Philadelphia College of Art -- Faculty Search this
United States. Works Progress Administration Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1930-1983
Scope and Contents:
Material primarily relating to Hood's work on the Federal Art Project, the Philadelphia College of Art, and the American Color Print Society. Hood's earlier work as a printmaker is not well represented. Included are correspondence, notes, writings, sketches, scrapbooks, printed material and photographs.
Materials on the WPA, 1936-1942, include correspondence regarding exhibitions, appointments of district directors and artists to the project rolls, and the project's day to day operations; minutes of meetings; material on Art Week including correspondence, minutes, reports, and printed matter; artist supply requisitions; field reports on the Pennsylvania Game Commission, the L.A. Visual Aids to Education project, and the Terrace Village Art Center, as well as official reports from various departments, illustrated with photographs of the museum extension project; WPA publicity transcripts of radio interviews; photographs of sculpture, murals, painting, and museum extension exhibitions, views of the Graphic Workshop, and 2 scrapbooks of clippings.
Materials on the Philadelphia College of Art, 1951-1982, include teaching files with course outlines for advertising design, color and design, experimental design, and lettering; handouts; teaching notes; student assignments; slide lists; and faculty and student lists. Project files include memorandums, receipts, certificates, and material relating to the alumni association. Printed matter include school calendars, brochures and catalogues; and materials relating to exhibitions organized at the college.
The American Color Print Society materials, 1954-1983, include correspondence regarding exhibitions, membership, and board meetings; membership files and lists; newspaper clippings, exhibition announcements and catalogs, press releases, and a scrapbook of clippings.
The collection also contains biographical material; correspondence, 1930-1989, regarding exhibitions, awards and commissions; writings by Hood, including the essay "The Constant and the Variable"; sketches by Hood; printed material; miscellaneous project and subject files on the Army Navy Library, Rittenhouse Square Clothesline Exhibitions, and camouflage; photographs of Hood, artwork, and the Army Navy Medical Library displays; and miscellany.
Arrangement:
I. Biographical materials, 1942-1975. II. Correspondence, 1930-1989. III. Writings and notes, undated. IV. Works of Art, undated. V. WPA files, 1940-1943. VI. American Color Print Society files, 1952-1983. VII. Philadelphia College of Art, 1951-1982. VIII. Misc. Project and subject files, 1941-1974. IX. Artists' biographies, undated. X. Print labels, 1969-1976. XI. Exhibition papers, undated. XII. Printed material, 1930-1982. XIII. Photographs, ca. 1936-1942 and 1958. XIV. Scrapbooks.
Material concerning the WPA, the Philadelphia College of Art, and the American Color Print Society may also be found in the chronological correspondence, printed material, and photographs.
Biographical / Historical:
Arts administrator, art instructor, printmaker; Philadelphia, Pa. Full name Thomas Richard Hood. District Supervisor, 1936-1938, Federal Field Supervisor, 1938-1939, and State Director, 1939-1942, for the Pennsylvania Works Project Administration; instructor and gallery director, Philadelphia College of Art, 1951-1982; and President of the American Color Print Society, 1956-1983.
Provenance:
Donated 1990 by Marianne Vadorsky for the Hood estate. Hood's estate and gave papers on Hood's behalf.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Printmakers -- Pennsylvania -- Philadelphia Search this
Topic:
Prints -- 20th century -- United States -- societies, etc Search this
The papers of ceramist William P. Daley measure 26.3 linear feet and date from 1905-2016 (bulk 1951-2001). The collection documents Daley's career as both artist and teacher through biographical information, correspondence, exhibition files, project files, material on workshops, seminars, and lectures, teaching files, artist files, reference files, printed material, photographs, financial files, and artwork.
There is an 11.1 linear foot unprocessed addition to this collection donated in 2022 that includes project, exhibition and book files; photographs and slides of works of art, Daley and events; printed material; writings; awards and honors; lectures; drawings; kiln logs; notebooks; audio cassettes, CDs and DVDs; files on artists and miscellany regarding William P. Daley. Materials date from circa 1959-2016.
