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Creator:

Constant, George  Search this

Names:

Art Institute of Chicago  Search this

Audubon Artists (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Carnegie Institute  Search this

Dayton Art Institute  Search this

Federation of Modern Painters and Sculptors  Search this

Ferargil Galleries  Search this

Heckscher Museum  Search this

Lyman Allyn Art Museum  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Parrish Art Museum  Search this

Spanish Refugee Aid (Organization)  Search this

United States. Works Progress Administration  Search this

Whitney Museum of American Art  Search this

Avery, Milton, 1885-1965  Search this

Avery, Sally  Search this

Burliuk, David, 1882-1967  Search this

Caparn, Rhys, 1909-1997  Search this

Carnell, Julia Shaw Patterson, 1863-1944  Search this

Davidson, Morris, 1898-1979  Search this

Eaton, Charles Warren, 1857-1937  Search this

Gecan, Vilko, 1894-1973  Search this

Kanaga, Consuelo, 1894-  Search this

Landgren, Marchal E.  Search this

Neuberger, Roy R.  Search this

Pach, Walter, 1883-1958  Search this

Perret, Nell, 1916-  Search this

Preston, Georgette  Search this

Putnam, Wallace, 1899-1989  Search this

Extent:

4.6 Linear feet

Type:

Collection descriptions

Archival materials

Christmas cards

Photographs

Video recordings

Sound recordings

Interviews

Date:

1912-2007

bulk 1932-1978

Summary:

The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.

Scope and Contents note:

The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.

Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.

Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.

Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.

Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.

Arrangement note:

The collection is arranged into 4 series:

Missing Title

Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)

Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)

Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)

Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)

Biographical/Historical note:

Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.

Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.

From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.

Provenance:

The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.

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.

Topic:

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

Art -- Philosophy  Search this

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

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

Genre/Form:

Christmas cards

Photographs

Video recordings

Sound recordings

Interviews

Citation:

George Constant papers, 1912-2007, bulk 1932-1978. 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.consgeor

See more items in:

George Constant papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cec7527c-1946-423b-aab7-e7728da8a072

EDAN-URL:

ead_collection:sova-aaa-consgeor

Creator:

Jenkins, Paul, 1923-  Search this

Subject:

De Kooning, Willem  Search this

Jenkins, Esther Ebenhoe  Search this

Bluhm, Norman  Search this

Krasner, Lee  Search this

Baber, Alice  Search this

Erma, Thomas  Search this

Prantl, Karl  Search this

Dusanne, Zoe  Search this

Prince, Frank  Search this

Guggenheim, Peggy  Search this

Gilot, Francoise  Search this

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

New York University  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Martha Jackson Gallery  Search this

Type:

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Place:

China -- description and travel

Citation:

Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.

Topic:

Abstract expressionism  Search this

Artists' studios -- Photographs  Search this

Medals -- Design  Search this

Painters -- France -- Paris  Search this

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

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13668

(DSI-AAA_SIRISBib)274646

AAA_collcode_jenkpaul2

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_274646

Creator:

Montminy, Tracy, 1911-1992  Search this

Names:

United States. Works Progress Administration  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1936-1989

Summary:

The scattered papers of painter and muralist Tracy Montminy measure 1.2 linear feet and date from 1936 to 1989. Found are biographical materials, photocopies of letters received, photographs of murals, and printed material. Also found are four study drawings for a mural in City Hall, Medford, Massachusetts.

Scope and Contents:

The scattered papers of painter and muralist Tracy Montminy measure 1.2 linear feet and date from 1936 to 1989. Found are biographical materials, photocopies of letters received, photographs of murals, and printed material. Also found are four study drawings for a mural in City Hall, Medford, Massachusetts.

Arrangement:

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

Biographical / Historical:

Tracy Montminy (1911-1992) was a muralist and painter in Columbia, Missouri. Also known as Elizabeth Tracy, Montminy produced multiple murals for the Works Progress Administration.

Provenance:

The collection was donated in 1989 and 1992 by Tracy Montminy.

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 -- Missouri -- Columbia  Search this

Muralists -- Missouri -- Columbia  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women muralists  Search this

Citation:

Tracy Montminy papers, 1936-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.monttrac

See more items in:

Tracy Montminy papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9728282de-4028-4eeb-b10f-027264316777

EDAN-URL:

ead_collection:sova-aaa-monttrac

Creator:

Jenkins, Paul, 1923-2012  Search this

Names:

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

Martha Jackson Gallery  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New York University  Search this

Baber, Alice  Search this

Bluhm, Norman, 1921-1999  Search this

De Kooning, Willem, 1904-1997  Search this

Dusanne, Zoe, -1977  Search this

Erma, Thomas, 1939-1964  Search this

Gilot, Francoise, 1921-  Search this

Guggenheim, Peggy, 1898-1979  Search this

Jenkins, Esther Ebenhoe  Search this

Krasner, Lee, 1908-1984  Search this

Prantl, Karl  Search this

Prince, Frank  Search this

Extent:

11.1 Linear feet

Type:

Collection descriptions

Archival materials

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Place:

China -- Description and Travel

Date:

circa 1915-2010

Summary:

The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.

Scope and Contents:

The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.

Biographical material and family papers consist of awards and certificates, calendars, marriage, divorce, and estate papers, and military service records. Also included are family papers and a scrapbook belonging to Jenkins's aunt, Louise Jenkins.

Correspondence, which makes up the bulk of the collection, is with family, friends, and fellow artists, including Alice Baber, Norman Bluhm, Willem de Kooning, and Lee Krasner Pollock, as well as art organizations, schools, museums, galleries, and gallery owners, such as the Art Students League of New York, New York University, Museum of Modern Art, Martha Jackson Gallery, Zoe Dusanne, and Peggy Guggenheim.

Writings includes scattered writings by Paul Jenkins, two of his travel diaries, and the guest book for an exhibition in Tokyo. Also found are a copy of Lili Krahmer Verame's China travel diary and the writings and research materials of others.

Personal business records consist of financial records, lease documents, price lists, travel documents, and papers regarding Jenkins's rental property. Also included are a file on the New York University medal designed by Jenkins and a file concerning a Karl Prantl statue.

Printed material consists of event programs, newsletters, bulletins, member reports, press releases, art exhibition announcements and catalogs, concert and theater announcements and programs, news and magazine clippings, and obituaries and memorial announcements.

Artwork contains miscellaneous sketches and collages by Paul Jenkins. Additional artworks include sketches, watercolors, and prints by other artists, as well as 8 oversize mixed media sketches by Frank Prince of Jenkins's Meditation Mandala Sundial sculptures.

Photographs of Paul Jenkins depict him in his studio, with family and friends, and at events. Photographs of family and friends include Esther Ebenhoe Jenkins, Alice Baber Jenkins, Norman Bluhm, Thomas Erma, Françoise Gilot, Matsumi "Mike," Carole, and Bunshi Paul Kanemitsu, and Frank Prince.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1915-1997 (Box 1; 9 folders)

Series 2: Correspondence, circa 1930-2010 (Box 1-9, 13; 9 linear feet)

Series 3: Writings, circa 1950-2003 (Box 9-10; 0.5 linear feet)

Series 4: Personal Business Records, circa 1944-1990 (Box 10; 0.3 linear feet)

Series 5: Printed Material, circa 1952-2010 (Box 10-11; 0.6 linear feet)

Aeries 6: Artwork, circa 1935-2007 (Box 11-12, OV 14; 0.2 linear feet)

Series 7: Photography, circa 1940-1998 (Box 12; 0.4 linear feet)

Biographical / Historical:

Paul Jenkins (1923-2012) was an abstract expressionist painter and playwright in New York, New York, and Paris, France. Jenkins was born in Kansas City, Missouri in 1923, and moved to Youngstown, Ohio as a teenager. After serving in the U.S. Maritime Service and the U.S. Naval Air Corps, Jenkins studied playwriting with George McCalmon at the Carnegie Institute of Technology (now Carnegie Mellon University). In 1948, he moved to New York City, where he studied with Yasuo Kuniyoshi at the Art Students League of New York.

Over the course of his career, Jenkins experimented with multiple techniques, including oil on primed canvas, flowing paints, acrylics, watercolor, and mixed media collages. After traveling extensively and meeting many artists, Jenkins ultimately became associated with the Abstract Expressionists. His work gained the attention of other members of the art world and he held solo exhibitions at venues such as the Zoe Dusanne Gallery in Seattle and the Martha Jackson Gallery in New York. Jenkins' paintings were purchased by both museums and private collectors, including the Museum of Modern Art, the Whitney Museum of American Art, and Peggy Guggenheim.

In addition to his painting, Jenkins continued to explore other creative endeavors. He experimented with sculpture, producing works for events and permanent displays, including the Sculptors' Symposium at the Cooper-Hewitt Museum and the Sculpture Garden of the Hofstra Museum. His plays, such as Strike the Puma, were published and performed off Broadway in New York City. Jenkins's art served as the backdrop for multiple stage productions, and in 1978, his paintings were featured in the Academy Award nominated movie An Unmarried Woman. Jenkins also collaborated on a number of book projects, including Anatomy of a Cloud, a collection of autobiographical collages and texts.

Throughout his adult life, Jenkins split most of his time between New York and Paris. He continued to create and exhibit new works until his death in New York in 2012.

Related Materials:

Also found at the Archives of American Art are an interview of Paul Jenkins, August 1969, conducted by Albert Elsen, and an oral history interview, 1968, conducted by Colette Roberts.

Provenance:

The papers were donated 2007-2009 and in 2012 by Paul and Suzanne Jenkins.

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.

The donor has retained all intellectual property rights, including copyright, that they may own.

Occupation:

Dramatists -- France -- Paris  Search this

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

Topic:

Abstract expressionism  Search this

Artists' studios -- Photographs  Search this

Medals -- Design  Search this

Painters -- France -- Paris  Search this

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

Genre/Form:

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Citation:

Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jenkpaul2

See more items in:

Paul Jenkins papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97a17d1c1-3b35-4e96-b562-6daf3559775e

EDAN-URL:

ead_collection:sova-aaa-jenkpaul2

Creator:

Christ-Janer, Albert, 1910-1973  Search this

Names:

Michigan State University -- Faculty  Search this

New York University -- Faculty  Search this

Pennsylvania State University -- Faculty  Search this

Pratt Institute -- Faculty  Search this

Stephens College  Search this

University of Chicago -- Faculty  Search this

University of Georgia -- Faculty  Search this

Bingham, George Caleb, 1811-1879  Search this

Christ-Janer, Virginia Morgan Carpenter  Search this

Robinson, Boardman, 1876-1952  Search this

Saarinen, Eliel, 1873-1950  Search this

Zoller, Edwin W., 1900-1967  Search this

Extent:

54.6 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Christmas cards

Sound recordings

Blueprints

Scrapbooks

Photographs

Prints

Drawings

Sketches

Date:

1915-circa 1993

bulk 1930-1981

Summary:

The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.

Scope and Contents:

The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.

