Search Results

Creator:

DeMonte, Claudia, 1947-  Search this

McGowin, Ed, 1938-  Search this

Extent:

7.2 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Date:

1960-2018

Summary:

The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Scope and Contents:

The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Correspondence includes letters and postcards to and from family, friends, colleagues, and art institutions.

Writings includes a file of poetry written by DeMonte, manuscripts of books written by DeMonte, and a series of notebooks. Some of the notebooks are a combination of notes and sketches.

Scrapbooks consist of eight scrapbooks consisting of mixed material such as notes, photographs, sketches, and printed material.

Professional material consists of awards and certificates, a large number of calendars, commision work including an art project for the University of Northern Iowa completed by both DeMonte and McGowin, and a number of VHS and Betamax cassettes documenting DeMonte's career and interviews in connection with her Women of the World exhibition.

Printed material consists of newspaper clippings, magazine articles, exhibition announcements and catalogs, exhibition posters, and newsletters.

Artwork consists of a file of drawings and some sketchbooks.

Photographic material consists of photographs and slides of DeMonte, her artwork, and some of her exhibitions. There is also a file of photographs of DeMonte and McGowin at the White House with First Lady Laura Bush, and there are personal photographs of DeMonte and McGowin traveling and with family and friends.

Arrangement:

The collection is arranged into seven series.

Series 1: Correspondence, 1967-2013 (1.7 linear feet; Boxes 1-2)

Series 2: Writings, 1975-2013 (0.5 linear feet; Boxes 2-3)

Series 3: Scrapbooks, 1967-2009 (1.0 linear feet; Box 3, 9-10)

Series 4: Professional Activity Files, 1964-2013 (1.7 linear feet; Boxes 3-5, 9)

Series 5: Printed Material, 1960-2018 (1.9 linear feet; Boxes 5-7)

Series 6: Artwork, circa 1973 (0.1 linear feet; Box 7)

Series 7: Photographic Material, circa 1977-2010 (0.3 linear feet; Boxes 7-8)

Biographical / Historical:

Claudia DeMonte (1947- ) was born and raised in Astoria, New York City. She has more than 100 one-person shows and 600 group exhibitions nationally and internationally, including exhibitions at the Corcoran Museum, Modern Art Museum of Fort Worth, Mississippi Museum, Tucson Museum, Flint Institute of Art, Museum of the Southwest, etc.

Her work is in numerous museum permanent collections, including the Brooklyn Museum of Art, Stamford Museum, Boca Raton Museum, and in major corporate collections such as those of Hyatt Regency Hotels, Exxon, Citibank and Siemens. Her public commissions have come from the New York City Department of Cultural Affairs, Brooklyn Library System, Queens Supreme Court, Prudential Life Insurance, the State of New Mexico, and New York City School Construction Authority.

DeMonte is also the curator of "Women of the World: A Global Collection of Art." This traveling exhibition, with accompanying books, includes works of women from 177 countries dealing with the images of women.

DeMonte's work is heavily influenced by her travels to over 80 countries, her interest in the roles of women in contemporary society and Outsider Art, a collection compiled with her husband, artist Ed McGowin.

For 33 years, DeMonte has served on the faculty of the University of Maryland, where she was named Distinguished Scholar Teacher and Professor Emerita. In 2006, She was awarded an Honorary Doctorate from the College of Santa Fe.

DeMonte presently lives with her husband in New York City and Kent, Connecticut.

Ed McGowin (1938- ) was born in 1938 in Hattiesburg, Mississippi and grew up in Mississippi and Alabama, receiving the M.A. from the University of Alabama. He has had one-person exhibitions at the Corcoran Gallery in Washington, D.C.; the Baltimore Museum; and the Museum of Modern Art of the City of Paris, France. Since 1979, McGowin has executed major outdoor commissions for numerous public and private organizations, often collaborating with his wife, Claudia DeMonte.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Claudia DeMonte conducted by Liza Kirwin between February 13 and April 24, 1991; and the Ed McGowin papers, 1962-1998.

Provenance:

The Claudia DeMonte and Ed McGowin papers were donated in 1994 by Claudia DeMonte and in 2020 by Claudia DeMonte and Ed McGowin.