Scope and Content Note:
The papers of ceramist William Daley measure 26.3 linear feet and date from 1905-2016 (bulk 1951-2001). The collection documents Daley's career as both artist and teacher through biographical information, correspondence, exhibition files, project files, material on workshops, seminars, and lectures, teaching files, artist files, reference files, printed material, photographs, financial files, and artwork.
Biographical files encompass items from Daley's early life including family, education, and military materials, as well as files on awards he has earned, and interviews he has given during his career. Correspondence includes general correspondence with family, friends, artists, colleagues, and schools, as well as named files on correspondence with galleries, organizations, and individuals. The largest series in the collection, Exhibition Files, spanning a fifty year period, contain materials on group and solo exhibitions in which Daley participated, and also includes Auction Files and Exhibition Juror Files. Project Files contain materials related to public and private commissions.
Workshops, Seminars, and Lectures, documents the numerous events at which Daley taught or spoke on topics of art, ceramics, and/or education. Many of these topics are also found in Writings, which include drafts of writings by Daley and others. Within this series Daley's personal address lists and calendars are also found. The Teaching Files provide insight into Daley's teaching methods, primarily at the Philadelphia College of Art, from materials such as curriculum plans, lesson notes, and assignments. Also within this series are general teaching notes which contain many hand drawn diagrams. The Artist Files that Daley created house materials concerning artists who were friends, former students, co-workers, and colleagues. Daley also compiled Reference Files containing materials on various topics for use in teaching and projects. Topics include the art of various countries, formulas and tables for ceramics, essays on art and education, and other general subjects. Printed Material provides information, primarily on ceramics, through press clippings, exhibit announcements, catalogs and journals, as well as other miscellaneous materials. Also found are reviews of Daley's work. While photographs are included throughout the collection, the Photographs series contains additional photographs of Daley in the studio or in the classroom, as well as photographs of artwork by others. Also found in the collection are copies of drawings Daley completed throughout his career.
There is an 11.1 linear foot unprocessed addition to this collection donated in 2022 that includes project, exhibition and book files; photographs and slides of works of art, Daley and events; printed material; writings; awards and honors; lectures; drawings; kiln logs; notebooks; audio cassettes, CDs and DVDs; files on artists and miscellany regarding William P. Daley. Materials date from circa 1959-2016.
Arrangement:
The collection is arranged into fourteen series. Each series is arranged either in rough chronological or alphabetical order.
Missing Title
Series 1: Biographical Files, 1905-2003 (Box 1; 0.5 linear feet)
Series 2: Correspondence, 1957-2001, undated (Boxes 1-2; 1.5 linear feet)
Series 3: Exhibition Files, 1949-1999, undated (Boxes 3-5; 2.7 linear feet)
Series 4: Project Files, 1956-2000 (Boxes 5-6; 1.0 linear foot)
Series 5: Workshops, Seminars, and Lectures, 1958-1998, undated, (Boxes 6-8; 2.3 linear feet)
Series 6: Writings, 1951-2003, undated (Box 9; 0.6 linear feet)
Series 7: Teaching Files, 1951-1998, undated (Boxes 9-10; 1.3 linear feet)
Series 8: Artist Files, 1938-2001, undated (Boxes 10-12; 2.1 linear feet)
Series 9: Reference Files, 1951-2001, undated (Box 13; 1.0 linear foot)
Series 10: Printed Material, 1936-2004 (Boxes 14-15; 1.9 linear feet)
Series 11: Photographs, 1953-2001, undated (Box 15; 5 folders)
Series 12: Financial Files, 1962-1997, undated (Box 16; 4 folders)
Series 13: Artwork, 1954-2003, undated (Boxes 15-16; 3 folders)
Series 14: Unprocessed Addition, circa 1959-2016 (Boxes 17-27; OV 28)
Biographical Note:
Born in Hastings-on-Hudson, New York, in 1925, William P. Daley developed an interest in art at an early age, and was encouraged by his parents William and Alice. In 1943 Daley finished high school and enlisted in the Army Air Corps. When the war ended, he returned home, and with the help of the G.I. Bill, completed a B.S. in Art Education from Massachusetts College of Art, and a M.A. from the Teachers College at Columbia University. While at the Massachusetts College of Art he met and married fellow student Catherine Stennes. They had three children together, Barbara, Charlotte, and Thomas.