Biographical material includes address books; awards, certificates and diplomas; chronologies, biographies, and resumes; material relating to Albert Christ-Janer's death, including memorial services and a sound tape reel memorial; and information and blueprints for residences, among other materials.

Correspondence includes Christmas cards from other artists and professional correspondence, much of it relating to his work at various institutions, including Michigan State University, New York University, Pennsylvania State University, Pratt Institution, and foundations. Also included is Virginia Christ-Janer's correspondence regarding Christ-Janer's artwork and career, his death in Italy, as well as general correspondence and letters between Virginia and Albert. Additional correspondence is found within the Professional Files, Project Files, and Teaching Files.

Writings by Christ-Janer include articles, book reviews, essays, notes, and eleven notebooks. There are also a few miscellaneous articles and writings about Christ-Janer written by others. There are 38 annotated appointment notebooks and five of Virginia Christ-Janer's annotated appointment books. Annotations are about meetings, travel, and general thoughts.

Albert Christ-Janer's book projects are documented in the Project Files series. There are drafts, manuscripts, research, and correspondence relating to the research, writing, and publication of five of his books, including George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962), and Modern Hymns (1980). Project files also include files regarding proposed projects.

Professional files document Christ-Janer's work at various institutions, as a consultant, on juried art exhibitions, memberships in arts associations, activities at conferences and committees, and the development of art centers in cities and educational institutions. There is significant documentation of his work planning and developing an arts center in New York City and at New York University, as well as his positions at Pennsylvania State University, Pratt Institute, University of Chicago, and University of Georgia. Also found are materials relating to professional trips taken to El Paso, Italy, Scandinavia, and other parts of Europe.

Teaching files consist of syllabi, lecture notes and course materials, class record books, and other documents for positions at New York University, Pennsylvania State University, Stephens College, University of Georgia, and other institutions. Exhibition files are comprised of lists, prizes and awards, and other scattered documentation of Christ-Janer's solo and group exhibitions.

Financial and estate records include five account books, miscellaneous bills and receipts, a will and estate taxes and financial papers, and files for gallery transactions, lists of galleries representing Christ-Janer, lists of museum and private collectors of Christ-Janer's artwork. Printed materials include exhibition catalogs and announcements, published versions of Christ-Janer's books, books written by others and annotated by Christ-Janer, clippings, magazines, reviews, and printed material relating to Pratt Institute. There is one bound scrapbook and several files of loose scrapbook materials.

The scrapbooks series consists of one completed scrapbook concerning Christ-Janer's book on George Caleb Bingham, as well as several folders of general scrapbook files.

Photographs and slides depict Albert Christ-Janer, family, friends, artists, colleagues, exhibitions, and also include photographs compiled for published books.

Artwork includes numerous drawings, sketches, one sketchbook, and 111 lithographs by Albert Christ-Janer. There are also sketches and drawings by Charles Massey, John D. Whiting, Edwin Zoller, and others. Miscellaneous artifacts include a business card die, exhibition medals and trophy, handmade paperweight, a block-printed piece of fabric, and three graduation hoods.

Arrangement:

This collection is arranged as 14 series:

Missing Title

Series 1: Biographical Material, circa 1930-circa 1986 (Boxes 1-2, 51, 53, 67, OV 54, OV 57; 2.1 linear feet)

Series 2: Correspondence, circa 1937-1990 (Boxes 2-16, 51, 67, OV 55; 15.1 linear feet)

Series 3: Writings, circa 1930s-1972 (Boxes 16-18, 51; 1.5 linear feet)

Series 4: Appointment Books, 1939-1973 (Boxes 18-21; 2.9 linear feet)

Series 5: Professional Files, circa 1933-circa 1986 (Boxes 21-28, 51-52, 67-69; 10 linear feet)

Series 6: Project Files, 1937-circa 1981 (Boxes 28-34, 51, 69; 6.1 linear feet)

Series 7: Teaching Files, circa 1939-circa 1973 (Boxes 34-35; 0.6 linear feet)

Series 8: Exhibition Files, circa 1938-circa 1992 (Boxes 35-38; 2.7 linear feet)

Series 9: Financial and Estate Records, circa 1947-1992 (Boxes 38-40; 2.4 linear feet)

Series 10: Printed Material, 1915-circa 1993 (Boxes 40-49, 51-52, 69; 8.7 linear feet)

Series 11: Scrapbooks, circa 1936-circa 1952 (Boxes 49, 51; 0.5 linear feet)

Series 12: Photographs, circa 1937-circa 1986 (Boxes 49-51, OV 56; 0.7 linear feet)

Series 13: Artwork, circa 1933-circa 1970s (Boxes 50-52, 69, OV 58-66; 1.1 linear feet)

Series 14: Artifacts, 1923-circa 1986 (Boxes 50, 53; 0.9 linear feet)

Biographical / Historical:

Albert Christ-Janer (1910-1973) was a painter, printmaker, art historian, writer, and educator active at colleges and universities across the U.S.

Albert Christ-Janer was born in Appleton, Minnesota in 1910 and studied at the Art Institute of Chicago, Yale University, and Harvard University. Christ-Janer wrote about American artists Boardman Robinson and John Caleb Bingham, and taught at a variety of institutions, including Stephens College, Cranbrook Academy, Pratt Institute Art School, and the University of Georgia. He was also an artist-in-residence at Tamarind Lithography Workshop in 1972.

Christ-Janer began his teaching career at Stephens College in Columbia, Missouri in 1934, and soon became head of the art department. He moved to Michigan to accept the position of head of the art department and professor of art at Michigan State University in 1942. In 1945, he began working for the Cranbrook Academy in Bloomfield Hills, Michigan, serving as director of the educational program, director of the museum and library, and professor of art history.

In 1947, Christ-Janer moved to Chicago and worked at the University of Chicago and the Arts Center Association, Inc. In the 1950s, he served as director of Arts Center Development at New York University, director of the School of Arts at Pennsylvania State University, and on the Lake Erie College Board of Trustees. In 1958, he moved to New York and become dean of the School of Art and Design at the Pratt Institute in Brooklyn, later becoming director. He left Pratt in 1970 to accept the position of Fuller E. Callaway Professor of Art at the University of Georgia, where he remained until his tragic death in 1973.

Christ-Janer was the author of several books: Art in Child Life (University of Iowa Press, 1938), George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962).

Albert Christ-Janer was a Guggenheim Fellow in 1950, awarded the Rockefeller Award in 1954, and the Guggenheim Award in 1960. He was also awarded multiple grants from the American Philosophical Society and the J. M. Kaplan Fund for research and work in lithography, as well as multiple Arthur Judson grants. In 1972 Christ-Janer was the Tamarind artist-in-residence at the University of New Mexico in Albuquerque.

Christ-Janer traveled often. In 1962 he was a guest of the Bonn government for two months to visit museums and schools of design in Germany. And in 1964, he was a guest of the governments of Denmark, Norway, Finland, and Sweden for two months to study schools, museums, and cultural centers. In July of 1973, Christ-Janer was the official NASA artist for the Skylab III launch, and in October of 1973, he was the studio guest of the Norway-America Association and the Norwegian government in Oslo. From November to December of 1973, Christ-Janer was the scholar-in-residence at the Study and Conference Center of the Rockefeller Foundation (Centro Culturale delle Fondazione Rockefeller), at the Villa Serbelloni in Bellagio (Como), Italy.

Albert Christ-Janer was killed in an automobile accident in Bellagio (Como), Italy on December 12, 1973.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Albert Christ-Janer conducted by Dorothy Seckler, March 21, 1964.

Albert Christ-Janer's research materials for his book American Hymns Old and New (1980) are found at the St Olaf College in Northfield, Minnesota, a center for the study of hymns.

Provenance:

The Albert Christ-Janer papers were donated by Virginia Christ-Janer in 1980-1981 and 1994.

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:

Printmakers -- Georgia  Search this

Painters -- Georgia  Search this

Art historians -- Georgia  Search this

Topic:

Art -- Study and teaching  Search this

Genre/Form:

Sketchbooks

Christmas cards

Sound recordings

Blueprints

Scrapbooks

Photographs

Prints

Drawings

Sketches

Citation:

Albert Christ-Janer papers, 1915-circa 1993, bulk 1930-1981. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.chrialbe

See more items in:

Albert Christ-Janer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9584bb216-26f7-46c7-9acc-dd6fe21ea117

EDAN-URL:

ead_collection:sova-aaa-chrialbe

Creator:

True, Allen Tupper, 1881-1955  Search this

Names:

Borglum, Gutzon, 1867-1941  Search this

Brangwyn, Frank, Sir, 1867-1956  Search this

Pyle, Howard, 1853-1911  Search this

Wyeth, N. C. (Newell Convers), 1882-1945  Search this

Extent:

8.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketches

Diaries

Drawings

Christmas cards

Illustrated letters

Cartoons (working drawings)

Sketchbooks

Date:

1841-1987

Summary:

The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes.

Scope and Content Note:

The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes. Through art work, project files, photographs, and printed material, the collection offers a rich resource, both textually and visually of True's research and work on documenting early twentieth century Native Americans cultural traditions. The papers also document True's childhood and his relationship with his family through various family papers, such as correspondence, genealogies, subject files, photographs, and a scrapbook. The collection is a particularly rich resource for the study of Allen Tupper True's work, as well as original documentation of the American West and Native American culture.

Arrangement:

The collection is arranged into thirteen series according to material type. The contents of each series have been arranged chronologically. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1895-1964, undated (box 1, 7 folders)

Series 2: Subject Files, 1873-1955 (box 1, 23 folders)

Series 3: Correspondence, 1841-1956 (boxes 1-4, 3.5 linear ft.)

Series 4: Business Records, 1903-1951 (box 4, 4 folders)

Series 5: Notes, 1902-1920 (box 5, 10 folders)

Series 6: Writings, 1896-1926 (box 5, 5 folders)

Series 7: Artwork, 1897-1923 (boxes 5, 10, and OV 11, 0.5 linear ft.)

Series 8: Project Files, 1912-1987 (boxes 5-6 and 10, 0.75 linear ft.)

Series 9: Photographs, 1859-1950 (boxes 6-7, 1.5 linear ft.)

Series 10: Scrapbook, 1934 (box 7, 1 volume)

Series 11: Printed Material, 1875-1981 (box 7, 21 folders)

Series 12: Artifacts, ca. 1863 (boxes 7 and 10, 9 items)

Series 13: Glass Plate Negatives, undated (boxes 8-9, 0.8 linear ft.)

Biographical Note:

Allen Tupper True (1881-1955) was born in Colorado Springs, Colorado in 1881. He was a student at the University of Denver, and studied at the Corcoran School of Art, Washington, D.C. between 1901 and 1902. In 1902, he was accepted into Howard Pyle's classes in Chadd's Ford, Pennsylvania, and studied there until 1908, befriending classmates George Harding, Gordon McCouch, Thornton Oakley, and N.C. Wyeth. Through Pyle, True began his career as a magazine illustrator.

From approximately 1913-1915, True worked with British muralist Frank Brangwyn, assisting Brangwyn in the execution of murals at the Panama-Pacific Exposition in San Francisco, California.