Restrictions:

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

Rights:

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

Occupation:

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

Mixed-media artists -- New York (State) -- New York  Search this

Educators -- Maryland -- College Park  Search this

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

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

Topic:

Women artists  Search this

Women sculptors  Search this

Women educators  Search this

Genre/Form:

Video recordings

Citation:

Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.democlau

See more items in:

Claudia DeMonte and Ed McGowin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98cf90804-0751-4bb3-b276-8f730e83692b

EDAN-URL:

ead_collection:sova-aaa-democlau

Creator:

Shuster, Will, 1893-1969  Search this

Subject:

Henri, Robert  Search this

La Farge, Oliver  Search this

Scott, Winfield Townley  Search this

Sheridan, John E.  Search this

Wheelock, Warren  Search this

Nash, Willard Ayer  Search this

Karig, Walter  Search this

Sloan, John  Search this

Public Works of Art Project  Search this

Place:

United States -- Social conditions -- 1933-1945 -- New Mexico

Citation:

Will Shuster papers, [undated] and 1914-1970. Archives of American Art, Smithsonian Institution.

Topic:

Art, American -- New Mexico -- Santa Fe  Search this

New Deal, 1933-1939 -- New Mexico  Search this

Art and state -- New Mexico  Search this

Federal aid to the arts -- New Mexico  Search this

Mural painting and decoration -- 20th century -- New Mexico  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13458

(DSI-AAA_SIRISBib)211861

AAA_collcode_shuswill

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211861

Creator:

Shuster, Will  Search this

Names:

Public Works of Art Project  Search this

Henri, Robert, 1865-1929  Search this

Karig, Walter, 1898-  Search this

La Farge, Oliver, 1901-1963  Search this

Nash, Willard Ayer, 1898-1943  Search this

Scott, Winfield Townley, 1910-1968  Search this

Sheridan, John E., 1880-1948  Search this

Sloan, John, 1871-1951  Search this

Wheelock, Warren, 1880-1960  Search this

Extent:

12 Reels (ca. 3000 items (on 12 microfilm reels))

Type:

Collection descriptions

Archival materials

Reels

Place:

United States -- Social conditions -- 1933-1945 -- New Mexico

Date:

[undated] and 1914-1970

Scope and Contents:

Correspondence with John Sloan and others, writings, poems, original art works, scrapbooks, photographs, and Shuster's own descriptions of his work.

Reel NDA 3: Instructions, releases, speeches, manuscripts notes, photographs of Shuster's PWAP murals in New Mexico; and a typescript of a comedy written by Shuster.

Reels 169-177: 400 letters, 1917-1968, including correspondence with Robert Henri, Edgar Varese, John S. Velie, Walter Karig, and family members. Other materials consist of diaries, 1918, 1928, 1933-1934, 1937-1962, and 1964-1969; photographs of Shuster, family, and friends, and his work; original drawings, watercolors, oils and etchings; sketchbooks; poems, lectures, and stories by Shuster; a record of his works; scrapbooks, 1920-1928, 1923-1935, and 1935-1963; and material relating to John Sloan, who was Shuster's close friend and his teacher in 1920.

Reel 277: Materials relating to John Sloan, including letters from him 1922-1951; notes by Winifield Townley Scott recording conversations with Helen Shuster and Mrs. Sloan after Sloan's death and commenting on Sloan's work, tributes by Oliver LaFarge and others, and clippings. Additional correspondents are John Sheridan, Robert Henri, Warren Wheelock, Willard Nash, and the Veterans Administration, concerning Shuster's medical disability after having his lungs damaged by poisoned gas during the World War, 1914-1918. Also included are poems by Shuster, 1925-1939, and other Santa Fe residents, including Scott; and correspondence and printed material relating to Shuster's participation in various Santa Fe festivals.

Reel 4283: Five letters from Sloan to Shuster. Three letters are illustrated and contain detailed instructions and advice on etching technique. A fourth letter, dated Jan 2, 1922, includes a recipe for gesso preparation and an offer from Sloan to pay Shuster's entry fee to "show in the Independents." Sloan in his two page letter, dated January 3, 1947, comments on the pace of his work; his participation in a "Mr. & Mrs. Exhibition" at the Laurel Gallery; a production of Eugene O'Neill's "The Ice Man Cometh"; and the Whitney Annual.

Arrangement:

Letters arranged chronologically.