Originally intending to focus on painting, Daley discovered his love for ceramics while in art school. Much of his early work after graduation consisted of architectural and sculptural commissions. From 1961 to 1965 he held teaching positions as a ceramics instructor at the University of Northern Iowa, State University of New York at New Paltz, Philadelphia College of Art and Design, and the State University of New York at Fredonia. In 1965 he settled in Elkins Park, Pennsylvania and returned to the Philadelphia College of Art and Design, University of the Arts. There he taught in both the Industrial Design and Craft Department until his retirement from the college in 1990. When not teaching in the classroom, and even after retirement, Daley traveled extensively giving workshops and lectures at art centers, high schools, colleges, and universities. He has won several awards for teaching in the arts, including the College Art Association of America Distinguished Teaching of Art Award in 1991.
Daley became an active member of the crafts movement in Philadelphia, co-founding the Philadelphia Council of Professional Craftsmen. The Helen Drutt Gallery opened in Philadelphia in 1974 and gave Daley his first one man show there. Later, the gallery would become Daley's primary dealer. A self-proclaimed "mud man" and maker of "cosmic pots," Daley has focused throughout his career on the issues of the ceramic vessel, using drawings to explore his ideas. In 1994 the Renwick Gallery held a retrospective entitled, "William Daley: Ceramic Works and Drawings" which featured thirty years of his work. William Daley continued producing new work until his death in 2022.
Provenance:
The William P. Daley papers were donated by William Daley in 2003 and by Thomas Daley in 2022.
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 donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
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.
The collection has been digitized and is available online via AAA's website.
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:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. 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.
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Scope and Contents:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Correspondence provides a wide range of documentation on all aspects of Kepes's career including his collaborations and friendships with artists, architects, writers, scientists, and fellow educators including Rudolf Arnheim, Alexander Calder, Henry Dreyfuss, Charles and Ray Eames, Clive Entwhistle, R. Buckminster Fuller, Walter Gropius, S. W. Hayter, Jean Hélion, Laszlo and Sibyl Moholy-Nagy, Lev Nussberg, Robert Osborn, George Rickey, Saul Steinberg, Kenzo Tange, Robert Jay Wolff, and Jekabs Zvilna. Correspondence also documents the evolution of Kepes's vision for the Center for Advanced Visual Studies, which he established in 1967, and his subsequent leadership of CAVS at M.I.T. Records document his collaborations with students and fellows including Lowry Burgess, Jack Burnham, Piotry Kowalski, Margaret Mead, Otto Piene, Alan Sonfist, Athena Tacha, Vassilakis Takis, Philip Thiel, Harold Tovish, and Wen-Ying Tsai. Correspondents also include people who contributed to Kepes's Vision + Value series, including Michael Blee, Kazuhiko Egawa, Jean Hélion, and others. Correspondence includes three motion picture films, including what appears to be an early version of Powers of Ten by Charles and Ray Eames.
Writings include notes and manuscripts for articles and essays in which Kepes explored ideas evident in his books The New Landscape and Language of Vision, and submitted to publications such as Daedalus, Design, Domus, and Leonardo. Writings also include manuscripts for lectures, and draft manuscripts documenting Kepes's collaborative work with fellow M.I.T. professor Kevin Lynch on city planning, which culminated in Lynch's research project "The Perceptual Form of the City."
A small group of "Times Square Project" files documents Kepes's proposal for a lightscape in Times Square that was ultimately not realized.
Teaching files include sound recordings of circa five symposia and discussions held at M.I.T., the Illinois Institute of Technology, and elsewhere, some featuring Kepes and including Philip Johnson, Eero Saarinen and others.