After marrying Emma Goodman Eaton in 1915 (divorced 1934), True launched his career as a mural painter. His most notable works include the mural decorations in the state capitol buildings of Colorado, Missouri, Nebraska, and Wyoming, as well as murals for the Mountain States Telephone and Telegraph Company Building and the Civic Center in Denver, Colorado. True specialized in depicting Western and Native American themes.

From 1934-1945, True acted as consultant for the U.S. Bureau of Reclamation, in charge of and designing all decoration and color schemes for the Boulder Dam power plant, Grand Coulee Dam, and the Shasta Dam, among others.

True was a Unitarian Mason, and a member of the Mural Painters of America, Beta Theta Pi, Cactus Club of Denver, and the Author's Club, London. He died in 1955.

Provenance:

The Allen Tupper True and True family papers were donated in February and April 1988 by True's daughter Jane True Mueller and his son, Frank True.

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:

Muralists -- Colorado -- Denver  Search this

Topic:

Indians of North America -- Portraits  Search this

Mural painting and decoration, American  Search this

Works of art  Search this

Artists' studios -- Photographs  Search this

Illustrators -- Colorado -- Denver  Search this

Genre/Form:

Photographs

Sketches

Diaries

Drawings

Christmas cards

Illustrated letters

Cartoons (working drawings)

Sketchbooks

Citation:

The Allen Tupper True and True family papers, 1841-1987

Sponsor:

Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.truealle

See more items in:

Allen Tupper True and True family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a202f3af-f0c4-4644-80c5-4909a6724102

EDAN-URL:

ead_collection:sova-aaa-truealle

Collection Creator:

Yoshida, Ray  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

circa 1982-circa 1999

Collection 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 copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.

Collection Rights:

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

Collection Citation:

Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.

See more items in:

Ray Yoshida papers

Ray Yoshida papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93e277b7f-ebf5-45cc-b5f6-f6b243d2b7a8

EDAN-URL:

ead_component:sova-aaa-yoshray-ref11

Creator:

Cook, Lia, 1942-  Search this

Names:

Allrich Gallery  Search this

B.Z. Wagman Gallery (St. Louis, Missouri)  Search this

Fiberworks, Center for the Textile Arts  Search this

Extent:

5.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Date:

1968-2012

Summary:

The papers of fiber artist and painter Lia Cook measure 5.9 linear feet and date from 1968 to 2012. Cook's career and exhibition activities are documented through biographical material, correspondence, professional files, gallery and exhibition files, printed material, photographs, and artwork.

Scope and Contents:

The papers of fiber artist and painter Lia Cook measure 5.9 linear feet and date from 1968 to 2012. Cook's career and exhibition activities are documented through biographical material, correspondence, professional files, gallery and exhibition files, printed material, photographs, and artwork.

The bulk of Cook's papers consist of gallery and exhibition files describing her active participation in exhibiting her works throughout the United States and around the world, and her affiliation with the Allrich Gallery, B.Z. Wagman Gallery, and Fiberworks, Center for the Textile Arts. Professional files contain material relating to conferences and symposiums, written articles, and the sourcing of jacquard looms and other equipment.

Arrangement:

The collection is arranged as 7 series.

Series 1: Biographical Material, 1968-2012 (Box 1; 0.1 folders)

Series 2: Correspondence, 1974-1992 (Box 1; 0.1 folders)

Series 3: Professional Files, 1970s-1995 (Box 1-2; 1 linear foot)

Series 4: Gallery and Exhibition Files, 1974-1997 (Box 2-5; 3.2 linear feet)

Series 5: Printed Material, 1970s-2012 (Box 5; 0.6 linear feet)

Series 6: Photographs, 1970s-1980s (Box 6-7; 0.4 linear feet)

Series 7: Artwork, 1970s-2000s (Box 6-7; 0.5 linear feet)

Biographical / Historical:

Lia Cook (1942- ) is a fiber artist and painter in Berkeley, California. She is noted for her use of an electronic jacquard loom.

Born in Ventura, California, Lia Cook attended the University of California, Berkeley where she studied political science, painting, and ceramics. She studied under fiber artist Ed Rossbach. She completed a fellowship with the National Endowment for the Arts in the 1970s.

Lia Cook combines fiber art with technology and photography. Her works are found in the collections of museums around the United States and Europe.

Related Materials:

Also found in the Archives of American Art is an interview of Lia Cook conducted 2006 August 22-29, by Suzanne Baizerman, for the Archives' Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Provenance:

The Lia Cook papers were donated to the Archives of American Art by Lia Cook in 2016.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Occupation:

Fiber artists -- California -- Berkeley  Search this

Painters -- California -- Berkeley  Search this

Topic:

Decorative arts  Search this

Women artists  Search this

Women painters  Search this

Women textile artists  Search this

Genre/Form:

Drawings

Citation:

Lia Cook papers, 1968-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cooklia

See more items in:

Lia Cook papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96734ead2-ebfe-4eab-89d9-de7def178561

EDAN-URL:

ead_collection:sova-aaa-cooklia

Creator:

Fisher, Ethel, 1923-  Search this

Names:

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

Brentwood Art Center  Search this

Barnet, Will, 1911-2012  Search this

Boxer, Stanley  Search this

Coleborn, Keith  Search this

Ehrenkranz, Elaine  Search this

Fernandez, Rafael  Search this

Fine, Irving, 1914-1962  Search this

Getz, Ilse, 1917-  Search this

Jones, Keri  Search this

Kitaj, Sandra Fisher  Search this

Kott, Seymour  Search this

Lassaw, Ibram, 1913-2003  Search this

Pearson, Henry, 1914-2006  Search this

Thek, Paul  Search this

Extent:

12.5 Linear feet

0.558 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Travel diaries

Photographs

Sketchbooks

Drawings

Sketches

Watercolors

Transcripts

Interviews

Video recordings

Sound recordings

Date:

1930-2017

Summary:

The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.

Scope and Contents:

The papers of California and New York painter Ethel Fisher measure 12.5 linear feet and 0.558 GB and date from 1930 to 2017. Included are biographical materials, correspondence, writings, project files, exhibition files, artists' files, personal business records, printed and digital material, artwork and several sketchbooks, a few sound and video recordings, and photographic material.

Biographical material includes Art Students League records, address books and business cards, artist statements and resumes, an interview transcript and sound cassette, and other miscellaneous documents.

Correspondence is with family, friends, colleagues, artists, galleries, and museums. The bulk of the correspondence is with daughter Sandra Fisher and husband Seymour Kott. Notable correspondents include Will Barnet, Keith Coleborn, Elaine Ehrenkranz, Rafael Fernandez, Henry Pearson, and others. There are also greeting cards and postcards, inluding numerous illustrated cards from Fisher to her husband Seymour.

Writings mostly consist of annotated appointment calendars and travel diaries along with some writings by others, such as a travel diary by Keith Coleborn and a graduate thesis by Keri Jones.

Project files include correspondence, grant applications, printed and digital material, and publication agreements for art projects, commissions, studio tours, auctions, and speaking engagements. Notable projects include material on the NBC-TV film Family Ties, art loans for the Showtime movie Town of the Eighties, and teaching material from Brentwood Art Center.

Exhibition files contain exhibition announcements, catalogs, publicity, reviews, correspondence, exhibition lists, price lists of artwork, and other material for Ethel Fisher's group and solo shows.

Artists' files include printed material about and limited correspondence with various artists in which Fisher was interested or with whom she was friends, including Stanley Boxer, Irving Fine, Ilse Getz, Ibram Lassaw, and Paul Thek.

Personal business records include consignments, price lists, loan agreements, receipts, donations, and sales documentation.

Printed material includes exhibition catalogs, announcements, magazines, and clippings about Ethel Fisher and other artists. There are also books inscribed to Fisher.

The artwork series includes sketchbooks, drawings, watercolors, and loose sketches.

Photographic material consists of photographs, digital photographs, slides, and negatives of Ethel Fisher, her artwork, exhibitions, events, family, friends, artists, studios, and travel. There are also "reference photos" of people, places, and objects which Fisher used for her portraits and paintings.

Arrangement:

The collection is arranged as 10 series.

Missing Title

Series 1: Biographical Material, 1939-2014 (0.3 linear feet; Boxes 1, 13)

Series 2: Correspondence, 1930-2017 (5.4 linear feet; Boxes 1-6, 13, 15)

Series 3: Writings, 1965-2014 (0.8 linear feet; Boxes 6-7, 13)

Series 4: Project Files, 1954-2011 (0.5 linear feet; Boxes 7, 12, 0.128 GB; ER01)

Series 5: Exhibition Files, 1945-2006 (0.6 linear feet; Boxes 7-8)

Series 6: Artists' Files, 1952-2010 (0.4 linear feet; Boxes 8, 12)

Series 7: Personal Business Records, 1959-2017 (0.3 linear feet; Boxes 8, 13)

Series 8: Printed Material, 1940-2016 (1.0 linear feet; Boxes 8-9, 12-13)

Series 9: Artwork and Sketchbooks, 1944-2014 (1.0 linear feet; Boxes 9, 12-15, OV16)

Series 10: Photographic Materials, 1942-2014 (2.2 linear feet;Boxes 9-11, 14, 0.430 GB; ER02)

Biographical / Historical:

Ethel Fisher (1923-2017) was a painter who lived in Pacific Palisades, California.

Ethel Fisher was born in Galveston, Texas in 1923. She studied art at the University of Houston, University of Texas, and Washington University in St. Louis, Missouri. After college, she moved to New York City and attended The Art Students League on scholarship from 1943-1946. In New York, she studied with painter Will Barnet, Morris Kantor, and Robert Beverly Hale, and befriended many people in the art world. She married Gene Fisher and their first daughter Sandra was born. Sandra also became a painter and later married artist R. B. Kitaj.

Fisher and her family moved to Miami in 1948 where her daughter Margaret was born. Upon her divorce, Fisher travelled in Europe for about a year before returning to New York City in the early 1960s, where she continued to paint and maintained 2 studios for her artwork. She married art historian Seymour Kott in 1963.

In 1970, Fisher and her husband moved to Pacific Palisades in Los Angeles, California. Throughout her career as a painter, Ethel Fisher has had solo and group exhibitions at galleries in Havana, Cuba; West Palm Beach, Florida; Atlanta, Georgia; New York City, New York; and San Francisco and Los Angeles, California. She has been the recipient of numerous awards and continues to paint. In 2003, Fisher had solo exhibit of portraits at Platt Gallery in Los Angeles.

Provenance:

The Ethel Fisher papers were donated by Ethel Fisher in two installments in 1997 and 2015.

