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Horace Pippin memoir of his experiences in France during World War I

Creator:
Pippin, Horace, 1888-1946  Search this
Subject:
World War, 1914-1918  Search this
Type:
Writings
Date:
between 1920 and 1943?
Topic:
African American artists  Search this
Memoirs  Search this
Record number:
(DSI-AAA)7432
See more items in:
Horace Pippin notebooks and letters, circa 1920
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7432

Horace Pippin memoir of his experiences in World War I

Creator:
Pippin, Horace, 1888-1946  Search this
Subject:
World War, 1914-1918  Search this
Type:
Writings
Place:
Europe
Date:
ca. 1921
Topic:
African American artists  Search this
Memoirs  Search this
Soldiers  Search this
Record number:
(DSI-AAA)7434
See more items in:
Horace Pippin notebooks and letters, circa 1920
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7434

Horace Pippin memoir fragments

Creator:
Pippin, Horace, 1888-1946  Search this
Subject:
World War, 1914-1918  Search this
Type:
Writings
Date:
ca. 1920
Topic:
African American artists  Search this
Inspiration  Search this
Memoirs  Search this
Record number:
(DSI-AAA)7435
See more items in:
Horace Pippin notebooks and letters, circa 1920
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7435
Online Media:

Horace Pippin, West Chester, Pa. letter to unidentified recipient

Creator:
Pippin, Horace, 1888-1946  Search this
Subject:
Pippin, Horace  Search this
Type:
Correspondence
Date:
ca. 1943
Topic:
African American artists  Search this
Inspiration  Search this
Record number:
(DSI-AAA)7468
See more items in:
Horace Pippin notebooks and letters, circa 1920
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7468
Online Media:

Horace Pippin, West Chester, Pa. letter to Robert Carlen, Philadelphia, Pa.

Creator:
Pippin, Horace, 1888-1946  Search this
Carlen, Robert, 1906-1990  Search this
Subject:
Barnes, Albert C. (Albert Coombs)  Search this
Type:
Correspondence
Date:
1943 Feb. 1
Topic:
Art dealers  Search this
Art market  Search this
Record number:
(DSI-AAA)7469
See more items in:
Horace Pippin notebooks and letters, circa 1920
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7469

Carlen Galleries, Inc., records

Creator:
Carlen Galleries  Search this
Names:
Peale family  Search this
Davies, Albert Webster, 1889-1967  Search this
Feuillate, Raymond, 1901-1971  Search this
Gainsborough, Lee  Search this
Hicks, Edward, 1780-1849  Search this
Kollwitz, Käthe, 1867-1945  Search this
Pippin, Horace, 1888-1946  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Extent:
10.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1775-1997
bulk 1940-1986
Summary:
The Carlen Galleries, Inc., records measure 10.4 linear feet (gift portions) and date from 1775 to 1997 (bulk 1940-1986). Correspondence, business records, subject files, a scrapbook, printed matter, and photographs document the operation and activities of Carlen Galleries, Inc., and its founder Robert Carlen.
Scope and Content Note:
The Carlen Galleries, Inc., records measure 10.4 linear feet (gift portions, Parts 1 and 3) and date from 1775-1998 (bulk 1940-1986). Correspondence, business records, subject files, a scrapbook, printed matter, and photographs document the operation and activities of Carlen Galleries, Inc., and its founder Robert Carlen.

Part 1: Received in 1986 as a gift from Robert Carlen, these records document the activities of Carlen Galleries and its founder, 1937-1986. Correspondence mainly concerns the sale and purchase of works of art. Also included are artist files containing correspondence, receipts, and printed matter regarding Albert Davies, Edward Hicks, Käthe Kollwitz, Horace Pippin, and Maurice Prendergast. Subject files concern African American artists, Raphael Peale, Raymond Feuillate, and the French Moderns. Business records consist of loan forms, documentation of exhibitions at Carlen Galleries, inventories, a scrapbook and clippings concerning the gallery, conservation reports, appraisals (not microfilmed), and financial records.

Part 2: Additional records documenting the activities of Carlen Galleries and its founder, 1937-1986, were loaned by Robert Carlen for microfilming in 1988. Included are letters about Horace Pippin and rare letters from the artist. Other correspondence concerns Carlen's search for paintings by Edward Hicks, and there is also a small selection of letters regarding more routine gallery business. Among the business records are and account book and receipts. Printed matter consists of exhibition catalogs, announcements, and clippings; a scrapbook contains printed matter about Horace Pippin. Photographs are of Allan Freelon and works of art.

