The papers of artist, photographer, and independent curator Giovanna (Joanne) Cecchetti date from circa 1940-1999 and measure 2.2 linear feet. They illustrate Cecchetti's career and life through correspondence, writings, personal business records, printed and photographic material, and artwork.
Scope and Contents:
The Giovanna (Joanne) Cecchetti papers measure 2.2 linear feet and date from circa 1940-1999. Correspondence is to and from notable artists and family members. Also included is correspondence regarding various exhibitions and fellowship and grant applications. Writings consist of diaries written by Cecchetti, an autobiographical account of her career and two drafted artist's books A Thousand Eyes and The Memory of Love Lost: An Erotic Journal. Personal business records include materials related to Eclectic Selections: Art in Paterson at the End of the Twentieth Century (1999) an exhibition by Cecchetti and Juan Ramon Lopez, and materials related to Absolut Statehood, a published compilation of artwork from various artists depicting how they each view their home states. Also included are grant application materials and items related to the Poco Gallery including a contract.
Printed material includes exhibition announcements and catalogs, a copy of Absolut Statehood 51: Painter's Visions of Their Home States (1993), commentary by Glenn O'Brien and photography by Antonio Alia Guccione and materials related to the exhibition Drawing from Within (1993). Photographic material consists of various personal photographs and an album. Also included are photographs of artwork. Artwork includes fabric designs, oil pastel paintings, sketchbooks and sketches, and tracings.
Arrangement:
This collection consists of six series.
Series 1: Correspondence, circa 1977-1996 (.5 Linear feet: Box 1)
Series 2: Writings, circa 1976-1995 (.3 Linear feet: Box 1)
Series 3: Personal Business Records, circa 1959-1995 (.3 Linear feet: Box 1, Box 4)
Series 4: Printed Material, circa 1987-1994 (.3 Linear feet: Box 2)
Series 5: Photographic Material, circa 1953-1994 (.4 Linear feet: Boxes 2-3, Box 5)
Series 6: Artwork, circa 1940-1990 (.4 Linear feet: Boxes 3-5)
Biographical / Historical:
Joanne Giovanna Marie Cecchetti (1953-) is an artist, photographer, and independent curator who worked primarily in New York and New Jersey. She was born in Suffron, New York to Gori Joseph and Mary Elizabeth Cecchetti. Prior to 1986 she used the first name Joanne before switching to Giovanna. In 1973 she attended New York State University where she obtained an Associate's Degree of Applied Science. Cecchetti obtained a Bachelor of Fine Arts at Parsons School of Design in 1976 and completed postgraduate work at both the Rutgers Center of Innovative Print in 1997 and at William Patterson University. Cecchetti's career consisted of working as the visual merchandising director at both The Pottery Barn in New York City (1977-1983) and Macy's in New Jersey (1985-1987). She also completed work as an independent curator throughout this time and when between jobs.
Cecchetti was a member of the Paterson (New Jersey) Historic Preservation Commission (1996-), the Silk City AmeriCorps (1995-1996), City Without Walls, and the Aljira Center of Contemporary Art. She was listed as a notable artist by Marquis Who's Who and was the recipient of several awards.
Provenance:
Papers were donated in 1996 and 1999 by Giovanna (Joanne) Cecchetti.
Restrictions:
Authorization to quote or reproduce for the purposes of publication requires written permission from Giovanna Cecchetti. 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.
Giovanna (Joanne) Cecchetti papers, circa 1940-1999, 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.
The papers of southern California Pop artist Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.
Scope and Content Note:
The papers of Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the southern California artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.
Found within the biographical materials series are three feet of calendars which extensively document Bengston's personal and professional activities for fourteen years, and include ephemera related to these activities. This series also includes health records, wills, and passports.
Correspondence is with galleries, museums, universities, businesses, friends, and colleagues, and primarily concerns exhibitions, sales, consignments, commissions, and Bengston's personal finances. Bengston's relationship with the James Corcoran Gallery, Janie C. Lee Gallery, John Berggruen Gallery, Martha Jackson Gallery, and Texas Gallery are well-documented here, as well as in the Museum and Gallery Files series. Also found is a limited amount of personal correspondence with collectors, researchers, and friends. A few letters from other artists, including Peter Plagens and a letter from Richard Diebenkorn are interfiled here.
