications from AIDS.

Michael Hossner (1954-1990) was also was a Bay Area Figurative artist in San Francisco, California. Hossner was greatly influenced by his mentor and lover, James Huber, and the Bay Area Figurative Style. Hossner drew inspiration from autobiographical sources for most of his art. Many of his paintings chronicle his experiences with the AIDS pandemic. He exhibited his paintings in more than a dozen galleries and non profit spaces throughout the Bay Area between 1985 and 1989. Michale Hossner passed of complications from AIDS in 1990.

Dino Vinti (1958-1989) was a close friend and former lover of James Huber. He was an independent curator and curator at Footworks Studio, an alternative center for visual and performing arts. Vinti collaborated on the initiation of the Edge Festival. He designed and installed many exhibitions, including "Urban Expressions" show in 1987. Dino Vinti passed from complications from AIDS in 1989.

Provenance:

Donated in 2021 by Lee Draper, a museum professional and consultant to philanthropy groups and non-profits, who was friends with Huber and Hossner.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- California -- San Francisco  Search this

Topic:

AIDS (Disease) and the arts  Search this

Artists (LGBTQ)  Search this

Curators -- California -- San Francisco  Search this

Genre/Form:

Interviews

Sound recordings

Citation:

James Huber, Michael Hossner, and Dino Vinti papers, 1950-1993. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hubejame

See more items in:

James Huber, Michael Hossner, and Dino Vinti papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eaeb9976-7e3b-4841-a898-852a875bf46b

EDAN-URL:

ead_collection:sova-aaa-hubejame

Creator:

Meiere, M. Hildreth, d. 1961  Search this

Names:

Exposition internationale (1937 : Paris, France)  Search this

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

Peter A. Juley & Son  Search this

United States. Navy  Search this

Abbott, Berenice, 1898-1991  Search this

Dunn, Louise Meière  Search this

Extent:

27.3 Linear feet

1.4 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Transcripts

Video recordings

Photographs

Diaries

Sketchbooks

Place:

Spain -- History -- Civil War, 1936-1939

Date:

1901-2011

bulk 1911-1960

Summary:

The papers of Hildreth Meière measure 27.3 linear feet and 1.40 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.

Scope and Contents:

The papers of Hildreth Meière measure 27.3 linear feet and 1.40 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.

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

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

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

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

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

Eight sketchbooks date to her early years as an art student and artist and include many figure studies, landscapes, and theatrical sketches made at home and abroad.

Arrangement:

This collection is arranged in 8 series. Indexes, summaries, and transcripts prepared by Louise Meière Dunn that relate directly to archival materials in the collection are found throughout the collection with the material they describe. These indices are particularly rich in Series 2, Correspondence.

Missing Title

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

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

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

Series 4: Civilian War Service Records, 1938-2006 (1.3 linear feet; Boxes 5-6, 15, FC 28-30, 1.33 GB; ER05)

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

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

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

Series 8: Sketchbooks, 1911-1922 (0.4 linear feet; Box 13)

Biographical / Historical:

Hildreth Meière (1892-1961) was born in Flushing, New York, and had a prolific career from 1921-1961 as an architectural muralist working primarily in an Art Deco style. Meière painted murals and designed for various mediums including mosaic, metal, and stained glass. In 1956 the American Institute of Architects awarded Meière their Fine Arts Medal.

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

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

Meière died in 1961 at the age of 68. Her work is remembered in several major publications, including The Art Deco Murals of Hildreth Meière by Catherine Coleman Brawer and Kathleen Murphy Skolnik, with photographs by Meière's granddaughter, Hildreth Meière Dunn, published in 2014; and the catalog of the 2009 exhibition at St. Bonaventure University, curated by Brawer and photographed by Dunn, entitled Walls Speak: the Narrative Art of Hildreth Meière.

Provenance:

A majority of the collection placed on deposit 2001 by Louise Meière Dunn, daughter of Hildreth Meière. The collection was donated incrementally by Dunn through 2012. Donations occurred 2001-2007, and again in 2010-2012.

Restrictions:

Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Muralists -- New York (State) -- New York  Search this

Mosaicists -- New York (State) -- New York  Search this

Topic:

War relief  Search this

Travel  Search this

World War, 1939-1945  Search this

Women artists  Search this

Motion pictures (visual works)  Search this

World War, 1914-1918  Search this

Women muralists  Search this

Function:

Art commissions

Genre/Form:

Transcripts

Video recordings

Photographs

Diaries

Sketchbooks

Citation:

Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of 84 reels of motion picture film in the collection was provided by The Regina A. Quick Center for the Arts at St. Bonaventure University through a generous grant from the Ruth Dayton Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.meiemari

See more items in:

Hildreth Meière papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91dab1643-4ed7-41c1-bd7a-196576d7d777

EDAN-URL:

ead_collection:sova-aaa-meiemari