Part 3: Received in 2002 as a gift from Robert Carlen's daughter Nancy Carlen, this portion of the Carlen Galleries, Inc., Records consists of two letters, business records, photographs, and selections from the galleries' library. Letters are from Joan Baez, circa 1960 and Charles M. Mount, 1968. Previously sealed letters from Charles M. Mount, undated, and 1962-1975, relating to John Singer Sargent have been integrated into this portion.

Part 4: Additional records borrowed for microfilming from Nancy Carlen in 2002 include documents dated 1775-1997 (bulk 1940s-1990). Correspondence concerns gallery business, but a small amount of personal correspondence is also included. Business records consist of appraisal reports, receipts for sales and purchases, and the contract and program for the 1964 University [of Pennsylvania] Hospital Antiques Show in which Carlen Galleries exhibited. Subject files document Edward Hicks, Anatol Jal, the Captain James Lawrence Goblet, Horace Pippin, and Antoine Roux. Five notebooks, containing material similar to that in the subject files, are about Horace Pippin (vols. 1-3), Edward Hicks (vol. 4), and chronicle the career of Robert Carlen (vol. 5).

Printed matter consists of clippings and other items concerning art and antiques, Robert Carlen and Carlen Galleries, Inc., and the Diplomatic Reception Rooms of the State Department where two Hicks paintings owned by Carlen were on extended loan. Among the miscellaneous records are biographical documents, personal financial records, business and research notes (including original documents and photocopies of archival materials), and four prints. Photographs are mostly of antiques and art work; also included are a few pictures of people, places, and miscellaneous subjects.
Arrangement:
The collection is arranged into four parts, representing gift and loan accessions received and microfilmed at various times. The two loans for microfilming (Parts 2 and 4) overlap and partially duplicate one another-particularly records relating to Horace Pippin and Edward Hicks-but are far from identical. Some of the Pippin and Hicks material was significantly rearranged in the interim between the first loan (1988) and the second (2002).

Part 1: Gift (1986), 1906-1986 (Boxes 1-7; 7.0 linear feet; Reels 4166-4175)

Part 2: Loan (1988), 1937-1986 (Reel 4175)

Part 3: Gift (2002), 1835-1992 (Boxes 8-12; 3.4 linear feet; Reel 5745)

Part 4: Loan (2002), 1775-1997 (Reels 5746-5748)
Historical Note:
Robert Carlen (1906-1990) worked as a secretary and attended evening classes at the Graphic Sketch Club in Philadelphia right after graduating from high school. He studied painting full-time at the Pennsylvania Academy of the Fine Arts during the academic year 1928/29, and from 1929-1936 he continued to study painting in the evenings while employed at a brokerage firm.

Since he wanted to be associated with the art world and needed to earn a living, Carlen decided to establish an art gallery that would show the works of young artists. In 1937, he opened in Carlen Galleries in his home at 323 South 16th Street, Philadelphia; the galleries operated in the same location for the remainder of Carlen's life. In its earliest years, Carlen Galleries housed exhibitions of the Associated American Artists' Group and featured prints by Wanda Gag, Käthe Kollwitz, Louis Lozowick, Lynd Ward, and other print makers.

In 1941, paintings by Horace Pippin were exhibited at Carlen Galleries. Carlen soon befriended the artist and began providing him with art supplies. He remained Pippin's agent for many years following the artist's death in 1946, and was a sought-after authority on the artist's work and life.

By the mid-1940s, Carlen had discovered a painting by Edward Hicks in Bucks County, Pa. He began researching the then-obscure Quaker artist. Through contacting descendants of Hicks's patrons, Carlen was able to acquire many of Hicks's paintings and Carlen Galleries became known for handling important early American folk paintings and antiques. Among his clients were Edward W. and Bernice Chrysler Garbisch, Winterthur Museum, Winterthur, Del., Abby Aldrich Rockefeller Folk Art Museum, Williamsburg, Va., and the Shelburne Museum, Shelburne, Vt.