Bengston's professional relationships with galleries, museums, and universities are well-documented in the gallery and museum files, including the galleries mentioned above, Ferus Gallery, and others. Lists of consignments and prices, invoices, records of sales, loan agreement forms, shipping receipts, exhibition checklists, and exhibition floor plans provide information about sales, exhibitions, and loans. A few files provide further information about Bengston teaching activities. His personal business records include art sales records, price lists, lists of purchases, records of investment, and personal finance records. Project files include correspondence, notes, and printed materials related to Bengston's commissions for artwork and personal projects, including a book he worked on with Ed Ruscha, Business Cards.
Writings by Bengston include responses to exhibitions of West Coast art and his thoughts on his career, art, the artistic community, motorcycles, as well as a recollection of John Altoon. Also found are questionnaires sent out by Bengston for an art survey, with responses from Peter Alexander, Carl Andre, John Chamberlain, Dan Flavin, Joe Goode, Robert Graham, Roy Lichtenstein, Robert Motherwell, Ed Ruscha, and others. Writings by others consist primarily of exhibition catalog essays, manuscripts of interviews with Bengston, and other writings about Bengston. Also found is an essay by Walter Hopps. Photographs of Bengston include a family picture from the 1940s, Bengston at work on projects in Los Angeles and Syracuse, New York, and Bengston at social events. Other photographs consist of pictures of friends and artists, Bengston's artwork, documentary evidence of damaged artwork, and of commission sites.
Printed materials from the 1960s - 1980s include clippings, full articles, exhibition announcements and catalogs, and posters. They document exhibitions, art in southern California, and society and art events. The collection houses limited amounts of artwork including sketches, cut-outs, doodles and drawings.
Arrangement:
The collection is arranged into 10 series:
Missing Title
Series 1: Biographical Materials, 1958-1987 (Boxes 1-4, 11; 3.7 linear feet)
Series 2: Correspondence, 1966-1989 (Boxes 4-6; 1.75 linear feet)
Series 3: Gallery and Museum Files, 1961-1989 (Boxes 6-7; 1.5 linear feet)
Series 4: Teaching Records, 1968-1982 (Box 7; 7 folders)
Series 5: Personal Business Records, circa 1960-1987 (Boxes 7-8; 1.0 linear foot)
Series 6: Project Files, 1968-1987 (Boxes 8-9; 0.25 linear feet)
Series 7: Writings, 1967-circa 1988 (Box 9, OV 12; 0.25 linear feet)
Series 8: Artwork, 1960s-1987 (Box 9; 7 folders)
Series 9: Printed Materials, 1958-1988 (Boxes 9-10, OV 12-13; 1.25 linear feet)
Series 10: Photographs, circa 1940s-1987 (Box 10; 0.5 linear feet)
Biographical Note:
Billy Al Bengston was born in Dodge City, Kansas on June 7, 1934. After moving back and forth from Kansas to California multiple times, he and his family settled in Los Angeles in 1948. While attending the Manual Arts High School, Bengston became interested in art, especially ceramics. After a brief stint at Los Angeles Junior College, Bengston worked as a beach attendant at Doheny State Beach. While working there he met fellow surfer and future ceramicist Kenneth Price, who became one of Bengston's closest friends. In 1953, he reenrolled in Los Angeles Junior College to study ceramics. For the next four years he attended both the California College of Arts and Crafts and the Los Angeles County Art Institute (now the Otis Art Institute of Parsons School of Design). At these institutions he studied with Richard Diebenkorn, Sabro Hasegawa, Nathan Oliveira, and Peter Voulkos.
Around 1957, Bengston shifted his emphasis from ceramics to painting, and became affiliated with the Ferus Gallery in Los Angeles, founded that same year by Edward Kienholz and Walter Hopps. Bengston's first solo exhibition was held at the Ferus Gallery in 1958, and a second followed in 1960. At this time Bengston began to work with Pop icons combined with Color Field abstractions. His early bold paintings often featured symmetrical strong color compositions with a central image of a valentine, star, cross, chevron, or iris. The irises he called "draculas," after Kenneth Price remarked that they resembled Dracula flying through a window. He first showed his chevron paintings in 1962 at the Martha Jackson Gallery in New York. In the early 1960s, Bengston extended his imagery to the California subculture and created paintings of leisure time activities, focusing on motorcycles, racing, and scuba diving - his own interests as well.