Exhibition files include documentation of three exhibitions, including Light as a Creative Medium (1968) and a Kepes exhibition at Saidenberg Gallery (1968). They also record Kepes's involvement in designing the 1968 Triennale di Milano.
Printed material includes a substantial collection of announcements and catalogs for Kepes exhibitions, lectures, and other events, and includes catalogs and announcements for scattered exhibitions of his wife, artist and illustrator, Juliet Kepes. Clippings from newspapers and magazines include articles about Kepes, and contain some copies of published writings and designs by him. The series also includes sound recordings and motion picture films containing original material for a CBS television series "The 21st Century," probably as part of the episode "Art for Tomorrow," which appear to feature M.I.T. fellows Jack Burnham and Vassilakis Takis. Another motion picture film of an Italian documentary "Operazione Cometa" can also be found here.
Two sketchbooks contain pen and ink and painted sketches by Kepes. Artwork by Kepes includes original poster designs, caricatures, and many pencil, and pen and ink sketches and paintings on paper and board, including designs for stained glass. Artwork by others includes ink on mylar sketches by D. Judelson and Konstancija Brazdys, and a sketch by Harold Tovish. Also found are circa seventeen motion picture films and four sound recordings, the majority of which are untitled and by unidentified artists, but include films by M.I.T. fellows Otto Piene, Vassilakis Takis, Philip Thiel, Harold Tovish, Wen-Ying Tsai, and others.
Photographs are of Kepes, Juliet Kepes, and other family members; students, colleagues, and friends, including R. Buckminster Fuller, Serge Chermayeff, Harry Bertoia, Varujan Boghosian, Alexander Calder, Marchall McLuhan, Margaret Mead, Herbert Read, I. A. Richards, Saul Steinberg, and William Wurster; and of Kepes in his studio. There are also photos of exhibition installations in which Kepes's work appeared or which he designed, and photos of his artwork and of images for publications which he wrote or edited. Photos by others include artwork by established artists and work by students, as well as photographs arranged by subjects such as cityscapes, forms found in nature, light patterns, mechanical devices, and photomicrographs. A collection of lantern slides with similar content to the photos of artwork and photos by subject is also found in this series and includes a lantern slide of Picasso creating a design with light.
Arrangement:
The collection is arranged as eleven series.
Series 1: Biographical Material, circa 1940-circa 1980 (0.25 linear feet; Boxes 1, 28)
Series 2: Correspondence, 1936-1984 (5.7 linear feet; Boxes 1-7, 28 OV 33, FCs 39-41)
Series 3: Interviews and Transcripts, 1954-1970 (4 folders; Box 7)
Series 4: Writings and Notes, 1948-circa 1980s (1.4 linear feet; Boxes 7-8, 28)
Series 5: Times Square Project Files, 1972-1974 (6 folders; Box 9)
Series 6: Teaching Files Sound Recordings, circa 1953-1972 (0.7 linear feet; Box 9)
Series 7: Exhibition Files, 1958-1973 (0.4 linear feet; Boxes 9-10)
Series 8: Printed Material, circa 1922-1989 (3.6 linear feet; Boxes 10-12, 28-29, OVs 35, 37, FCs 42-49)
Series 9: Sketchbooks, circa 1940s-circa 1970s (2 folders; Box 12)
Series 10: Artwork and Moving Images, circa 1924-2003 (2.5 linear feet; Boxes 12, 13, OVs 33-36, 38, FCs 50-62)
Series 11: Photographs, 1909-1988 (10.4 linear feet; Boxes 13-32)
Biographical / Historical:
Painter, designer, art theorist, and educator, Gyorgy Kepes (1906-2001), was born in Selyp, Hungary, and studied at the Royal Academy of Fine Arts, Budapest. He worked with Moholy-Nagy in Berlin and London before joining him at the New Bauhaus (later the Chicago Institute of Design) in 1937.
Kepes taught courses at the New Bauhaus from 1937 to 1945, and published Language of Vision in 1944, summarizing the educational ideas and methods he had developed during his time at the institute. In 1946 he accepted a teaching position at the Massachusetts Institute of Technology (M.I.T.) where he initiated a program in visual design.