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 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:

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

Topic:

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Travel diaries

Photographs

Sketchbooks

Drawings

Sketches

Watercolors

Transcripts

Interviews

Video recordings

Sound recordings

Citation:

Ethel Fisher papers, 1930-2017. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.fishethe

See more items in:

Ethel Fisher papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d7e887a2-bffd-4c8e-ad17-16d3139bc61f

EDAN-URL:

ead_collection:sova-aaa-fishethe

Creator:

Brooks, James, 1906-1992  Search this

Names:

Kootz Gallery (N.Y.)  Search this

New York University -- Students  Search this

Southern Methodist University -- Students  Search this

United States. Army  Search this

Bolotowsky, Ilya, 1907-1981  Search this

Gottlieb, Adolph, 1903-1974  Search this

Guston, Philip, 1913-1980  Search this

King, William, 1925-2015  Search this

Park, Charlotte  Search this

Extent:

20.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Sound recordings

Transcripts

Interviews

Drawings

Photographs

Diaries

Date:

1909-2010

bulk 1930-2010

Summary:

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Scope and Contents:

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Biographical materials include biographical notes and documents such as copies of birth and death certificates, curricula vitae, family history. Educational records are from Southern Methodist University and documentation of flight training courses at New York University. Brooks' military service in World War II is well documented by United States Army records with related correspondence. Also found is extensive documentation of his death and funeral.

Professional and personal correspondence is addressed to Brooks, the couple, and to Charlotte Park during the later years of Brooks' life when she managed his affairs. A significant amount of correspondence is categorized as art, autograph requests, personal, and teaching; also include is general correspondence that overlaps all categories. Art correspondence with museums, galleries, collectors, artists, and friends concerns exhibitions, Brooks' work, and invitations to exhibit, speak, or serve as a juror. Of note is the correspondence with Samuel M. Kootz Gallery. The personal correspondence is mainly social, and teaching correspondence consists largely of requests that he teach in summer programs, serve as a visiting artist/critic.

Six interviews with James Brooks are in the form of published and unpublished transcripts; a seventh is a sound recording with no known transcript. Charlotte Park participates in one interview.

Writings by Brooks are statements about his work and a tribute to Ilya Bolotowsky. Among the writings by others about Brooks are a catalog essay, academic papers, and lecture; also found are a few short pieces on miscellaneous topics. Three diaries include brief entries regarding his work, exhibitions, and activities.

Subject files maintained by Brooks concerning organizations, exhibitions, mural projects, a commission and teaching document his professional activities, relationships and interests. Personal business records concern appraisals, conservation, gifts, insurance, loans, sales, shipping, and storage of artwork. Gallery records include agreements, consignments, lists, and receipts. Also, there are accounts for lettering work and personal income tax returns.

Printed material is mostly exhibition announcements, invitations, catalogs, and checklists, as well as articles and reviews. The majority are about/mention Brooks or include reproductions of his work; some concern artist friends, former students, and others.

Artwork by Brooks consists of pencil and ink drawings, two sketchbooks, and "telephone doodles." Other artists include Adolph Gottlieb (ink drawing of sculpture), Philip Guston (three pencil drawings of Brooks), and William King (two silhouettes of Brooks).

Photographic materials (photographs, digital prints, negatives, slides, and color transparencies) provide extensive documentation of Brooks' artwork and, to a lesser extent, exhibitions.There are pictures of Brooks as a very young boy, though the most views of him date from the 1930s through 1980s, and with friends. Places include Brooks' homes and studios in Montauk, New York and the Springs, East Hampton, New York; travel to Maine, Oregon and California. Views of the Middle East from World War II show Brooks with colleagues, local people engaged in daily activities, and scenery. Also of note are a copy print of "The Irascibles" by Nina Leen, and attendees at the dedication of Flight dining in view of Brook's LaGuardia Ariport mural.

Charlotte Park papers document the professional career and personal life of the Abstract Expressionist painter, art teacher, and wife of James Brooks through correspondence, personal business records, exhibition records, printed material, and photographs. In addition, this series documents artwork in the estate of James Brooks and posthumous exhibitions. Twelve years younger than her husband, Park began handling business matters for him as he aged and developed Alzheimer's disease. She also served as his executor. In the 1990s, a curator assumed management of the artwork and loans for exhibitions. After the James Brooks and Charlotte Park Brooks Foundation was established in 2000, its director handled most business activities. Some copies of Foundation minutes and correspondence are found among Park's papers.

Arrangement:

The collection is arranged in 11 series:

Missing Title

Series 1: Biographical Materials, 1924-1995 (Box 1, OV 19; 0.6 linear feet)

Series 2: Correspondence, 1928-1995 (Boxes 1-3; 1.7 linear feet)

Series 3: Interviews, 1965-1990 (Box 3; 0.2 linear feet)

Series 4: Writings, 1952-1999 (Box 3; 0.4 linear feet)

Series 5: Diaries, 1975-1984 (Box 3; 0.1 linear feet)

Series 6: Subject Files, 1926-2001 (Boxes 3-5, OV 20; 2.0 linear feet)

Series 7: Personal Business Records, 1932-1992 (Boxes 5-6; 1.0 linear feet)

Series 8: Printed Material, 1928-1992 (Boxes 6-11, OV 21-OV 22; 4.8 linear feet)

Series 9: Artwork, 1930s-1992 (Box 11; 0.2 linear feet)

Series 10: Photographic Materials, 1909-2000s (Boxes 11-15; 4.1 linear feet)

Series 11: Charlotte Park papers, 1930s-2010 (Boxes 15-18, OV 23; 3.6 linear feet)

Series 12: Unprocessed Additition, circa 1930-2010 (Boxes 25-26; 1.4 linear feet)

Biographical / Historical:

James Brooks (1906-1992) and Charlotte Park (1919-2010) were Abstract Expressionist painters in East Hampton, N.Y. A native of St. Louis, Missouri, Brooks spent his childhood in Colorado, Oklahoma, Illinois, and Texas. He begn drawing as a young boy, finding inspiration in magazine illustrations and comic strips. Before moving to New York City in 1926, he studied at Southern Methodist University (1923-1924) and at the Dallas Art Institute.

In New York, Brooks studied illustration at the Grand Central Art School. After exposure to museums led him to differentiate between illustration and fine art, Brooks enrolled at Art Students League. During this period he supported himself by doing lettering for magazine advertisements. From 1936-1942 he participated in the WPA Federal Art Project, executing murals at Woodside Library, Queens, New York (destroyed); the Post Office, Little Falls, New Jersey; and his famous Flight at LaGuardia Airport's Marine Air Terminal (painted over in the 1950s and restored in 1980).

During World War II Brooks served in the United States Army as an art correspondent in Cairo. When at the Office of Special Services, Washington, DC, he met Charlotte Park who worked there as a graphic artist and later became his wife. The couple moved to New York City in 1945 and married in 1947. Brooks resumed friendships with artists he knew from the WPA including Philip Guston, Bradley Walker Tomlin, and Jackson Pollock. Brooks and Park were especially close with Pollock and Lee Krasner; after they moved to Long Island, Brooks and Park, soon followed, first to Montauk and later to the Springs, East Hampton, New York.

By the late 1940s, Brooks had turned away from figural painting in the social realist style and moved toward abstraction. In the early 1950s, he was experimenting with enamel, gouache, and diluted oil paints, staining various grounds in ways that produced interesting shapes, adding spontaneous splashes of color over which he painted more deliberately. In the 1960s he switched to acrylics, leading to wider use of color and broader strokes.

Peridot Gallery presented Brooks' first solo exhibition in 1949. He helped organize and participated in the famous Ninth Street Show of 1951, earning critical acclaim. This assured him a place in two of the Museum of Modern Art's most important exhibitions of the period, Twelve Americans (1956) and New American Painting (1958). He showed at the Stable Gallery, Kootz Gallery, Martha Jackson Gallery and others. During his lifetime Brooks enjoyed five traveling retrospective exhibitions.

Prizes and awards included Carnegie Institute's Pittsburgh International Exhibition 5th prize for painting (1952), The Art Institue of Chicago's 62nd American Exhibition Logan Medal and Prize for Painting (1957) and 64th American Exhibition Harris Prize (1961), The National Arts Club Medal (1985), and a citation of appreciation for Flight from The North Beach Club Marine Air Terminal, LaGuardia Airport (1986).

Brooks taught for nearly three decades: drawing at Columbia University (1947-1948) and lettering at Pratt Institute (1948-1955); was a visiting critic, Yale University (1955-1960), University of Pennsylvania (1971-1972), and Cooper Union (1975); and served on the Queens College faculty (1966-1969). In addition, he was an artist-in-residence at The American Academy in Rome (1963), the recipient of a Guggenheim Fellowship (1969), and a National Endowment for the Humanities Grant (1973).

Brooks developed Alzheimer's disease around 1985 and died in East Hampton, New York in 1992.

Charlotte Park graduated from the Yale School of Fine Art (1939) and during World War II, when working in Washington, D.C., she met James Brooks. They moved to New York City in 1945, where she studied with Australian artist Wallace Harrison. Park taught children's art classes at several private schools in the early 1950s and at the Museum of Modern Art, 1955-1967.

Park's approach to Abstract Expressionism featured curved or linear shapes with vibrant colors and dynamic brushstrokes. Tanager Gallery presented her first solo show in 1957 and her work was included in numerous group exhibitions from the 1950s through 2000s, mainly in New York City and Long Island. After Park's second solo exhibition, held in 1973 at Elaine Benson Gallery, Bridgehampton, New York, interest in her work revived; other one-person shows followed at Guild Hall (1979), Ingber Gallery (1980), and paired with James Brooks at Louise Himelfarb Gallery. The National Institute of Arts and Letters honored Park with its Art Award in 1974. Her work is in the permanent collections of the Parrish Art Museum, Guild Hall Museum, Telfair Museum of Art, and in many private collections.

Charlotte Park died in 2010.

Related Materials:

Also among the Archives of American Art's holdings are letters from James Brooks and Sean Scully, 1980-1989 addressed to Theodora ["Teddy"] S. Greenbaum, and an oral history interview with James Brooks conducted by Dorothy Seckler, 1965 June 10 and June 12.

Separated Materials:

Correspondence, interview transcripts, photographs, and printed material were loaned by James Brooks for microfilming in 1969 (reel N69-132). With the exception of an address book, a scrapbook, and a few photographs, Brooks donated almost all of the loan in 1979.

Provenance:

The majority of the collection was donated in 2013 by the James Brooks and Charlotte Brooks Foundation and an additional 1.4 linear feet donated 2017 by the Foundation. In 1979 James Brooks donated most of the material lent for microfilming in 1969.

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.

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.

Topic:

World War, 1939-1945  Search this

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

Abstract expressionism  Search this

Genre/Form:

Sketchbooks

Sound recordings

Transcripts

Interviews

Drawings

Photographs

Diaries

Citation:

James Brooks and Charlotte Park papers, 1909-2010, bulk 1930-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.broojame

See more items in:

James Brooks and Charlotte Park papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw948fd3af3-1ae9-4a9a-af05-4ef35e505b4a

EDAN-URL:

ead_collection:sova-aaa-broojame

Creator:

Ochoa, Elizabeth V.  Search this

Ochoa, Victor Leaton  Search this

International Airship Co.  Search this

Extent:

0.5 Cubic feet (2 boxes)

Type:

Collection descriptions

Archival materials

Patents

Correspondence

Photographs

Clippings

Drawings

Place:

El Paso (Texas)

Texas -- 20th century

Mexico -- 20th century

Date:

circa 1894-1945

Summary:

The papers document Victor L. Ochoa, Mexican American inventor of the Ochoaplane, orinthopter (an aircraft that flies by flapping its wings), a windmill, magnetic brakes, a wrench and a reversible motor. The papers include correspondence, photographs, patents, both U.S. and foreign, drawings and typescripts for a short story, "The Making of an American," and a novel The Cycle of Life or Professor Mimo Abas: The Wise Man of the Land of Moctezuma.