Throughout his career, Bengston experimented with technique and materials. He experimented with automobile lacquer and spray painting techniques associated with car customization. He also used non-traditional surfaces, such as masonite and aluminum. In 1965, Bengston began creating paintings on sheets of aluminum into which he hammered dents and sometimes bent and buckled; these subsequently came to be known as "dentos." Along with painting, Bengston has also created watercolors, ceramics, and furniture. He was also one of the artists selected by Carol and Roy Doumani to design their home.
Bengston first visited Hawaii in 1974, and after several subsequent trips, established a second studio there in 1979. The work Bengston created in the following years was characterized by the use of tropical colors and representational images of running figures, airplanes, and the moon. In 1988, the Contemporary Arts Museum in Houston organized a retrospective entitled "Billy Al Bengston: Paintings of Three Decades," which traveled to the Oakland Museum, the Los Angeles County Museum of Art, and the Contemporary Museum of Art, Honolulu. Bengston also completed several years as an art instructor and lecturer at the Chouinard Art Institute in Los Angeles and The University of California at Los Angeles. Bengston continues to create and exhibit new work.
Related Material:
Found in the Archives of American Art are oral history interviews with Bengston conducted by Susan Larsen, September 9, 1980, and Susan Ford Morgan, August 2-October 7, 2002. Also found are portraits of Bengston in the Photographs of artists taken by Mimi Jacobs collection, and a rare copy of the book Business Cards by Bengston and Ed Ruscha in the Wallace Berman papers.
Provenance:
The collection was donated to the Archives of American Art by Billy Al Bengston in 1990.
Restrictions:
The collection is open for research. Use 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.
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.
The papers of painters Don Raymond David and Andrée Golbin measure 3.6 linear feet, date from circa 1920-1980, and illustrate their lives and careers through biographical material, correspondence, writings, personal business records, printed and photographic material, and artwork.
Scope and Contents:
The papers of Don Raymond David and Andrée Golbin measure 3.6 linear feet and date from circa 1920-1980. Biographical materials include membership cards to various organizations for both David and Golbin, a graduation certificate for Golbin from the Parsons School of Design, and Andrée Golbin's Who's Who in American Art biographical information. Correspondence is to and from various artists, family members, and organizations and between Golbin and David. Writings consist of various travel diaries, as well as notebooks and lectures for classes taught by David. Personal business records include materials regarding the Creative Artists Public Service Program, dealer contracts, various weekly planners, and price lists for artwork. Printed material consists of exhibition catalogs and announcements, illustrations by Golbin for published works, and prints of sketches. Photographic material includes photographs, slides, and transparencies of Golbin, David, and both artists' artwork. Artwork consists of drawings, sketches, and sketchbooks by both David and Golbin.
Arrangement:
This collection consists of seven series.
Series 1: Biographical Material, circa 1940-1975 (.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1946-1980 (.3 Linear feet: Box 1)
Series 3: Writings, circa 1920-1978 (.7 Linear feet: Boxes 1-2)
Series 4: Personal Business Records, circa 1951-1977 (.7 Linear feet: Box 2)
Series 5: Printed Material, circa 1938-1979 (.2 Linear feet: Box 2)
Series 6: Photographic Material, circa 1920-1980 (.3 Linear feet: Box 3)
Series 7: Artwork, circa 1920-1980 (1.3 Linear feet: Boxes 3-4, OV 5, and OV 6)
Biographical / Historical:
Don Raymond David (1906-2006) and Andrée Golbin (1923-2006) were husband and wife artists based in New York, NY.
Andrée Golbin was a painter, graphic artist, and illustrator and was born in Germany to her parents Owsey Golbin and Elsa Rimathe, before immigrating to the United States when she was sixteen. She graduated from the Parsons School of Design in 1943 and served as director for Mademoiselle magazine in the early 1950s. Golbin created artwork for many different clients, including several dance companies, Henri Bendel, and American Cyanamid. Golbin was based in New York City and was a member of the Artists Equity Association of New York, the American Newspaper Guild, which she withdrew from in 1948, and the Museum of Modern Art in New York. In her later years, Golbin taught at the Parsons School of Design.
Don Raymond David was a painter and instructor and was born in Springbrook, Yamhill County, Oregon. In 1927, David began studying at Fresno State College with Alexandra Bradshaw and by the late 1930s was in Los Angeles where he studied with Barse Miller and attended the Chouinard Art Institute and the Art Center School. In the late 1950s, he relocated to New York where he attended the Hans Hofmann School and had frequent solo shows at the Camino Gallery through the 1960s to early 1970s. David was an instructor at the Newark School of Fine and Industrial Arts in New Jersey and continued as a teacher beside his wife at the New York Parsons School of Design. He was a member of the California Watercolor Society and the National Society of Art Directors.