In 1956 Kepes published The New Landscape in Art and Science, in which he presented images from nature that were newly accessible due to developments in science and technology, and explored his ideas for a common language between science and the visual arts.
In 1965, these ideas were apparent in Kepes's proposal of an expanded visual arts program at M.I.T., which would "build new as yet undetermined bridges between art and engineering and science," according to the minutes of an M.I.T. Art Committee meeting in March of that year. Kepes's vision dovetailed with M.I.T.'s vested interest in promoting the arts, and faculty and administrators were open to the argument that "The scientific-technical enterprise needs schooling by the artistic sensibilities." In 1967, they appointed Kepes Director of M.I.T.'s Center for Advanced Visual Studies (CAVS).
Kepes retired from the regular faculty at M.I.T. in 1967, to focus on his role as director of CAVS, where he worked to provide artists with opportunities for exploring new artistic forms on a civic scale through a working dialogue with scientists and engineers. Early fellows of the center included Maryanne Amacher, Joan Brigham, Lowry Burgess, Jack Burnham, Piotry Kowalski, Otto Piene, Vassilakis Takis, and Wen-Ying Tsai.
In 1965-1966 Kepes edited a six-volume series entitled Vision + Value, published by George Braziller, Inc. Each volume featured essays that centered around a core theme: The Education of Vision; Structure in Art and Science; The Nature and Art of Motion; Module, Symmetry, Proportion, Rhythm; Sign, Image, Symbol; and Man-Made Object. Contributions came from prominent artists, designers, architects, and scientists of the time including Rudolf Arnheim, Saul Bass, Marcel Breuer, John Cage, R. Buckminster Fuller, Johannes Itten, Marshall McLuhan, and Paul Rand.
Kepes experimented widely with photography, producing abstract images through the application of fluids and objects to photographic paper. He also took commercial work throughout his career, producing designs for all kinds of objects, including books and stained glass windows for churches. He returned to painting in the 1950s, and his development as a painter continued throughout his career at M.I.T., where he remained until his retirement in 1974, and beyond. His paintings, which were abstract and often incorporated organic shapes and hints of landscapes, can be found in museums such as the Brooklyn Museum of Art, the Corcoran Gallery of Art, and the Whitney Museum of American Art.
Kepes received many awards during his lifetime, including a Guggenheim Fellowship (1958); the Gold Star Award of the Philadelphia College of Art (1958); the National Association of Art Colleges Annual Award (1968); the California College of Art Award (1968); and the Fine Arts Medal from the American Institute of Architects (1968). In 1973 he was elected into the National Academy of Design as an associate member, and became a full academician in 1978. He was a member of the National Institute of Arts and Letters and Fellow of the American Academy of Arts and Sciences.
Related Materials:
Additional papers of Gyorgy Kepes can be found at Stanford University and the Massachusetts Institute of Technology Center for Advanced Visual Studies Special Collection.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 1211) including ninety-eight letters to Kepes from colleagues, 1946-1974. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Gyorgy Kepes lent papers for microfilming in 1974 and donated material to the Archives of American Art in a series of gifts between 1974 and 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
This series contains materials relating to Daley's career as an art professor, primarily at the Philadelphia College of Art from 1965 to 1990. Files on his early career contain correspondence, records, and evaluations. Files pertaining to the Philadelphia College of Art include curriculums, lesson notes, and assignments for several courses. Also found are department mission statements and semester grades. Much of the material was either written by Daley himself or with his colleagues. At the end of the series are several files of general teaching materials, including more notes on ceramics, kiln instructions, and teaching contracts. Items of note in this series are Daley's dismantled ceramics notebook and "Ceramic Shop Notes," as well as materials on a course entitled Concept Development which include many original hand drawn diagrams and illustrations. Files are arranged chronologically by academic institution with general materials arranged chronologically at the end of the series.
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 and born-digital records 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all drawings and photocopies of drawings.
Collection Citation:
William P. Daley papers, 1905-2016 (bulk 1951-2001). Archives of American Art, Smithsonian Institution.