Scope and Contents:

The papers document Victor Leaton Ochoa, Mexican American inventor of the Ochoaplane, orinthopter (an aircraft that flies by flapping its wings), a windmill, magnetic brakes, a wrench and a reversible motor. The papers include correspondence, photographs, patents, both United States and foreign, drawings and typescripts for a short story and a novel.

Arrangement:

The collection is arranged into seven series.

Series 1: Correspondence, 1895-1945

Series 2: Financial materials, 1911, 1912, undated

Series 3: Patent Materials, 1901-1925

Subseries 3.1: Patent Papers, 1922; 1925

Subseries 3.2: Drawings, undated

Subseries 3.3: Foreign Patents, 1901-1922

Subseries 3.4: United States Patents, 1903-1922

Series 4: Writings, undated

Series 5: Photographs, 1933, undated

Series 6: Newspaper Clippings, circa 1894-1912

Series 7: Miscellaneous Printing Blocks, undated

Biographical / Historical:

Victor Leaton Ochoa (1850-1945?) was born in Ojinaga, Mexico. Ochoa later moved to Presidio del Norte, Texas, (Presidio is on the Rio Grande River) and became a United States citizen in 1889. Ochoa was the son of Juan Ochoa, a customs collector in Presidio.

Victor Ochoa was a journalist/writer, founding (El Hispano-American andEl Correo del Bravo) ; a politician (running unsuccessfully in El Paso); a union leader founding (La Union Occidental Mexicana to help Mexicans in the United States preserve their language); a revolutionary (opposing the Mexican government of President Porfirio Díaz, the President of Mexico from 1876 to 1880 and from 1884 to 1911); a prisoner, corporate president of the International Airship Company and the Ochoa Tool and Machine Company; miner and inventor. Ochoa was bitterly opposed to the dictatorship of President Porfirio Díaz. He became involved in the fight by Mexican rebels in the early 1890s to overthrow Diaz. Some consider Ochoa to be the originator of the revolt, and Díaz ultimately issued a $50,000 reward for Ochoa, "dead or alive." Ochoa's participation in Mexican revolutionary activities led to his arrest in 1894 for supplying and hiring Mexican dissidents in El Paso, Texas, thus violating United States neutrality laws. As a result of his illegal actions, a federal warrant was issued for Ochoa's arrest. The Texas Rangers as well as the U.S. Marshal Service sought Ochoa. In October of 1894, Pecos County Sheriff A. J. Royal and Texas Ranger James W. Fulgham arrested Victor Ochoa while rounding up suspected horse thieves. Ochoa was put in the Pecos County Jail and promptly escaped. He was eventually found and returned to El Paso. Ochoa was ultimately sentenced to two years in federal prison at Kings County Penitentiary in Brooklyn. Ochoa was stripped of his United States citizenship, but it was ultimately restored by Theodore Roosevelt in 1906.

Ochoa was as committed to inventing as he was to his revolutionary ideals. He was known to reside in the New York City and the Patterson, New Jersey area in the late 1890s. Ochoa's issued patents list him at New York, New Jersey, and Texas addresses. He also worked with Watson E. Coleman, a solicitor of patents in Washington, D.C. Coleman helped Ochoa file for and obtain patents in other countries such as Czechoslovakia, France, Germany, Great Britain, Japan, Mexico, Netherlands, Poland, and Spain. Ochoa's patents include: a magnetic brake (US Patent No. 867,147); a reversible motor (US Patent No. 718,508); a rail magnetic brake (US Patent No. 873,587); a windmill (US Patent No. 1,319,174); and a wrench (US Patent No. 1,417,196 and 1,454,333).

Ochoa had a strong interest in aviation. He created the "Ochoaplane," circa 1908-1911. He designed it with an automobile in mind, and it included collapsible wings so that it could be housed in a garage or barn. He also incorporated the International Airship Company in Patterson, New Jersey, presumably to manufacture his "airships." Ochoa was imprisoned at the United States Penitentiary in Leavenworth, Kansas on February 18, 1917 and was released on May 1, 1918 upon completion of his sentence. In a September 17, 1917, letter written from Leavenworth, Ochoa asks the Naval Consulting Board to consider the use of metal wings constructed in such a manner that they fold back and over the body of the airship. Ochoa called this his fluttering wing machine. Ochoa's letter is deliberate, and he writes, "There was no desire on my part of abandoning this and three other patents that at this time went to issue. At that time I was taken sick with consumption and my struggle for life then became my sole purpose and then there arose other circumstances, over which I had no control, to prevent my taking them out."

Ochoa married Amanda Cole, granddaughter of Thomas Cole, the American painter, whose most famous painting isThe Last of the Mohicans . They had one son, Stephen Ochoa. Victor Ochoa returned to Sinaloa, Mexico, in 1936, and it is believed he died there in 1945.

Source Romo, David Dorado. Ringside Seat to a Revolution: An Underground Cultural History of El Paso and Juarez: 1893-1923. El Paso, Texas: Cinco Puntos Press, 2005.

Related Materials:

Record Group 129, Records of the Bureau of Prisons held by the National Archives, Central Plains Division, Kansas City, Missouri (http://www.archives.gov/central-plains/kansas-city/), contains a 54 page file on Victor L. Ochoa's imprisonment.

Provenance:

This collection was donated by Elizabeth Victoria Ochoa on May 17, 1997.

Restrictions:

The collection is open for research use. Researchers must handle unprotected photographs with gloves.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.

Topic:

Airplanes  Search this

Inventors -- 1890-1960  Search this

Inventions -- 20th century  Search this

Aeronautics  Search this

Genre/Form:

Patents

Correspondence -- 1930-1950

Photographs -- 20th century

Clippings

Drawings

Citation:

Victor L. Ochoa Papers, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0590

See more items in:

Victor L. Ochoa Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep821026f6e-2248-4c72-842f-abdcba59aea1

EDAN-URL:

ead_collection:sova-nmah-ac-0590

Creator:

Kuh, Katharine  Search this

Names:

Albright-Knox Art Gallery  Search this

Art Institute of Chicago -- Faculty  Search this

Biennale di Venezia  Search this

Katharine Kuh Gallery (Chicago, Ill.)  Search this

Adams, Ansel, 1902-1984  Search this

Albers, Josef  Search this

Albright, Ivan, 1897-1983  Search this

Archipenko, Alexander, 1887-1964  Search this

Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this

Arensberg, Walter, 1878-1954  Search this

Arp, Jean, 1887-1966  Search this

Barnet, Will, 1911-  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Biddle, George, 1885-1973  Search this

Breuer, Marcel, 1902-  Search this

Calder, Alexander, 1898-1976  Search this

Campoli, Cosmo  Search this

Chagall, Marc, 1887-1985  Search this

Chavez Morado, José, 1909-2002  Search this

Chermayeff, Serge, 1900-  Search this

Cornell, Joseph  Search this

Cox, Richard  Search this

Davis, Stuart, 1892-1964  Search this

Day, Worden, 1916-1986  Search this

De Kooning, Willem, 1904-1997  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Dubuffet, Jean, 1901-  Search this

Duchamp, Marcel, 1887-1968  Search this

Elizabeth, Queen of Great Britain, II, 1926-  Search this

Ernst, Jimmy, 1920-1984  Search this

Falkenstein, Claire, 1908-1997  Search this

Feitelson, Lorser, 1898-1978  Search this

Friendly, Fred W.  Search this

Giacometti, Alberto, 1901-1966  Search this

Golub, Leon, 1922-2004  Search this

Goto, Joseph, 1920-  Search this

Grabe, Klaus  Search this

Graves, Robert, 1895-1985  Search this

Guggenheim, Peggy, 1898-1979  Search this

Guston, Philip, 1913-1980  Search this

Hare, David, 1917-  Search this

Hare, Denise Browne  Search this

Hayter, Stanley William, 1901-1988  Search this

Hirshhorn, Joseph  Search this

Hofmann, Hans, 1880-1966  Search this

Hélion, Jean, 1904-1987  Search this

Inverarity, Robert Bruce, 1909-1999  Search this

Johns, Jasper, 1930-  Search this

Johnson, Philip, 1906-2005  Search this

Johnson, Ray, 1927-  Search this

Kandinsky, Wassily, 1866-1944  Search this

Kepes, Gyorgy, 1906-2001  Search this

Kepes, Juliet  Search this

Klee, Paul, 1879-1940  Search this

Kline, Franz, 1910-1962  Search this

Knox, Seymour H., 1898-1990  Search this

Le Corbusier, 1887-1965  Search this

Lundeberg, Helen, 1908-1999  Search this

Lye, Len, 1901-1980  Search this

Léger, Fernand, 1881-1955  Search this

Mies van der Rohe, Ludwig, 1886-1969  Search this

Millier, Arthur, 1893-  Search this

Moholy-Nagy, László, 1895-1946  Search this

Motherwell, Robert  Search this

Mérida, Carlos, 1891-1984  Search this

Nutting, Muriel Leone Tyler, b. 1892  Search this

Nutting, Myron Chester, 1890-1972  Search this

O'Higgins, Pablo, 1904-  Search this

Orozco, José Clemente, 1883-1949  Search this

Ozbekhan, Hasan, 1921-2007  Search this

Perkins, Frances  Search this

Picasso, Pablo, 1881-1973  Search this

Putnam, Wallace, 1899-1989  Search this

Ray, Man, 1890-1976  Search this

Rich, Daniel Catton, 1904-1976  Search this

Rothko, Mark, 1903-1970  Search this

Sandberg, Carl  Search this

Seligmann, Kurt, 1900-1962  Search this

Shackelford, Shelby  Search this

Shahn, Ben, 1898-1969  Search this

Spaeth, Otto, d. 1966  Search this

Sterne, Hedda, 1916-  Search this

Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this

Still, Clyfford, 1904-  Search this

Tanning, Dorothea, 1910-2012  Search this

Tobey, Mark  Search this

Winston, Harry Lewis  Search this

Woolf, Olga  Search this

Young, Victor  Search this

Photographer:

Pollack, Peter, 1909-1978  Search this

Extent:

12 Linear feet

Type:

Collection descriptions

Archival materials

Illustrated letters

Resumes

Travel diaries

Minutes

Calendars

Visitors' books

Photographs

Paintings

Awards

Drawings

Sound recordings

Collages

Scrapbooks

Lithographs

Prints

Wills

Watercolors

Poetry

Lecture notes

Lectures

Sales records

Date:

1875-1994

bulk 1930-1994

Summary:

The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Scope and Content Note:

The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.

Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.

There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.

Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.

Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.

Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.

Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.

Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.

Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.

Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.

Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.

Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.

Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.

Arrangement:

The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.

Missing Title

Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)

Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)

Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)

Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)

Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)

Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)

Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)

Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)

Series 9: Audio Recordings, 1977 (Box 12; 1 folder)

Biographical Note:

Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.

Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.

After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.

In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.

After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.

In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.

A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.

Katharine Kuh died on January 10, 1994 in New York City.

Provenance:

The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.

Restrictions:

Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional 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:

Authors -- Illinois -- Chicago  Search this

Art historians -- Illinois -- Chicago  Search this

Art dealers -- Illinois -- Chicago  Search this

Art critics -- Illinois -- Chicago  Search this

Curators -- Illinois -- Chicago  Search this

Art consultants -- Illinois -- Chicago  Search this

Topic:

Art, Abstract -- United States  Search this

Art, American  Search this

Art, Modern -- 20th century -- United States  Search this

Women art dealers  Search this

Women art historians  Search this

Women museum curators  Search this

Women authors  Search this

Women art critics  Search this

Function:

Art festivals

Genre/Form:

Illustrated letters

Resumes

Travel diaries

Minutes

Calendars

Visitors' books

Photographs

Paintings

Awards

Drawings

Sound recordings

Collages

Scrapbooks

Lithographs

Prints

Wills

Watercolors

Poetry

Lecture notes

Lectures

Sales records

Citation:

Katharine Kuh papers, 1875-1994, bulk 1930-1994. 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.kuhkath

See more items in:

Katharine Kuh papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw987a0763e-de6c-4f9e-b143-4875b3a2244a

EDAN-URL:

ead_collection:sova-aaa-kuhkath

Creator:

Hirschfeld, Al  Search this

Names:

Atkinson, Brooks, 1894-  Search this

Brown, John Mason, 1900-1969  Search this

Chodorov, Edward, 1904-1988  Search this

Delany, Beauford, 1901-  Search this

Fruse, Roger K.  Search this

Lowe, Charles  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Writings

Sketches

Drawings

Sketchbooks

Photographs

Place:

Japan -- Description and Travel

Date:

1931-1983

Summary:

The papers of caricaturist Al Hirschfeld measure 0.9 linear feet and date from 1931-1983. Found within the papers are letters to Hirschfeld, business records, writings, artwork, printed material, and photographs.

Scope and Content Note:

The collection measures 0.9 linear feet, dates from 1931-1983, and documents the career of caricaturist Al Hirschfeld. Found within the papers are letters, business records, writings, artwork, printed material, and photographs.

Letters are from friends and colleagues, and the subjects of Hirschfeld's drawings. A small majority of letters are from Brooks Atkinson, John Mason Brown, Edward Chodorov, Beauford Delaney, Roger K. Fruse, and Charles F. Lowe. Additional correspondents for which there are one or two letters are listed in the series description that follows.

Business records include a receipt for artwork delivered, a notice of probate on the will of Billy Rose, a loan agreement from the Studio Museum in Harlem for a work by Beauford Delaney, and a contract from The Franklin Library for a portrait of Mencken. Writings by Hirschfeld consist of brief typescripts of film and theater critiques.

Artwork consists of a sketchbook of caricatures of theater performers, a sketchbook of images from travel to Japan, loose sketches, and drawings by children inspired by a visit to see Hirschfeld.

Also found within the papers are 11 folders of clippings, posters, and miscellaneous printed material. Photographs are of Hirschfeld, his wife, and a drawing.

Arrangement:

The collection is arranged as 6 series. All series are arranged chronologically.

Missing Title

Series 1: Letters, 1931-1983 (Boxes 1-2; 1.75 linear feet)

Series 2: Business Records, 1932-1979 (Box 2; 1 folder)

Series 3: Writings, 1937-1973 (Box 2; 3 folders)

Series 4: Art Work, 1967-1977 (Box 2; 4 folders)

Series 5: Printed Material, 1953-1983 (Box 2, OV 3; 11 folders)

Series 6: Photographs, 1965 (Box 2; 1 folder)

Biographical Note:

Albert Hirschfeld was born on June 21, 1903 in St. Louis, Missouri, the youngest of the three sons of Isaac Hirschfeld and his Russian-born wife Rebecca.

Al Hirschfeld studied art in St. Louis and moved with his family to New York City in 1915. He studied at the National Academy of Art and Design and at the Art Students League, but due to financial difficulties in 1919, he took a job at Selznick Pictures where he was given his first art assignments designing advertisements. He was soon made art director, a position he held for several years, until the company went bankrupt. Because the company could not pay him what they owed, Hirschfeld worked for an entire year to earn enough to pay his artists what he, in turn, owed them.

By 1924, Hirschfeld was able to travel to Paris and London, where he studied painting, drawing, and sculpture, and began to grow his distinctive beard. By mid-1925, he had returned to New York City planning to begin a career as a painter, but on December 26, 1926, a sketch he had done of French actor Sacha Guitry was published in the New York Herald Tribune. Within two years his theatrical drawings were appearing in five different New York newspapers, including the New York Times, for which he worked on a freelance basis until the newspaper offered him a contract in 1990. Hirschfeld's caricatures have also appeared in The New Yorker, Playbill, TV Guide, New Masses, Time, Life, Reader's Digest, Rolling Stone, and many other publications.

Beginning in the late 1920s, Hirschfeld was assigned to capture the essence of each new Broadway play through his line drawings that were published prior to the play's opening night. Performers and the public alike were captivated with the accuracy of his seemingly effortless caricatures. During this time, Hirschfeld also co-edited a satirical journal, Americana, with Alexander King.

Divorced from his first wife, Florence Ruth Hobby, Hirschfeld met German-born film actress Dolly Haas when he was assigned to do a caricature of her. They were married in May 1943. Two years later, to celebrate the birth of his daughter Nina, Hirschfeld concealed her name in the background of his drawing for the play Are You With It? Finding the "Ninas" in his caricatures soon became an American ritual. During World War II, the Department of Defense trained bomber pilots the techniques of camouflage and target-spotting by having them search for the "Ninas" in Hirschfeld's drawings.

For forty years, Hirschfeld collaborated with S. J. Perelman in illustrating and writing books, including Westward Ha!, Listen to the Mockingbird, and The Swiss Family Perelman. Hirschfeld also provided illustrations for the 1986 memoir of Perelman, And Did You Once See Sidney Plain? Other books published by Hirschfeld include The Speakeasies of 1932, Harlem as Seen by Hirschfeld, Show Business is No Business, and Hirschfeld on Line.

Hirschfeld also had solo art exhibitions at the Heller Gallery, Hammer Gallery and at the Lincoln Center Museum of the Performing Arts. He received a Special Tony Award "for 50 years of theatrical cartoons" in 1975.

In 1991 and 1994, the United States Postal Service commissioned Hirschfeld to design a series of stamps commemorating comedians and silent film stars respectively. He was not only allowed to be the first artist to put his name on a U. S. postage stamp, but was allowed to include Nina's name within the caricatures as well.

In 1996, an Academy Award-nominated documentary film about Hirschfeld's life, The Line King, was released.

Hirschfeld's wife Dolly passed away in September 1994. Three years later, in October 1997, he married Louise Kerz, widow of Broadway producer and designer Leo Kerz. Al Hirschfeld died on January 20, 2003 in New York City.

Provenance:

The Al Hirschfeld papers were donated in 1983 by Al Hirschfeld and his dealer, George J. Goodstadt.

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:

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

Genre/Form:

Writings

Sketches

Drawings

Sketchbooks

Photographs

Citation:

Al Hirschfeld papers, 1931-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.hirsal

See more items in:

Al Hirschfeld papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw916be7046-ddb8-4a4b-8040-eaaff33a928c

EDAN-URL:

ead_collection:sova-aaa-hirsal

Creator:

Becker, Fred, 1913-2004  Search this

Names:

Atelier 17  Search this

Mary Ryan Gallery (New York, N.Y.)  Search this

United States. Office of War Information  Search this

Burlin, Paul, 1886-1969  Search this

Hayter, Stanley William, 1901-1988  Search this

Hugo, Ian, 1898-1985  Search this

Nin, Anaïs, 1903-1977  Search this

Singer, Gail  Search this

Todd, Ruthven, 1914-1978  Search this

Van Duyn, Mona  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Lectures

Photographs

Prints

Sketchbooks

Sketches

Sound recordings

Video recordings

Transcripts

Date:

1913-2004

bulk 1940-2000

Summary:

The papers of printmaker and educator Fred Becker measure 3.4 linear feet and date from 1913 to 2004, with the bulk from 1940-2000. The collection documents Becker's work as a professional artist and educator through biographical material, personal and professional correspondence, writings, interviews, personal business records, gallery and exhibition files, project files, photographic material, printed material, and artwork.

Scope and Contents:

The papers of printmaker and educator Fred Becker measure 3.4 linear feet and date from 1913 to 2004, with the bulk from 1940 to 2000. The collection documents Becker's work as a professional artist and educator through biographical material, personal and professional correspondence, writings, interviews, personal business records, gallery and exhibition files, project files, photographic material, printed material, and artwork.

Biographical material includes a birth certificate and announcement, résumés and other biographical writings, as well as memorial materials and obituaries. Also included are letters and photographs concerning Becker's WWII appointment with the Office of War Information in China. Correspondence reflects relationships with colleagues and friends including Stanley William Hayter, Gail Singer, and Mona Van Duyn, professional organizations, museums and galleries, as well as family. The Writings series contains essays and artist statements written by Becker, articles and essays written about Becker by others, and writings by poets Ruthven Todd and Mona Van Duyn. Lectures are featured in written form, as well as audio recordings. Interviews include transcripts and audio and video recordings.

Personal business records include various studio artwork inventories and information regarding artwork donation and sale at auction, in addition to documents related to Becker's role as an art instructor. In the gallery and exhibition files are detailed records of gallery and museum exhibitions, as well as correspondence with specific galleries including the Mary Ryan Gallery. Project files include documentation of various residencies and government art programs Becker participated in, a symposium on Atelier 17, as well as significant bodies of work.

Photographic materials document Becker's artwork, including images of works by fellow artists S.W. Hayter and Paul Burlin. Photograph formats include slides, transparencies, negatives, and black and white prints. Printed material includes exhibition catalogs, clippings and invitations. Also found are various artworks including sketchbooks, loose sketches, prints, and a partial letterpress mock-up of Winter of Artifice, printed by author Anaïs Nin, with various etching illustrations by Ian Hugo.