Biographical / Historical:

Painter, printmaker, and writer active in Santa Fe, N.M.; b. 1893; d. 1969

Provenance:

The material borrowed from Will Shuster in October 1964 (reel NDA 3) was part of a project of AAA to document New Deal art projects throughout the U.S. The bulk of the Will Shuster papers (reels 169-177, 277) were lent by his widow, Selma Dingee Shuster. Five letters from John Sloan (Reel 4283) were lent in 1989 by her estate.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Painters  Search this

Printmakers  Search this

Topic:

Art, American -- New Mexico -- Santa Fe  Search this

New Deal, 1933-1939 -- New Mexico  Search this

Art and state -- New Mexico  Search this

Federal aid to the arts -- New Mexico  Search this

Mural painting and decoration -- 20th century -- New Mexico  Search this

Function:

Art festivals

Identifier:

AAA.shuswill

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b8741298-fe2f-4be8-a772-3ae7d5f5f034

EDAN-URL:

ead_collection:sova-aaa-shuswill

Creator:

Blumenschein, Ernest Leonard, 1874-1960  Search this

Names:

Committee on Public Information  Search this

National Academy of Design (U.S.)  Search this

Salmagundi Club  Search this

Taos Society of Artists  Search this

Blumenschein, Helen G. (Helen Greene)  Search this

Blumenschein, Mary Greene  Search this

Gilbert, Cass, 1859-1934  Search this

Glackens, William J., 1870-1938  Search this

Kuhn, Walt, 1877-1949  Search this

Meem, John Gaw, 1894-1983  Search this

Sharp, Joseph Henry, 1859-1953  Search this

Tarkington, Booth, 1869-1946  Search this

Ufer, Walter, 1876-1936  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Writings

Photographs

Date:

1873-1964

Summary:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Scope and Content Note:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials.

Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert.

Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record.

Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest.

Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches.

Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others.

Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions.

Some images and language in these manuscripts may be offensive to viewers. It is presented as it exists in the original documents for the benefit of research. This material in no way reflects the views of the Archives of American Art or the Smithsonian Institution.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Materials, 1873-1971 (Boxes 1, OV1; 17 folders)

Series 2: Correspondence, 1891-1970 (Box 1; 0.5 linear feet)

Series 3: Personal Business Records, 1918-1950s (Box 1; 4 folders)

Series 4: Writings, 1880s-1959 (Box 1-2; 0.5 linear feet)

Series 5: Artwork, 1888-1925 (Box 2; 0.25 linear feet)

Series 6: Printed Materials, 1891-1964 (Box 2, OV1; 0.5 linear feet)

Series 7: Photographs, 1880s-1955 (Box 2, OV1; 0.25 linear feet)

Biographical Note:

Ernest Blumenschein was born on May 26th, 1874 in Pittsburgh, Pennsylvania. He moved to Dayton, Ohio at the age of four, the same year his mother died. His father was a professional musician and composer, who chiefly made his living as a conductor of large choruses. During high school he contributed illustrations to "Tomfoolery," a handwritten and hand drawn weekly humor magazine. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League.

In 1892, Ernest Blumenschein first traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's.

Blumenschein first visited Taos in the fall of 1898 while traveling en route to Mexico on a sketching trip with Phillips. A wheel on the wagon carrying their belongings broke and they took it to the nearest blacksmith in the area, which was in Taos. Upon arriving at Taos, Blumenschein was struck by the "the superb beauty and serenity" of the landscape and was "stirred deeply." The town made a strong impact on both Blumenschein and Phillips, but while Phillips decided to stay, Blumenschein returned to New York for a short while and continued working as an illustrator. The following year Blumenschein decided to concentrate on painting, and re-enrolled at the Académie Julian while supporting himself with his commercial work. In 1903, he met Mary Greene, an American painter living in Paris and they married in 1905, and began sharing a Paris studio. Their daughter and only child, Helen, was born in November of 1909.

While Ernest Blumenschein continued to study in Paris, he also kept working as an illustrator, supporting himself easily. His illustration work was much in demand by American magazines and book publishers. Blumenschein was commissioned to illustrate Jack London's first book, Love of Life, in 1904. He also worked with other famous writers such as Stephen Crane, Willa Cather, and Joseph Conrad.

Upon returning to New York after the birth of their daughter, Ernest and Mary taught at the Pratt Institute. Ernest spent every summer in Taos. In 1919, the family moved permanently to Taos, with Helen returning to New York for school. It was during this time that Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony. For four decades, Blumenschein created paintings of the landscape, local inhabitants, the Taos Pueblo culture, and city skylines. He won numerous awards for his work and exhibited widely. His work was responsible for changing perceptions about the native culture and peoples of the area - the Navajo and Pueblo Indians. Blumenschein also indulged his love of the outdoors and sports. He avidly camped, played tennis, and was part of the Taos amateur baseball team. His artistic output in the 1950s was hampered by his declining health, and the death of Mary in 1958. Blumenschein died in June of 1960, and his ashes are repositioned at the Taos Pueblo Reservation.