Golbin and David died in 2006 in Newburg, Yamhill County, Oregon at the ages of eighty-three and ninety-nine.
Provenance:
Papers were donated in 1977 by Don Raymond David and in 1981 by Don Raymond David and Andrée Golbin.
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:
Illustrators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Don Raymond David and Andrée Golbin papers, circa 1920-1980, 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.
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:
Don Raymond David and Andrée Golbin papers, circa 1920-1980, 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.
Biographical material includes membership cards to various organizations for both David and Golbin, a graduation certificate for Golbin from the Parsons School of Design, and Andrée Golbin's Who's Who in American Art biographical information.
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:
Don Raymond David and Andrée Golbin papers, circa 1920-1980, 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.
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:
Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program. Funding for the digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Scope and Contents:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.
Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.
Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.
White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.
White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.
Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.
Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.
Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.
Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)
Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)
Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)
Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)
Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)
Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)
Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)
Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)
Biographical / Historical:
Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.
White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.
White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.
Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.
Related Materials:
The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Separated Materials:
The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.
Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.
Provenance:
Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
Teaching files relate primarily to White's teaching career at Otis Art Institute from 1965-1979, including administrative records such as board and committee memoranda, reports, meeting minutes, and fundraising material; printed material related to exhibitions and other events at the institute; and material related specifically to White such as performance evaluations, course assignments, and appraisals of his teaching by students. There is also material documenting the transfer of the Otis Charter to Parsons School of Design in 1979, with a note from Frances White stating that White was asked to be the official spokesperson for the faculty and students as they developed a strategy for the school's future.
In addition to the Otis Art Institute records there is a file on a 1977 workshop White taught at the Arkansas Art Center; a file on White's appointment to Howard University from 1978-1979 including a copy of a June 1979 letter in which White states his intent to resign due to ill health; and a file containing certificates from the University of the State of New York Private Trade School Teacher's Course qualifying Charles White to teach at the Workshop School.
Arrangement:
Series is arranged by institution. Otis Art Institute files, which form the bulk of the series, are arranged alphabetically by folder title and chronologically thereafter.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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 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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
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.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
Relate to transfer of charter for Otis Art Institute to Parsons School of Design.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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 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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
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.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
An interview of Joan Snyder conducted 2010 February 25-26, by Judith Olch Richards, for the Archives of American Art, at Snyder's home and studio in Brooklyn, New York.
Snyder speaks of her childhood and education, growing up in a Jewish household in Brooklyn; education at Douglass College at Rutgers University, New Jersey; work with anti-poverty programs; her involvement in the wave of feminism, WAC (Women Art Collective), and Women Against War; Snyder's work on the magazine "Heresies: A Feminist Publication on Art and Politics"; relationship with ex-husband, photographer Larry Fink; Snyder's important early showing at Bykert Gallery and Hirschl & Adler; the works Small Symphony for Women (1974), Resurrection (1977), Love's Pale Grapes (1982), Apple Tree Mass (1983), Beanfield with Music for Molly (1984), Savage Dreams, (1981-82), Women in Camps (1988), Morning Requiem for the Children (1987-88), Faces, Journey of the Souls (1993), Cherry Tree (1993), and her work into the 21st century; themes in her work that refer to the AIDS crisis, the treatment of women and female sensibility, lives of children, and religion; recipient of the MacArthur Fellowship in 2007; her teaching experience at Parsons and School of Visual Art (SVA). Snyder also recalls Ulfred Wilke, Lucy Lippard, and various individuals associated with the Feminist/women's movement, daughter Molly Snyder-Fink, and partner Maggie Cammer.
Biographical / Historical:
Joan Snyder (1940- ) is an abstract artist in Brooklyn, New York. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.
General:
Originally recorded on 6 memory cards. Reformatted in 2010 as 6 digital wav files. Duration is 5 hr., 18 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Painters -- New York (State) -- New York Search this
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or 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:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Scope and Contents:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.
Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.
Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.
Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.
Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.
Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.
Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.
Arrangement:
The collection is arranged into 6 series:
Missing Title
Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)
Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)
Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)
Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)
Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)
Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)
Biographical / Historical:
Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.
Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.
In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.
To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.
Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.
Related Materials:
The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.
Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T
he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.
Provenance:
The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.
Restrictions:
Use of original papers requires an appointment. 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:
Educators -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required 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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