Arrangement:

The collection is arranged in 10 series:

Series 1: Biographical Material, circa 1913-2004 (0.1 linear feet; Box 1)

Series 2: Correspondence, circa 1940s-2001 (0.7 linear feet; Box 1)

Series 3: Writings, circa 1940s-1993 (0.1 linear feet; Box 1)

Series 4: Interviews, circa 1976-2004 (0.2 linear feet; Boxes 1-2)

Series 5: Personal Business Records, circa 1939-1990s (0.1 linear feet; Box 2)

Series 6: Exhibition and Gallery Records, circa 1950-2002 (0.2 linear feet; Box 2)

Series 7: Project Files, circa 1957-1993 (0.1 linear feet; Box 2)

Series 8: Photographic Material, circa 1930s-1999 (0.3 linear feet; Box 2)

Series 9: Printed Material, circa 1930s-2002 (0.8 linear feet; Boxes 2-3)

Series 10: Artwork, circa 1940-1989 (0.6 linear feet; Boxes 3-4)

Biographical / Historical:

Fred Becker (1913-2004) was a printmaker and art educator in Amherst, Massachusetts. Becker was born in 1913 in Oakland, California. He attended New York University beginning in 1933, where he enrolled in architecture coursework before focusing on printmaking and drawing. Becker was employed by the Works Progress Administration from 1935 to 1939. His early work of this period often incorporated nightclub scenes depicting jazz musicians. In 1940, Becker was one of the first students to enroll in classes at the New York iteration of Atelier 17, led by printmaker Stanley William Hayter. There Becker engaged with more abstract forms in his art-making, and arrived at an expressionist style by the 1950s. He served in the China Division of the United States Office of War Information (OWI) from 1945 to 1946.

Becker taught at the Tayler School of Art at Temple University in Philadelphia, from 1946 to 1948; at Washington University in St. Louis, Missouri, from 1948 to 1968; and at the University of Massachusetts in Amherst from 1968 until his retirement in 1986. University of Massachusetts, Amherst's Herter Gallery was the site of his retrospective in 1999. Becker and his wife, painter Jean Morrison (1917-1995), had two children Carla and Anton. Fred Becker exhibited widely in print annuals and solo shows, as well as in the context of his participation in the Works Progress Administration and Atelier 17, New York. His prints are represented in a number of museum collections including the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art in New York.

Provenance:

The Fred Becker papers were donated to the Archives of American Art in 2018 by Becker's daughter Carla Becker.

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:

Art teachers -- Massachusetts  Search this

Topic:

Artists -- Massachusetts  Search this

Printmakers -- Massachusetts  Search this

World War, 1939-1945  Search this

Genre/Form:

Interviews

Lectures

Photographs

Prints

Sketchbooks

Sketches

Sound recordings

Video recordings

Transcripts

Citation:

Fred Becker papers, 1913-2004, bulk 1940-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.beckfred

See more items in:

Fred Becker papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw950769dbb-6c1a-44cb-8668-b7d5ac4c5c65

EDAN-URL:

ead_collection:sova-aaa-beckfred

Creator:

Whittredge, Worthington, 1820-1910  Search this

Names:

Metropolitan Fair (1864:New York, N.Y.)  Search this

Brady, Mathew B., approximately 1823-1896  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Paintings

Sketchbooks

Date:

circa 1840s-1965

bulk 1849-1908

Summary:

The papers of landscape painter Worthington Whittredge measure 2.2 linear feet and date from the 1840s to 1965, with the bulk of the papers dating from 1849 to 1908. This small collection documents Whittredge's career as a painter, particularly his years in Europe from 1849 to 1859, through biographical materials, a manuscript of his autobiography, news clippings, catalogs, six sketchbooks and numerous drawings and paintings. Also found are two photographs of Whittredge and a nineteenth-century photo album containing photographs of 32 famous artists.

Scope and Content Note:

The papers of landscape painter Worthington Whittredge measure 2.2 linear feet and date from the 1840s to 1965, with the bulk of the papers dating from 1849 to 1908. This small collection documents Whittredge's career as a painter, particularly his years in Europe from 1849 to 1859, through biographical materials, a manuscript of his autobiography, news clippings, catalogs, six sketchbooks and numerous drawings and paintings. Also found are two photographs of Whittredge and a nineteenth-century photo album containing photographs of 32 famous artists.

Biographical materials include a manuscript of his autobiography, passport, award certificates, and a ledger he kept while living in Düsseldorf, Germany, that documents commissions, accounts, and business activities. Printed material includes news clippings, catalogs, and the book Recollections of the Art Exhibition, Metropolitan Fair, New York, published by Mathew Brady, which includes a catalog of the art exhibition at the fair and 20 printed images by Brady.

Artwork consists of six sketchbooks and numerous drawings and paintings. The sketchbooks contain drawings Whittredge executed on a trip down the Rhine River in 1849 as well as during his travels in Italy and Mexico. Other loose drawings and paintings include numerous landscapes, figure studies, trees, animals, and other miscellaneous sketches.

There are two photographs of Whittredge, taken by M. Louise Greene, and a nineteenth-century photo album containing cartes de visite photographs of 32 artists. Most of these photographs include the artists autograph as well. Included are Albert Bierstadt, George H. Baker, William Holbrook Beard, Albert F. Bellows, John G. Brown, Seth Wells Cheney, Frederic Church, Jasper Cropsey, Thomas Seir Cummings, Mauritz De Haas, Francois Regis Gignoux, Henry Peters Gray, Seymour Guy, George Henry Hall, William Hart, William Hennessy, Richard W. Hubbard, Daniel Huntington, Henry Augustus Loop, Jervis McEntee, Samuel F. B. Morse, William Page, Horace Wolcott Robbins, Aaron Shattuck, James Augustus Suydam, Launt Thompson, Robert W. Weir, Henry Wenzler, Edwin White, and George Yewell, and two unidentified artists.

Arrangement:

The collection is arranged into 4 series:

Missing Title

Series 1: Biographical Material, 1849-circa 1940s (Box 1, 5, OV 9; 0.4 linear feet)

Series 2: Printed Material, 1861-1965 (Box 1, 4, 5, OV9; 0.4 linear feet)

Series 3: Artwork, circa 1840s-1902 (Box 2, 5, OV 6-9; 0.6 linear feet)

Series 4: Photographs, circa 1850s-1860s, circa 1900 (Box 2-3; 0.3 linear feet)

Biographical Note:

Thomas Worthington Whittredge (1820-1910) was born in 1820 in Springfield, Ohio. Receiving very little formal education, he moved to Cincinnati, Ohio at the age of 17 to serve as an apprentice house and sign painter. A few years later, in his early twenties, he briefly ran a daguerreotype studio in Indianapolis, Indiana, and worked as a portrait painter in Charleston, West Virginia.

In 1843 Whittredge decided to pursue landscape painting, and was greatly influenced by Hudson River School artist Thomas Cole. In 1849 he traveled to Düsseldorf, Germany, to further his training at the Düsseldorf Academy. There, he met painter Emanuel Leutze and modeled for Leutze's painting Washington Crossing the Delaware (1850). He lived for a year in the home of landscape painter Andreas Achenbach and became friends with Carl Friedrich Lessing. Whittredge spent the summer of 1856 sketching in Switzerland with Albert Bierstadt. That fall Whittredge and Bierstadt moved to Rome where they were joined by fellow artists Sanford Robinson Gifford and William Stanley Haseltine.

Whittredge stayed in Italy until 1859 when he returned to America and settled in New York City, renting a space at Richard Morris Hunt's famous Tenth Street Studio Building, which was frequented by some of the best-known artists, writers, and actors of the time. He kept company with Jervis McEntee, Eastman Johnson, Sanford Robinson Gifford, John Ferguson Weir, and other artists of the "old guard". Whittredge quickly became a very successful artist, adapting what he had learned in Europe to the American landscape. He was elected to the National Academy of Design in 1860 and became a full member in 1862. He also served as President of the National Academy of Design from 1874 to 1877.

In 1866 Whittredge went along on a government inspection tour of the Missouri Territory and was greatly inspired by the landscape. He traveled to Colorado in 1870 with John Frederick Kensett and Sanford Gifford and, in the late 1870s, began painting these new landscapes. He moved with his family to Summit, New Jersey, in 1880. In 1893 he went on a sketching trip to Mexico with fellow artist Frederic Church and continued painting into the early 1900s. Around this time he also began writing his autobiography which he completed in 1905. Worthington Whittredge died in 1910 at the age of 89.

Related Material:

Also found in the Archives of American Art are several collections relating to Whitteredge: the Anthony F. Janson research material on Worthington Whittredge, 1969-2003; the Worthington Whittredge sale records, 1900; the Edith Wilkinson Letter to E.P. Richardson and biographical notes on Worthington Whittredge, 1957; and a Worthington Whittredge letter to John Ferguson Weir, 1871.

Separated Material:

One sketchbook was loaned by William W. Katzenbach for microfilming in 1959 and returned. Loaned material is available on microfilm reel 153, but is not described in container listing of this finding aid.

Provenance:

The Worthington Whittredge papers were donated by William W. and L. Emery Katzenbach, grandsons of Whittredge, in 1959. Additional items were donated by William W. Katzenbach in 1968.

Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Landscape painters -- New York (State) -- New York  Search this

Painting, American  Search this

Genre/Form:

Drawings

Photographs

Paintings

Sketchbooks

Citation:

Worthington Whittredge papers, circa 1840s-1965, bulk 1849-1908. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.whitwort

See more items in:

Worthington Whittredge papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92e138a3a-4b80-4bf4-bd99-42ad0f7404e3

EDAN-URL:

ead_collection:sova-aaa-whitwort

Collection Creator:

De Forest, Roy, 1930-2007  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

1972-2005

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Collection Citation:

Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.

See more items in:

Roy De Forest papers

Roy De Forest papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a74705a6-cd3f-4e99-ba60-fbc9f0831626

EDAN-URL:

ead_component:sova-aaa-deforoy-ref10

Creator:

Brodsky, Stan, 1925-  Search this

Names:

June Kelly Gallery  Search this

Lerner-Heller Gallery  Search this

Allman, Margo  Search this

Wallach, Amei  Search this

Extent:

2 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Sketchbooks

Video recordings

Photographs

Drawings

Slides (photographs)

Interviews

Date:

1951-2004

Summary:

The Stan Brodsky papers measure 2 linear feet and date from 1951 through 2004. The collection reflects Brodsky's career as a painter and educator through biographical material, letters, printed material, and sketchbooks. Also found are photographs of the artist, slides of his artwork, and sound and video recordings.

Scope and Content Note:

The Stan Brodsky papers measure 2 linear feet and date from 1951 through 2004. The collection reflects Brodsky's career as a painter and educator through biographical material, letters, printed material, and sketchbooks. Also found are photographs of the artist, slides of his artwork, and sound and video recordings.

Letters from Brodsky are to his friend, painter Margo Allman. Letters received are from various museums as well as New York City galleries such as Lerner-Heller Gallery and June Kelly Gallery Inc. Printed material consists of catalogs and announcements for Brodsky's solo and group exhibitions, clippings, magazines and journals and monographs. Artwork includes 10 sketchbooks with drawings in pencil, pen and ink, pastels, and watercolor. Many volumes contain scenes from foreign travel as well as various Long Island locations. Among the sound and video recordings are interviews with Stan Brodsky, lectures by him, and a conversaton with art critic Amei Wallach.