Related Material:

Found in the Archives of American Art is a small collection of "Ernest Blumenschein letters and transcripts", available on microfilm reel 3281, and consisting of eleven letters between Blumenschein and Thomas Gilcrease, a letter between Helen Blumenschein and Gilcrease, and the transcript of a 1958 radio interview with Blumenschein.

Additionally, the Fray Angélico Chávez History Library in Santa Fe, New Mexico holds papers related to Ernest Blumenschein, Mary Greene Blumenschein, and Helen Greene Blumenschein.

Provenance:

The collection was donated to the Archives of American Art by Helen Greene Blumenschein, Ernest Blumenschein's daughter, in 1971.

Restrictions:

Use of the 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:

Painters -- New Mexico -- Taos  Search this

Topic:

Illustrators -- New Mexico -- Taos  Search this

Taos School of Art  Search this

Works of art  Search this

Painting -- New Mexico -- Taos  Search this

World War, 1914-1918  Search this

Genre/Form:

Writings

Photographs

Citation:

Ernest Blumenschein papers, 1873-1964. 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.blumerne

See more items in:

Ernest Blumenschein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9be57a409-a4fd-450c-a1e2-bfe0a6b923aa

EDAN-URL:

ead_collection:sova-aaa-blumerne

Collection Creator:

Lisle, Laurie  Search this

Container:

Box 1, Folder 8

Type:

Archival materials

Date:

1976, 1981

Collection Restrictions:

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

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:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson / Series 1: Research Files on Georgia O'Keeffe / 1.1: Biographical Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw953954e5b-7abe-468c-a260-6b1423ce1b4d

EDAN-URL:

ead_component:sova-aaa-lisllaur-ref8

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Container:

Box 5, Folder 28

Type:

Archival materials

Date:

1965-1989, undated

Scope and Contents note:

(catalogs; exhibition announcements; clippings; artist biography; photocopy of "Art of the Southwest...Art on the Border" [booklet?])

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw950a9cdb9-528d-4fd8-af13-d3e4ffb897a7

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref345

Painter:

Phillips, Bert Geer 1868-1956  Search this

Medium:

Fresco

Culture:

Hispanic  Search this

Type:

Paintings-Mural

Paintings

Owner/Location:

Taos County Courthouse Taos New Mexico

Date:

1934

Topic:

Occupation--Crime  Search this

State of Being--Other--Imprisonment  Search this

Figure group--Family  Search this

Animal--Other--Skeleton  Search this

Ethnic  Search this

Control number:

IAP 8A540336

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_400055

Painter:

Hullenkremer, Odon 1888-1978  Search this

Culture:

Indian  Search this

Type:

Paintings

Owner/Location:

Carrie Tingley Hospital 1127 University NE Albuquerque New Mexico 87102

Topic:

State of Being--Other--Imprisonment  Search this

Figure group  Search this

Occupation--Industry--Mining  Search this

Ethnic  Search this

Architecture exterior--Industry--Mine  Search this

Object--Tool--Shovel  Search this

Control number:

IAP 8C880027

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_424665

Creator:

Puma, Fernando, 1915-  Search this

Names:

Cheney, Sheldon, 1886-  Search this

Grosz, George, 1893-1959  Search this

Huxley, Julian, 1887-1975  Search this

Stieglitz, Alfred, 1864-1946  Search this

Williams, William Carlos, 1883-1963  Search this

Extent:

185 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1932-1970

Scope and Contents:

Letters from Puma to his mother and family; letters from William Carlos Williams, Alfred Stieglitz, Julian Huxley, George Grosz, and others; letters from Sheldon Cheney to Puma's mother following Puma's death regarding exhibitions of his work and sales of his work. Also included are numerous articles on Puma, one by Cheney and by Williams; photographs of his work; clippings; and catalogs.

Biographical / Historical:

Painter; New York, N.Y. Born in Santa Fe, New Mexico of Spanish and Indian ancestry. Moved to New York where he developed a personal theory of art called texturism which gave substance to both color and surface form through building up of colors.

Provenance:

The lender, Mrs. Ruth Friedman, is Puma's mother.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

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

Topic:

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

Hispanic American artists  Search this

Identifier:

AAA.pumafern2

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d7d51c7e-d4c9-49cf-a3e7-f6d2a8f1f4bd

EDAN-URL:

ead_collection:sova-aaa-pumafern2

Creator:

Tietgens, Rolf  Search this

Extent:

47 Photographic prints

Culture:

Oglala Lakota (Oglala Sioux)  Search this

Sicangu Lakota (Brulé Sioux)  Search this

Laguna Pueblo  Search this

K'apovi (Santa Clara Pueblo)  Search this

Diné (Navajo)  Search this

Tesuque Pueblo  Search this

Hopi Pueblo  Search this

Taos Pueblo  Search this

Apache  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Place:

New Mexico

Arizona

South Dakota

Pine Ridge Indian Reservation (S.D.)