During the course of his long career, Robert Carlen served as an advisor to many Philadelphia collectors and developed an extensive knowledge of the genealogies and heirlooms of the city's prominent families. Because of his extensive experience and expertise, Carlen's opinion was widely valued and his services as an appraiser of art and antiques were in great demand.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 4175 and 5746-5748) including material relating to Horace Pippin. Loaned material was returned to the lender and is described in the collection container inventory.
Provenance:
The collection was acquired in various accessions of gifts and loans. Part 1: gift of Robert Carlen, 1986; Part 2: loaned by Robert Carlen for microfilming, 1988; Part 3: gift of Nancy Carlen, 2002 (previously sealed letters and appraisals received with Part 1 are housed with Part 3 and integrated for microfilming); Part 4: loaned by Nancy Carlen for microfilming, 2002.
Restrictions:
Patrons must use microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art appraisers  Search this
Art dealers  Search this
Painters  Search this
Topic:
Decorative arts -- United States  Search this
African American artists  Search this
Folk art  Search this
Art -- Collectors and collecting  Search this
Art galleries, Commercial -- Pennsylvania -- Philadelphia  Search this
Art -- Exhibitions  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Carlen Galleries, Inc., records, 1775-1997, bulk 1940-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carlgall
See more items in:
Carlen Galleries, Inc., records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carlgall
Online Media:

Judith K. Zilczer research photographs, ca. 1974-2003

Creator:
Zilczer, Judith  Search this
Names:
Dove, Arthur Garfield, 1880-1946  Search this
Hartley, Marsden, 1877-1943  Search this
Lindner, Richard, 1901-  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pippin, Horace, 1888-1946  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1974-2003
Summary:
Photograph prints, negatives and color transparencies documenting early modern American artists and the contemporary artist Richard Lindner.
Scope and Contents:
This collection includes photographic images (black-and-white photographic prints, negatives and color transparencies) collected by art historian Judith Zilczer in support of her research in early modernists, collectors and patronage; early 20th century sculpture, post-Impressionists; and music and art synergies. Among the artists represented: Milton Avery, Oscar Bluemner, John Covert, Andrew Dasburg, Arthur B. Davies, Charles Demuth, Arthur Dove, Marcel Duchamp, Marsden Hartley, B.J.O. Nordfelt, Georgia O'Keeffe, Francis Picabia, Horace Pippen, Morton Schamberg, Charles Sheeler, Joseph Stella, Abraham Walkowitz and Max Weber.

A second large part of the collection consists of research images assembled during the organization of the Hirshhorn Museum's 1996 retrospective exhibition for artist Richard Lindner.

In addition, the collection also includes some typescript manuscripts and article offprints authored by Zilczer in which the images were featured, including:

"Decoding John Covert's Time, 1919," Art Bulletin, Vol. LXXV, no. 4 (Dec. 1993), pp. 713-722.

"Light Coming on the Plains: Georgia O'Keeffe's Sunrise Series," artibus et historiae, No. 40, 1999, pp. 191-208.

"Color Music": Synaesthesia and Nineteenth Century Sources for Abstract Art," artibus et historiae, No. 16, 1997, pp. 101-126.
Arrangement:
The collection has been arranged into two series:

Series I: Early Modernists

Series 2: Richard Lindner
Biographical / Historical:
Judith K. Zilczer, Curator Emerita of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, organized more than two dozen exhibitions in her twenty–nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator.

She has written and lectured widely on modern and contemporary art and is particularly known for her work on connections between music and art, and artists such as Horace Pippin, Willem de Kooning, and Richard Lindner. Born in 1948, she holds a PhD from the University of Delaware.
Provenance:
The collection was receieved as a gift from Judith K. Zilczer in 2014.
Restrictions:
The collection, which is undergoing processing and cataloging, is open for research use in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required.
Rights:
Copyright restrictions may apply.
Topic:
Art, Modern -- 20th century  Search this
Art, American -- Photographs  Search this
Citation:
Judith K. Zilczer Collection, Photograph Archives, Smithsonian American Art Museum
Identifier:
SAAM.Photo.ZIL
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
EDAN-URL:
ead_collection:sova-saam-photo-zil