Arrangement:

The collection is arranged as 6 series:

Missing Title

Series 1: Biographical Material, 1959-2004, undated (Boxes 1, 4; 0.2 linear feet)

Series 2: Letters, 1976-2004, undated (Box 1; 2 folders)

Series 3: Printed Material, 1958-2003, undated (Boxes 1, 4, OV 5; 0.5 linear feet)

Series 4: Artwork, 1951-1999, (Boxes 1, 4; 0.5 linear feet)

Series 5: Photographic Materials, 1951-2004 (Boxes 1, 3; 0.3 linear feet)

Series 6: Sound and Video Recordings, 1979-1999 (Box 2; 0.3 linear ft.)

Biographical Note:

Stan Brodsky (b. 1925), was on the faculty of C. W. Post College, Long Island University for 31 years.

A native of Brooklyn, New York, he earned a bachelor's degree in photo-journalism from Missouri University (1949) and the M.F.A. in painting from Iowa University (1950). He completed a doctorate in education at Columbia University (1959). Brodsky began teaching at C. W. Post College (now C. W. Post Campus, Long Island University) in Brookville, New York, and for many years was Director of Studio Programs. He married in 1960 and five years later moved from New York City to Huntington, New York. The year after his retirement, the university presented him a career achievement award (1992).

Brodsky painted both figuratively and abstractly at various points in his career. He was influenced by artists such as Milton Avery, Richard Diebenkorn, Edward Hopper, and Mark Rothko. Brodsky often took his cue from the landscape. Earlier works were geometric and realist, reflective of his New York City surroundings; after Brodsky moved to Long Island, his work gradually became more abstract. Color and light are key elements in his work. His canvases range from soft hues and delicate brushstrokes to bold colors exuberantly applied. For Brodsky, travel was a source of inspiration. Visits to the Czech Republic, Israel, Italy, France, Greece and Spain were reflected by distinct color palettes.

Brodsky held fellowships at MacDowell Colony, Peterborough, New Hampshire (1971), Virginia Center for the Creative Arts, Amherst, Virginia (1985, 1986, 1989), and Yaddo, Saratoga Springs, New York (1987). His first major retrospective, "Transformations into Color: The Art of Stan Brodsky" (1991), was held at the Heckscher Museum, Huntington, New York. In 1998, Brodsky received a Richard Florsheim Art Fund grant to mount a second retrospective "Stan Brodsky, Seeing Through-Seeing Beyond: A Retrospective of Work from the 70s, 80s, and 90s" at Bridgeport University in Connecticut.

Brodsky continues to live and work in Huntington, New York. He is represented by June Kelly Gallery, New York City.

Provenance:

The papers were donated in 2004 by Stan Brodsky.

Restrictions:

Use requires an appointment. Use of audio visual 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:

Painters -- New York (State)  Search this

Topic:

Educators -- New York (State)  Search this

Genre/Form:

Sound recordings

Sketchbooks

Video recordings

Photographs

Drawings

Slides (photographs)

Interviews

Citation:

Stan Brodsky Papers, 1951-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.brodstan

See more items in:

Stan Brodsky Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bd892b30-526c-43cc-a6e1-b7a525747d14

EDAN-URL:

ead_collection:sova-aaa-brodstan

Creator:

Simon, Sidney, 1917-1997  Search this

Names:

Budd (Firm : New York, N.Y.)  Search this

Century Association (New York, N.Y.)  Search this

Colby College  Search this

Graham Gallery  Search this

Pennsylvania Academy of the Fine Arts  Search this

Skowhegan School of Painting and Sculpture -- Faculty  Search this

United States. Army. Corps of Engineers  Search this

Emmerich, André  Search this

Gonzalez, Xavier, 1898-1993  Search this

Gotfryd, Bernard  Search this

Hélion, Jacqueline  Search this

Jencks, Penelope  Search this

Kelly, Ellsworth, 1923- -- Photographs  Search this

King, William, 1925-2015  Search this

Meredith, Burgess, 1907-1997  Search this

Motherwell, Robert -- Photographs  Search this

Nevelson, Louise, 1899-1988 -- Photographs  Search this

Pousette-Dart, Richard, 1916-1992  Search this

Watson, Forbes, 1880-1960  Search this

Extent:

23.7 Linear feet

2.21 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Transcripts

Sketchbooks

Sketches

Interviews

Illustrated letters

Diaries

Date:

circa 1917-2008

bulk 1940-1997

Summary:

The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and drawings for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.

Scope and Contents:

The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

Biographical material chronicles Simon's academic training and professional activities through curriculum vitae, biographical accounts, and awards. Included are letters and memoranda, many from Forbes Watson pertaining to Simon's service as a combat artist in World War II. Also found is a transcript of an interview with Simon recounting his experiences in the Southwest Pacific. Simon's personal correspondence with colleagues, friends, and family includes scattered letters from Jacqueline Helion, Penelope Jencks, William King, Burgess Meredith, among others. Many letters are illustrated by Sidney Simon and others. General correspondence includes letters from artists, galleries, museums, public and religious institutions primarily relating to Simon's exhibitions and commissioned projects. Among the correspondents are Castle Hill, Truro Center for the Arts, Colby College, André Emmerich, Eric Makler Gallery, Xavier Gonzalez, Graham Gallery, and the Pennsylvania Academy of the Fine Arts. Interspersed among the files are letters of a personal nature. Other correspondence relates to Simon's faculty positions and his activities in professional organizations, e.g., Century Association, National Academy of the Fine Arts, and the Skowhegan School of Painting and Sculpture.

Writings and notes include Simon's 1943 diary entries recording his activities in the Army Corps of Engineers, draft versions of writings and lectures, and notes. Included are digital audio recordings of Simon's lectures at the Skowhegan School of Painting and Sculpture. Subject files provide documentation on Simon's commissioned projects, select exhibitions and competitions, as well as his faculty positions and memberships in several arts organizations. Printed material consists of clippings, invitations, announcements, newsletters, and programs. Exhibition catalogs are of Simon's solo and group shows at galleries, museums, and art organizations from 1959-1966. Photographs are of Simon by Budd Brothers, Richard Pousette-Dart, and Bernard Gotfryd. There are a number of photographs of the artist in his studio and outdoors as well as of Simon's family and friends, including group photographs with Ellsworth Kelly, André Emmerich, Robert Motherwell, and Louise Nevelson. Also found are three personal and family albums and twenty-one photograph albums of Simon's paintings and sculptures.

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.

Arrangement:

The collection is arranged as 10 series.

Missing Title

Series 1: Biographical Material, 1940-1998 (Boxes 1, 9; 0.7 linear feet)

Series 2: Correspondence, 1936-2002 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Notes, 1943, circa 1960-1997 (Box 2; 0.4 linear feet, ER01-ER03; 2.21 GB)

Series 4: Subject Files, 1940-1941, 1951-1997 (Boxes 2-4, 9; 1.8 linear feet)

Series 5: Sketches, 1937-1942 (Box 4; 1 folder)

Series 6: Sketchbooks, 1939-1995 (Boxes 4-5, 9; 0.5 linear feet)

Series 7: Printed Material, circa 1933, 1942-1998 (Box 5; 0.3 linear feet)

Series 8: Scrapbooks, 1978-1995 (Box 5; 0.1 linear feet)

Series 9: Photographs, circa 1917-1997 (Boxes 5-10; 3.0 linear feet)

Series 10: Unprocessed Addition, circa 1940-1997, 2008 (Boxes 11-27, OV 28-43; 15.7 linear feet)

Biographical / Historical:

Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

In 1941, Simon enlisted in the U.S. Army and served in the Army Corps of Engineers. Assigned to MacArthur's headquarters as an official war artist for the Southwest Pacific Theater, Simon was chosen to paint the signing of the peace treaty between the U.S. and Japan aboard the U.S.S. Missouri. He was discharged from the army with a Bronze Star and five presidential citations. In 1945, along with Bill Cummings and Henry Varnum Poor, Simon co-founded the Skowhegan School of Painting and Sculpture, where he later served as a director and a member of the Board of Governors. By the mid-1950s, Simon's interest shifted from painting to sculpture, creating works in wood, clay, and other media. Over the years, Simon collaborated with architects on a number of public and private commissions, including the doorway for the Downstate Medical Center, the Jewish Chapel at West Point, a playground sculpture for Prospect Park, and the totemic column for the Temple Beth Abraham. In addition to serving on the faculty at Skowhegan School of Painting and Sculpture, Simon also taught at the Art Students League, Brooklyn Museum, and Parsons School of Design. An active champion of artists' rights, Simon established the New York Artists Equity Association. He participated in solo and group shows at the Graham Gallery, Provincetown Art Association and Museum, and the Sculptors Guild, among other venues.

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.

Related Materials:

The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].

Separated Materials:

The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009. Additional material donated in 2022 by the Renee A. Simon Revocable Trust via trustees Barbara Sussman, Alexa Elam and Susanne Howard.

Restrictions:

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

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.

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:

War artists  Search this

Topic:

Art -- Study and teaching  Search this

World War, 1939-1945 -- Art and the war  Search this

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

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

Function:

Artists' studios -- New York (State)

Genre/Form:

Sound recordings

Transcripts

Sketchbooks

Sketches

Interviews

Illustrated letters

Diaries

Citation:

Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.simosidn

See more items in:

Sidney Simon papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw973588e01-af09-4ddf-ae4c-721c446d46c3

EDAN-URL:

ead_collection:sova-aaa-simosidn

Creator:

Primoff, Morris W., 1899-1986  Search this

Subject:

Benton, Thomas Hart  Search this

Benton, Rita P.  Search this

Citation:

Morris W. Primoff papers relating to Thomas Hart Benton, 1950-1978. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting -- New York (State) -- New York  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13379

(DSI-AAA_SIRISBib)256321

AAA_collcode_primmorr

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_256321

Collection Creator:

Primoff, Morris W.  Search this

Extent:

20 Items (Folder 1)

Type:

Archival materials

Date:

1950-1978

Scope and Contents:

The papers primarily consist of correspondence between attorney Morris W. Primoff (1899-1986) and New York-based painter and muralist Thomas Hart Benton (1889-1975). Correspondence includes letters, 1950-1965, between Benton and Morris W. Primoff of Primoff & Primoff, Counselors at Law. Letters concern the "Lewis family" gift of Benton's painting "Island Farm" to Morris W. Primoff; a Benton exhibition at the Gerst Gallery in New York; tax laws concnerning unsold works of art in artists' estates; a proposed book on Benton by Crown Publishers, Inc.; and Benton's expedition up the Missouri River following the trail of Lewis and Clark. Also included are a letter from Benton's wife Rita to Polly and Murray (Morris) Primoff thanking them for attending Benton's exhibition opening in New Britain, 1954; and a letter from Polly Burroughs concerning a book on Benton, 1978. Printed material includes the catalog "Thomas Hart Benton: A Giant in American Art"(1962) and newspaper clippings.

Collection 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.

Collection Rights:

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

Collection Citation:

Morris W. Primoff papers relating to Thomas Hart Benton, 1950-1978. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.primmorr, Series 1

See more items in:

Morris W. Primoff papers relating to Thomas Hart Benton

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9261f82fb-57b1-4b85-bfc0-e8eba129e7ed

EDAN-URL:

ead_component:sova-aaa-primmorr-ref3