Date:

1933-1934

1940-1944

Summary:

This collection includes 47 photographic prints made by German born photographer Rolf Tietgens in 1933-1934 and 1940-1944 on the Pine Ridge Reservation in South Dakota and in various locations across Arizona and New Mexico. Communities photographed in South Dakota include the Oglala Lakota (Oglala Sioux) and Sicangu Lakota (Brulé Sioux). Communities photographed in Arizona and New Mexico include—Laguna Pueblo, K'apovi (Santa Clara Pueblo), Diné (Navajo), Tesuque Pueblo, Hopi Pueblo, Taos Pueblo and Apache.

Scope and Contents:

This collection includes 47 photographic prints made by German born photographer Rolf Tietgens on a brief trip to the United States in 1933-1934 and in 1940-1944 after moving permanently to New York. Some of the photographs that were made on his 1933-1934 trip were later published in a 1936 book called Die Regentrommel (The Rain Drum).

The photographs include outdoor portraits and landscape views on the Pine Ridge Reservation in South Dakota and in various locations across Arizona and New Mexico These were shot among the Oglala Lakota (Oglala Sioux) and Sicangu Lakota (Brulé Sioux) communities in South Dakota and among the Laguna Pueblo, K'apovi (Santa Clara Pueblo), Diné (Navajo), Tesuque Pueblo, Hopi Pueblo, Taos Pueblo and Apache in Arizona and New Mexico. One of the more famous portraits includes an image of Chief Blackhorn (Tahe Sapa/Hah-Sah-Pah/Black Horn) [Sicangu Lakota (Brulé Sioux)], likely shot in 1941. Many of the portraits remain unidentified.

Many the photographs depict ceremonial dances and have been restricted due to cultural sensitivity. There are also several duplicate images within the collection.

Catalog numbers include P23663-P23709.

Arrangement:

Arranged by catalog number.

Biographical / Historical:

Rolf Tietgens was born in Hamburg, Germany in 1911. In 1933 Tietgens first visited the United States, where he made a series of photographs of Native Americans, published in Germany as a book, Die Regentrommel (The Rain Drum), in 1936. As a filmmaking student in Berlin, Tietgens worked for Leni Riefenstahl as a cameraman on Olympia (1936). He then moved to New York, where he opened his own photography studio (1938). His work was featured in "Photographing New York City," an exhibition of Photo League photographers at the New School for Social Research in 1939. Despite his successful career as a photographer for numerous American magazines, Tietgens was interred as an enemy alien in Santa Fe, New Mexico, in 1942–43, during World War II. Naturalized in 1944, he continued to work as a commercial photographer through the fifties until 1964 when he began a second career as a painter, a pursuit that he followed until his death in 1984.

Provenance:

Bequest of Rolf Tietgens, 1985 [P23675-P23709] and gift of Keith De Lellis, 1987 [P23663-P23674].

Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Some photographs restricted due to cultural sensitivity.

Rights:

NMAI does not own the copyright to these photographs. Permission to publish will need to be acquired from the Estate.

Genre/Form:

Photographic prints

Citation:

Identification of specific item; Date (if known); Rolf Tietgens photographs, image #, NMAI.AC.336; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.336

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv47e6bd179-dc44-445b-93b9-b140165e5d85

EDAN-URL:

ead_collection:sova-nmai-ac-336

Creator:

Boyd, E. (Elizabeth), 1903-1974  Search this

Names:

Federal Art Project  Search this

Index of American Design  Search this

Extent:

1 Item

Type:

Collection descriptions

Archival materials

Date:

1963 November 6

Scope and Contents:

Typed notes dated November 6, 1963, excerpted from her notebook. Boyd describes her work for the Index of American Design in New Mexico, 1936-1937, where she was engaged in research, did renderings of folk art for the Index and especially the Portfolio of Spanish Colonial Design, and handled photographs by project photographers. She comments on the quality of work done by artists and photographers on the project.