Terry Dintenfass, Inc. records

Creator:
Terry Dintenfass, Inc.  Search this
Names:
Art Dealers Association of America  Search this
Grace Borgenicht Gallery  Search this
Bloom, Hyman, 1913-  Search this
Cober, Alan E.  Search this
Dintenfass, Terry, 1920-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Evergood, Philip, 1901-1973  Search this
Fleischner, Richard, 1944-  Search this
Frasconi, Antonio  Search this
Goodman, Sidney  Search this
King, William, 1925-2015  Search this
Lawrence, Jacob, 1917-2000  Search this
Merkin, Richard  Search this
Pippin, Horace, 1888-1946  Search this
Suttman, Paul, 1933-1993  Search this
Tovish, Harold, 1921-2008  Search this
Extent:
22.1 Linear feet
Type:
Collection descriptions
Archival materials
Visitors' books
Date:
1947-1987
bulk 1961-1983
Summary:
The records of New York art gallery Terry Dintenfass, Inc. date from 1947 to 1987, with the bulk of the collection dating from 1961 to 1983, and measure 22.1 linear feet. The records are comprised of administrative files, correspondence, exhibition files, artists' files, and financial records.
Scope and Contents:
The records of New York art gallery Terry Dintenfass, Inc. date from 1947 to 1987, with the bulk of the collection dating from 1961 to 1983, and measure 22.1 linear feet. The records include administrative files, correspondence, exhibition files, artists' files, and financial records.

Administrative files include advertising and membership records, insurance documents, a guest book, resumes, and agreements with other corporations. Correspondence is with artists, galleries, museums, and arts organizations. There is a significant amount of correspondence regarding the Art Dealers Association of America. Exhibition files are found for numerous exhibitions to which Dintenfass either loaned art or helped to organize. There is extensive documentation of the 20 Galleries/20 Years exhibition held at the Grace Borgenicht Gallery and the Terry Dintenfass Gallery in 1982 and the "Machine Themed Shows" in 1974-1975.

Artists' files comprise the largest group of materials within the collection. Files for Hyman Bloom, Alan Cober, Arthur Dove, Philip Evergood, Richard Fleischner, Antonio Frasconi, Sidney Goodman, William King, Jacob Lawrence, Richard Merkin, Horace Pippin, Paul Suttman, and Harold Tovish bulk the largest.

Financial records contain artist expense and sales ledgers, consignment papers, invoices and receipts, as well as records for D Contemporary Paintings.
Arrangement:
The collection is arranged as 5 series.

Series 1: Administrative Files, 1961-1983 (1.0 linear feet; Box 1)

Series 2: Correspondence, 1961-1981 (1.0 linear feet; Boxes 1-2)

Series 3: Exhibition Files, 1962-1983 (4.5 linear feet; Boxes 2-7, OV 23)

Series 4: Artists' Files, 1947-1987 (8.5 linear feet; Boxes 7-15, OV 23)

Series 5: Financial Records, 1959-1981 (7.0 linear feet; Boxes 16-22, OV 23)
Biographical / Historical:
Terry Dintenfass, Inc. is a New York City art gallery founded in 1959 by Terry Dintenfass (1920-2004).

In 1954, Theresa "Terry" Dintenfass opened D Contemporary Paintings in Atlantic City, New Jersey. With financial backing from Armand Erpf, she moved the gallery to New York City in 1959 and changed the name to Terry Dintenfass Gallery. There, she became a protégé of Downtown Gallery owner Edith Halpert. Dintenfass was one of several notable female art dealers in the city during the 1940s-1980s among Edith Halpert, Betty Parsons, Grace Borgenicht, Antoinette Kraushaar, and others. She showed work on consignment from other dealers, and when Edith Halpert retired, Terry Dintenfass, Inc. began to represent the estate of Arthur Dove. Other notable artists represented by the gallery included social realists Philip Evergood and Robert Gwathmey, and African American painters Horace Pippin and Jacob Lawrence, whom she represented for 25 years. The gallery's stable also included William King, Sidney Goodman, Hyman Bloom, Antonio Frasconi, and others.