Biographical / Historical:

E. Boyd (1903-1974) was an art administrator, painter, and writer from Santa Fe, New Mexico.

Provenance:

Donated 1964 by E. Boyd.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Arts administrators -- New Mexico -- Santa Fe  Search this

Painters -- New Mexico -- Santa Fe  Search this

Authors -- New Mexico -- Santa Fe  Search this

Topic:

Latino and Latin American artists  Search this

Federal aid to the arts  Search this

Folk art  Search this

Women artists  Search this

Women arts administrators  Search this

Women painters  Search this

Women authors  Search this

Identifier:

AAA.boydeliz

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw994b17fd9-0464-4272-a906-f6ef890ff5b8

EDAN-URL:

ead_collection:sova-aaa-boydeliz

Interviewee:

Boyd, E. (Elizabeth), 1903-1974  Search this

Interviewer:

Loomis, Sylvia Glidden  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Federal Art Project (N.M.)  Search this

Index of American Design  Search this

New Deal and the Arts Oral History Project  Search this

Extent:

24 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1964 October 8

Scope and Contents:

An interview with Dr. E. Boyd conducted 1964 October 8, by Sylvia Loomis, for the Archives of American Art.

Boyd discusses her early art training in Philadelphia and Paris; involvement with the Index of American Design; work on the Federal Art Project; New Mexico folk artists; folk art exhibitions in Philadelphia; and the inception of Spanish Colonial department of New Mexico State Museum.

Biographical / Historical:

Dr. E. Boyd (1903-1974) was an art administrator, painter, and writer from Santa Fe, New Mexico.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 55 min.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Arts administrators -- New Mexico -- Santa Fe  Search this

Painters -- New Mexico -- Santa Fe  Search this

Authors -- New Mexico -- Santa Fe  Search this

Topic:

Latino and Latin American artists  Search this

Federal aid to the arts  Search this

Folk art  Search this

Women artists  Search this

Women painters  Search this

Women arts administrators  Search this

Women authors  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.boyd64

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b8c59f6d-dddd-4f29-b00a-9e0054ec00a7

EDAN-URL:

ead_collection:sova-aaa-boyd64

Creator:

Boyd, E., 1903-1974  Search this

Subject:

Index of American Design  Search this

Federal Art Project  Search this

Citation:

E. Boyd memoirs, 1963 November 6. Archives of American Art, Smithsonian Institution.

Topic:

Latino and Latin American artists  Search this

Federal aid to the arts  Search this

Folk art  Search this

Women artists  Search this

Women arts administrators  Search this

Women painters  Search this

Women authors  Search this

Theme:

Latino and Latin American  Search this

Women  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)5440

(DSI-AAA_SIRISBib)208912

AAA_collcode_boydeliz

Theme:

Latino and Latin American

Women

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208912

Interviewee:

Boyd, E., 1903-1974  Search this

Interviewer:

Loomis, Sylvia Glidden  Search this

Subject:

Federal Art Project (N.M.)  Search this

Index of American Design  Search this

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with E. Boyd, 1964 October 8. Archives of American Art, Smithsonian Institution.

Topic:

Latino and Latin American artists  Search this

Federal aid to the arts  Search this

Folk art  Search this

Women artists  Search this

Women painters  Search this

Women arts administrators  Search this

Women authors  Search this

Theme:

Latino and Latin American  Search this

Women  Search this

New Deal  Search this

Record number:

(DSI-AAA_CollID)12597

(DSI-AAA_SIRISBib)213364

AAA_collcode_boyd64

Theme:

Latino and Latin American

Women

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213364

Creator:

Rush, Olive, 1873-1966  Search this

Names:

United States. Dept. of the Treasury. Section of Fine Arts  Search this

Extent:

6.3 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Diaries

Photographs

Date:

1879-1967

Summary:

The papers of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other personal papers documenting Rush's education and career as an illustrator, portraitist, muralist, painter, teacher, and promoter of Native American art.

Scope and Contents note:

The records of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other records that document her education and career as an illustrator, portraitist, muralist, painter, and promoter of Native American art.

Biographical materials include several narratives written by Rush and others, as well as a few items related to Delaware artist Ethel Pennewill Brown Leach, Rush's close friend and colleague. Correspondence spans Rush's education and career, and documents her early career in illustration, purchases and exhibitions of her work, her efforts to secure exhibitions for Native American artists, and her dealings with administrators of Federal Art Projects of the 1930s.

Writings include diaries from Rush's early years, including an especially detailed diary from her Santa Fe Indian School mural project in 1932. Also found are lectures, talks, essays, notebooks with technical experiments and aesthetic ideas, and loose notes for her FAP project at the New Mexico College of Agricultural and Mechanical Arts.

Records of Rush's artwork include two record books, receipts for supplies and shipments, price lists, inventories, records of submissions, and a small number of similar records of artwork by Native American artists. Sketchbooks, loose sketches, and drawings by Rush span her entire career and include many studies and proposed designs for murals and frescoes.