After Dintenfass retired in 1999, her son Andrew took over the business and continues to run the gallery today. Terry Dintenfass died in 2004 in Manhattan.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Terry Dintenfass conducted by Paul Cummings on December 2, 1974-January 13, 1975 for the Archives of American Art.
Provenance:
The collection was donated in 1995 by Terry Dintenfass.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Visitors' books
Citation:
Terry Dintenfass, Inc. records, 1947-1987, bulk 1961-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.terrdint
See more items in:
Terry Dintenfass, Inc. records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-terrdint
Online Media:

Oral history interview with Edward L. Loper

Interviewee:
Loper, Edward L., 1916-2011  Search this
Interviewer:
Pacini, Marina  Search this
Names:
Barnes Foundation  Search this
Carlen Galleries  Search this
Index of American Design  Search this
United States. Work Projects Administration.Art Program  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
De Mazia, Violette, 1899-  Search this
Pippin, Horace, 1888-1946  Search this
Extent:
132 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1989 May 12
Scope and Contents:
An interview of Edward Loper conducted 1989 May 12, by Marina Pacini, for the Archives of American Art. Loper speaks of his early life and education; his work on the WPA's Federal Art Project in Delaware, on the Index of American Design and the easel project; his self-education and stylistic development; meeting Albert Barnes; studying with Violette De Mazia at the Barnes Foundation; meeting Horace Pippin; his exhibition history and his affiliation with various galleries, including the Carlen Galleries; his teaching career; his experiences as an African American artist; the art scene in Wilmington.
Biographical / Historical:
Edward L. Loper (1916-2011) was a painter and instructor of Wilmington, Del.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 3 hrs., 33 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Painters -- Delaware -- Wilmington  Search this
Educators -- Delaware -- Wilmington  Search this
Topic:
African American artists  Search this
African American painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.loper89
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loper89

Horace Pippin notebooks and letters

Creator:
Pippin, Horace, 1888-1946  Search this
Names:
Carlen, Robert, 1906-1990  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Date:
circa 1920, 1943
Summary:
The collection measures 0.2 linear feet and consists of three notebooks, notebook fragments, and two letters written by African American primitive painter Horace Pippin. The three notebooks and notebook fragments contain Pippin's World War I memoirs written in the 1920s, one of which is illustrated by Pippin with six drawings of war scenes. Two letters are dated 1943 and circa 1943. One of the letters is written to "Dear Friends" and begins with "life story of art."; the other is written to dealer Robert Carlen about showing his painting Domino [Game] Players.
Scope and Content Note:
The collection measures 0.2 linear feet and consists of three notebooks, notebook fragments, and two letters created by African American primitive painter Horace Pippin. The notebooks recount Pippin's World War I experiences, including his being wounded. One of the notebooks is illustrated.
Arrangement:
The collection is arranged into one series.

Series 1: Horace Pippin Notebooks and Letters, circa 1920s, 1943; 8 items
Biographical Note:
Horace Pippin (1888 -1946) was a self-taught painter from West Chester, Pennsylvania. Pippin was inspired to paint by his experiences in France during World War I. He lost the use of his right arm when wounded during the war and, when painting, had to use his left hand to guide his right. He gained a national reputation as "a true American primitive" in the 1940s for his paintings depicting childhood memories, war experiences, heroes, and religious subjects.
Provenance:
Horace Pippin's war memiors/notebooks and one letter were purchased from Robert Carlen, Pippin's dealer, in 1956. The 1943 letter from Pippin to Carlen was donated by Dr. and Mrs. Matthew Moore in 1983.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Pennsylvania -- Philadelphia  Search this
Topic:
Folk art  Search this
Painting -- United States  Search this
African American soldiers  Search this
World War, 1914-1918 -- Personal narratives, American  Search this
African American artists  Search this
Self-taught artists  Search this
African American painters  Search this
Genre/Form:
Diaries
Citation:
Horace Pippin notebooks and letters, circa 1920, 1943. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pipphora
See more items in:
Horace Pippin notebooks and letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pipphora
Online Media:

Horace Pippin notebooks and letters, circa 1920

Creator:
Pippin, Horace, 1888-1946  Search this
Subject:
Carlen, Robert  Search this
Type:
Diaries
Topic:
Folk art  Search this
Painting -- United States  Search this
African American soldiers  Search this
World War, 1914-1918 -- Personal narratives, American  Search this
African American artists  Search this
Self-taught artists  Search this
African American painters  Search this
Record number:
(DSI-AAA_CollID)8586
(DSI-AAA_SIRISBib)210765
AAA_collcode_pipphora
Theme:
Diaries
African American
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210765
Online Media:

Horace Pippin Notebooks and Letters

Collection Creator:
Pippin, Horace, 1888-1946  Search this
Extent:
8 Items (Box 1)
Type:
Archival materials
Date:
circa 1920s, 1943
Scope and Contents note:
This small collection consists of three notebooks and notebook fragments written by Pippin in the 1920s about his World War I experiences while serving in the 15th New York Infantry and as a corporal in the 369th Colored Infantry Regiment at Chateau-Thierry, Soissons, the Argonne, and elsewhere in France. One of the notebooks is illustrated by Pippin with six pencil and crayon drawings of war scenes. Also found are two letters written by Pippin in 1943 and circa 1943. One of the letters is written to Dear Friends and is entitled "life story of art"; the other is written to dealer Robert Carlen.
Collection Restrictions:
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:
Horace Pippin notebooks and letters, circa 1920, 1943. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pipphora, Series 1
See more items in:
Horace Pippin notebooks and letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-pipphora-ref13

Handwritten and Illustrated Notebook entitled, "Horace Pippin's Autobiography, First World War", (illustrated)

Collection Creator:
Pippin, Horace, 1888-1946  Search this
Extent:
(62 numbered pages, pages 37-40 have been cut out)
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
circa 1920s
Scope and Contents note:
Pippin recounts his World War I experiences in detail from the time he left the United States on November 17th, 1917 with the 15th N.Y. Infantry for France. Pippin writes of life in the trenches and dug-outs, night forays and traveling through enemy territory, details of days and nights of battles and getting shelled, gassed, and machine gun fire by the Germans, and his perceptions of fighting alongside French and Algerian soldiers. He also recounts the details of getting shot in the shoulder and right arm, lying in the trench too weak to get up, having a French soldier get shot and fall upon him dead and not being able to move out from under the dead man, getting some bread and water from the dead body, and finally being rescued and moved around in the field until being loaded onto an ambulance and taken to one hospital and being transferred to another one.

Illustrated with six pencil and crayon drawings of marching and battle scenes.
Collection Restrictions:
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:
Horace Pippin notebooks and letters, circa 1920, 1943. Archives of American Art, Smithsonian Institution.
See more items in:
Horace Pippin notebooks and letters
Horace Pippin notebooks and letters / Series 1: Horace Pippin Notebooks and Letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-pipphora-ref14

Handwritten Notebook

Collection Creator:
Pippin, Horace, 1888-1946  Search this
Extent:
(50 numbered pages)
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
October 4, 1920
Scope and Contents note:
A second handwritten account of Pippin's World War I experiences in France. In this notebook, Pippin recounts arriving in France, the cold and the snow, and his perception of the feelings of the French civilians. He also recounts an intense battle with the Germans, apparently the same battle as in the first notebook, but ending before he is shot.
Collection Restrictions:
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:
Horace Pippin notebooks and letters, circa 1920, 1943. Archives of American Art, Smithsonian Institution.
See more items in:
Horace Pippin notebooks and letters
Horace Pippin notebooks and letters / Series 1: Horace Pippin Notebooks and Letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-pipphora-ref16

Handwritten Notebook entitled, "[t. Mihiel, Heaviest Champagne Argonne, Hear]"

Collection Creator:
Pippin, Horace, 1888-1946  Search this
Extent:
(18 numbered pages)
Container:
Box 1, Folder 3
Type:
Archival materials
Date:
circa 1920
Scope and Contents note:
A third handwritten account of Pippin's World War I experiences in France. In this notebook, Pippin again recounts a battle with the Germans in France, most probably the same battle as in the other two notebooks. Note, however, that he spells Argonne as Oregon in this notebook, which differs from the writing on the cover. In this account, he recalls more conversations with fellow soldiers and orders from his officers. Again, this notebook ends before his injury occurs.
Collection Restrictions:
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:
Horace Pippin notebooks and letters, circa 1920, 1943. Archives of American Art, Smithsonian Institution.
See more items in:
Horace Pippin notebooks and letters
Horace Pippin notebooks and letters / Series 1: Horace Pippin Notebooks and Letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-pipphora-ref18

Notebook Fragments

Collection Creator:
Pippin, Horace, 1888-1946  Search this
Extent:
(3 loose pages)
Container:
Box 1, Folder 4
Type:
Archival materials
Date:
circa 1920
Scope and Contents note:
Handwritten fragments, possibly from another notebook, recalling the same intense World War I battle in France but prefaced with some of his thoughts on war and soldiering.
Collection Restrictions:
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:
Horace Pippin notebooks and letters, circa 1920, 1943. Archives of American Art, Smithsonian Institution.
See more items in:
Horace Pippin notebooks and letters
Horace Pippin notebooks and letters / Series 1: Horace Pippin Notebooks and Letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-pipphora-ref20

Letters

Collection Creator:
Pippin, Horace, 1888-1946  Search this
Container:
Box 1, Folder 5
Type:
Archival materials
Date:
circa 1943, 1943
Scope and Contents note:
One letter, circa 1943, is addressed to "My Dear Friends" and begins with "my life story of art. that is my art, and no one el[c]...." wherein Pippin recounts a childhood memory of creating artwork for a Sunday school sale and how the "war of 1917... brought out all of the art in me" and how he paints from it today.