Printed Materials consist of exhibition catalogs, clippings, and reproductions of artwork, especially illustration work from Rush's early career. Photographs include a class photograph from the Corcoran School of Art circa 1890 and many of Rush and her fellow artists in Wilmington, Delaware from around 1904 to 1910. Photographs of works of art document Rush's murals and frescoes in private homes, businesses, and public buildings.

Arrangement note:

The collection is arranged into seven series:

Missing Title

Series 1: Biographical Material, 1886-1966 (Box 1; 7 folders)

Series 2: Correspondence, 1889-1964 (Boxes 1-2, 8; 1.4 linear feet)

Series 3: Writings, 1886-1962 (Box 2; 0.6 linear feet)

Series 4: Records of Artwork, 1904-1956 (Box 3; 8 folders)

Series 5: Artwork, 1896-1957 (Boxes 3-4, 7, OV 8-12; 1 linear foot)

Series 6: Printed Materials, 1879-1967 (Boxes 4-5, 7, OV 13; 1.6 linear feet)

Series 7: Photographs, circa 1890-1966 (Box 6; 0.4 linear feet)

Biographical/Historical note:

Olive Rush was born in Fairmount, Indiana in 1875 to a Quaker farm family of six children, and attended nearby Earlham College, a Quaker school with a studio art program. Encouraged by her teacher, Rush enrolled in the Corcoran School of Art in Washington, D.C. in 1890, where she stayed for two years and achieved early recognition for her work. In 1893, Rush joined the Indiana delegation of artists to the World's Columbian Exposition in Chicago.

In 1894, she moved to New York City and continued her studies at the Art Students League with Henry Siddons Mowbray, John Twachtman, and Augustus St. Gaudens. She secured her first job as an illustrator with Harper and Brothers and quickly started doing additional illustration work for Good Housekeeping, Scribner's, The Delineator, Woman's Home Companion, Sunday Magazine and St. Nicholas Magazine. Rush also became a staff artist at the New York Tribune and illustrated several books.

In 1904, Rush sent an inquiry with samples of her work to master illustrator Howard Pyle, who had established what was then the only school of illustration in the country in Wilmington, Delaware. There he provided free instruction to a small number hand-picked artists culled from hundreds of applicants. Although Pyle did not admit women to his studio, he encouranged her to come and join the class for lectures and criticisms. Rush moved to Delaware later that year, joining a growing number of female illustrators there including Ethel Pennewill Brown (later Leach), Blanche Chloe Grant, Sarah Katherine Smith, and Harriet Roosevelt Richards, among others. Rush and her female colleagues lived together in a boarding house known as Tusculum, which became well-known as a gathering place for women artists.

Rush traveled to Europe in 1910, embarking on a period of intense study and travel which would mark a steady transition from illustration to painting. She studied at Newlyn in Cornwall, England and then in France with the American impressionist Richard E. Miller. She returned to Wilmington in 1911, where she moved into Pyle's studio with Ethel Pennewill Brown. Rush bounced to New York, Boston, and back to France, where she lived for a time with fellow artists Alice Schille, Ethel Pennewill Brown, and Orville Houghton Peets. Her reputation grew, and she began to exhibit regularly in major national and regional juried exhibitions including the Carnegie, Pennsylvania Academy, and Corcoran annual exhibitions, as well as the Hoosier Salon.

In 1914, Rush made her first trip to Arizona and New Mexico. Passing through Santa Fe on her return trip, Rush made contact with the artists community at the Museum of New Mexico, where she secured an impromptu solo exhibition after showing her new work, inspired by the landscape of the Southwest. She made Santa Fe her permanent home in 1920 in an adobe cottage on Canyon Road, which became a main thoroughfare of the Santa Fe artists' community.

Rush began to experiment with fresco painting, and developed her own techniques suitable to the local climate. She became a sought-after muralist and was asked to create frescoes for many private homes and businesses. In her painting, she often depicted the Native American dances and ceremonies she attended. She exhibited these paintings around the country, including with the Society of Independent Artists in New York, and in the Corcoran Annual Juried exhibition, where Mrs. Herbert Hoover and Duncan Phillips both purchased her work.

In 1932, Rush was hired to teach at the Santa Fe Indian School. Rush's enthusiastic work in the 1930s with the young pueblo artists is credited with helping to bring about a flourishing of Native American visual art in New Mexico. Rush continued to work with native artists throughout her life, and many of her associates went on to gain national reputations, including Harrison Begay, Awa-Tsireh, Pop Chalee, Pablita Valerde, and Ha-So-De (Narciso Abeyta).