A second letter dated February 1, 1943 is to Robert Carlen, his dealer. Pippin apologizes for Mr. Carlen thinking that he does not treat his friends or Mr. Carlen's friends "right, in my home, if anyone comes in to [see me] art." Pippin will see to it that Mrs. John D. Hamilton is treated as nice as possible. He goes on to say that he wants Carlen to send his Domino game painting to a show so Dr. Albert C. Barnes can see it.
Collection Restrictions:
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:
Horace Pippin notebooks and letters, circa 1920, 1943. Archives of American Art, Smithsonian Institution.
See more items in:
Horace Pippin notebooks and letters
Horace Pippin notebooks and letters / Series 1: Horace Pippin Notebooks and Letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-pipphora-ref22

Linda Freeman papers

Creator:
Freeman, Linda, 1941-  Search this
Names:
L & S Video, Inc.  Search this
Bearden, Romare, 1911-1988  Search this
Lawrence, Jacob, 1917-2000  Search this
Pindell, Howardena, 1943-  Search this
Pippin, Horace, 1888-1946  Search this
Extent:
32.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Moving images
Documentary films
Date:
1971-2015
bulk 1990-2011
Summary:
The papers of multimedia artist and filmmaker Linda Freeman measure 32.9 linear feet and date from 1971-2015, with the bulk of the material dating from 1990-2011. The collection primarily consists of the production archives of Freeman's video documentary production company L and S Video, producer of 27 short subject documentaries on contemporary American art and artists. Subjects include Emma Amos, Benny Andrews, Romare Bearden, Charles Burchfield, Elizabeth Catlett, Chuck Close, Robert Colescott, Jimmy and Max Ernst, Red Grooms, Jacob Lawrence, Richard Mayhew, Howardena Pindell, Horace Pippin, Faith Ringgold, and Betye and Alison Saar. Additional documentaries on subjects other than single artists include works on Luba artists of Central Africa, the creative process (on Freeman and five other artists featured in other documentaries in the collection), mixed media artists (on Alvin Loving, Flo Oy Wong, and Alison Saar), self-taught artists (on William Hawkins, Bill Traylor, and Grandma Moses), and a six-part series on art subjects for children called I Can Fly.
Scope and Contents:
The papers of multimedia artist and filmmaker Linda Freeman measure 32.9 linear feet and date from 1971-2015, with the bulk of the material dating from 1990-2011. The collection primarily consists of the production archives of Freeman's video documentary production company L and S Video, producer of 27 short subject documentaries on contemporary American art and artists. Subjects include Emma Amos, Benny Andrews, Romare Bearden, Charles Burchfield, Elizabeth Catlett, Chuck Close, Robert Colescott, Jimmy and Max Ernst, Red Grooms, Jacob Lawrence, Richard Mayhew, Howardena Pindell, Horace Pippin, Faith Ringgold, and Betye and Alison Saar. Additional documentaries on subjects other than single artists include works on Luba artists of Central Africa, the creative process (on Freeman and five other artists featured in other documentaries in the collection), mixed media artists (on Alvin Loving, Flo Oy Wong, and Alison Saar), self-taught artists (on William Hawkins, Bill Traylor, and Grandma Moses), and a six-part series on art subjects for children called I Can Fly.

For each documentary, original, unedited footage shot by Freeman of artist interviews, studio footage, and interviews with subject experts is found, featuring curators, gallerists, collectors, and art historians speaking about the documentary subjects. In almost every case, significant original footage is found that was not used in the finished documentary and therefore unique to this collection, especially in the form of original interviews and studio footage.