From 1934 to 1939, Rush executed murals for the Public Works of Art Project (PWAP) and the Federal Art Project (FAP) of the Works Progress Administration (WPA). Rush's federal art projects included murals for the Santa Fe Public Library (1934), the Biology Building of the New Mexico Agricultural College (1935), the Pawhuska, Oklahoma Post Office (1938), and the Florence, Colorado Post Office (1939). Rush was also asked to join the Advisory Committee on Indian Art created by the PWAP in 1934, to help administer a segment of the program aimed at employing Native American artists.

In her later years, Rush's artwork became increasingly experimental, incorporating the ideas of Chinese painting, Native American art, and her contemporaries, the modernists, especially Wassily Kandinsky. She continued painting and exhibiting until 1964, when illness prohibited her from working. She died in 1966, leaving her home and studio to the Santa Fe Society of Friends.

Sources consulted for this biography include Olive Rush: A Hoosier Artist in New Mexico (1992) by Stanley L. Cuba, and Almost Forgotten: Delaware Women Artists and Arts Patrons 1900-1950 (2002) by Janice Haynes Gilmore.

Related Archival Materials note:

The Archives of American Art holds a brief oral history interview with Olive Rush concerning her involvement with Federal Art Projects.

Separated Materials note:

The Archives of American Art also holds material lent for microfilming (reel SW4) including scrapbooks, photographs, clippings, and exhibition catalogs. Most of this material was later donated, but some items remain with the lender and are not described in the collection container inventory.

Provenance:

Olive Rush donated the bulk of her papers to the Archives of American Art in 1963 and 1964. Additional exhibition catalogs and photographs were added to the collection upon her death in 1966. An anonymous donation of diaries, sketchbooks, and a photograph was received by the Archives in 1970. Also in 1970, the Olive Rush Memorial Studio lent papers for microfilming. Many, but not all, of the loaned materials were later donated.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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 Mexico -- Santa Fe  Search this

American Indians in art  Search this

Art and state  Search this

Mural painting and decoration -- 20th century -- New Mexico -- Santa Fe  Search this

Muralists -- New Mexico -- Santa Fe  Search this

Illustrators -- New Mexico -- Santa Fe  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sketches

Diaries

Photographs

Citation:

Olive Rush papers, 1879-1967. 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.rusholiv

See more items in:

Olive Rush papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9658989d9-2bae-49ac-8468-a447e744a90e

EDAN-URL:

ead_collection:sova-aaa-rusholiv

Collection Creator:

Rush, Olive, 1873-1966  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

undated

1920-1966

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

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:

Olive Rush papers, 1879-1967. 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.

See more items in:

Olive Rush papers

Olive Rush papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw997e29486-a0a1-4d6d-bea9-0363a413f980

EDAN-URL:

ead_component:sova-aaa-rusholiv-ref16

Collection Creator:

Rush, Olive, 1873-1966  Search this

Container:

Box 1, Folder 8

Type:

Archival materials

Date:

1889-1892

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

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:

Olive Rush papers, 1879-1967. 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.

See more items in:

Olive Rush papers

Olive Rush papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93f356aa6-0225-4558-83aa-4bca444da7cf

EDAN-URL:

ead_component:sova-aaa-rusholiv-ref24

Collection Creator:

Rush, Olive, 1873-1966  Search this

Container:

Box 2, Folder 25

Type:

Archival materials

Date:

1907

undated

1890

1900

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

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:

Olive Rush papers, 1879-1967. 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.

See more items in:

Olive Rush papers

Olive Rush papers / Series 3: Writings / Diaries

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98c95c2b7-409f-4562-9a4f-7086d898f442

EDAN-URL:

ead_component:sova-aaa-rusholiv-ref43

Collection Creator:

Rush, Olive, 1873-1966  Search this

Container:

Box 2, Folder 26

Type:

Archival materials

Date:

1886

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

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:

Olive Rush papers, 1879-1967. 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.

See more items in:

Olive Rush papers

Olive Rush papers / Series 3: Writings / Diaries

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw913f23eb0-fdbd-4568-bfe3-6cd49091edbf

EDAN-URL:

ead_component:sova-aaa-rusholiv-ref44

Collection Creator:

Rush, Olive, 1873-1966  Search this

Container:

Box 2, Folder 31

Type:

Archival materials

Date:

undated

1947

Collection Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

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:

Olive Rush papers, 1879-1967. 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.

See more items in:

Olive Rush papers

Olive Rush papers / Series 3: Writings

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9734dc84d-f66e-4f39-a7f2-3bece85c73be

EDAN-URL:

ead_component:sova-aaa-rusholiv-ref46