Footage obtained from third-parties for use in the documentaries is found for several works including the Red Grooms, Luba, Crown Heights, and Romare Bearden documentaries. Notable among third-party material is a copy of Howardena Pindell's video performance work "Free, White, and 21" (1980). Also found are original footage and master material for "Pit Stop," a short fiction film by Robert Colescott, produced by Linda Freeman.
Arrangement:
The collection is arranged as 25 series, with most series representing the records of a single documentary production. Order of series is alphabetical by subject's last name, followed by titles for non-biographical works.

Media within series are typically grouped into three subseries: one for original, unedited footage and transcripts; one for production material, including media artifacts from intermediate stages of production and paper records of the production such as notes and drafts; and finally one for finished documentaries. Footage obtained from third-party sources is arranged with production material. Smaller series are arranged similarly but without formal subseries.

Audio and video tapes are housed separately from paper and digital records to facilitate access to both types of material. Also note that media are listed as items, which may be comprised of multiple tapes or single tapes, or multiple items on a single tape. As a result, physical folders may contain tapes from more than one item, and items can span multiple folders.

Series 1: Emma Amos: Action Lines (1996), 1991-2005 (1.3 linear feet; boxes 1-2, 28)

Series 2: Benny Andrews: The Visible Man (1996), 1991-2000 (1.2 linear feet; boxes 2, 28)

Series 3: Romare Bearden: Visual Jazz (1995), 1971-2000 (2.3 linear feet; boxes 3-4, 28, FC 34-36)

Series 4: Charles Burchfield's World (2004), 2004-2005 (0.3 linear feet; boxes 4, 28)

Series 5: Elizabeth Catlett: Sculpting the Truth (1998), 1998-2000 (1.3 linear feet; boxes 4-5, 28-29)

Series 6: Chuck Close: Close-up (2003), 2003-2006 (0.8 linear feet; boxes 6, 29)

Series 7: Robert Colescott: The One-Two Punch (1992), 1980-2005 (1.7 linear feet; boxes 6-8, 29, 33)

Series 8: "Pit Stop" by Robert Colescott (1995), 1995-1998 (1.1 linear feet; boxes 8, 29, FC 37-38)

Series 9: Jimmy and Max Ernst: Dada's Son (2005), 2005 (0.2 linear feet; boxes 8, 29)

Series 10: Red Grooms: Sculptopictoramatist (2008), 2008 (1.2 linear feet; boxes 9-10, 29)

Series 11: Jacob Lawrence: The Glory of Expression (1993), 1991-2007 (2.3 linear feet; boxes 10-11, 29, 32-33)

Series 12: Richard Mayhew: Spiritual Landscapes (2000), 1999-2000 (0.8 linear feet; boxes 11-12, 29)

Series 13: Howardena Pindell: Atomizing Art (1998), 1991-2005 (0.9 linear feet; boxes 12-13, 29)

Series 14: Horace Pippin: There Will Be Peace (1997), 1997-2000 (0.9 linear feet; boxes 13-14, 29-30)

Series 15: Faith Ringgold: The Last Story Quilt (1992), 1990-2007 (1.9 linear feet; boxes 14-15, 30, 33)

Series 16: Faith Ringgold Paints Crown Heights (1994), 1994-2005 (2.5 linear feet; boxes 15-17, 30, 33)

Series 17: Betye and Alison Saar: Conjure Women of the Arts (1994), 1990-2005 (2.3 linear feet; boxes 17-19, 30, 33)

Series 18: African Art, Women, History: The Luba People of Central Africa (1998), 1990-2000 (1.0 linear feet; boxes 19-20, 30)

Series 19: The Creative Process: Artists At Work (2011), 2006-2011 (0.3 linear feet; boxes 20, 30)

Series 20: I Can Fly Series, 1999-2011 (3.8 linear feet; boxes 20-23, 31)

Series 21: Mixed Media Masters (2008), 1991-2008 (1.0 linear feet; boxes 24, 31)

Series 22: School's Out: Self-Taught Artists (2001), 1995-2001 (1.1 linear feet; boxes 24-25, 31)

Series 23: Women in Their Studios: Jennifer Bartlett and Jackie Winsor (2006), 2005-2006 (0.6 linear feet; boxes 25-26, 31)

Series 24: Other Projects, 1988-2015 (1.6 linear feet; boxes 26-27, 31-32)

Series 25: L and S Video Records, 1990-2008 (0.5 linear feet; boxes 27, 32)
Biographical / Historical:
Linda Freeman(1941- ) is a multimedia artist and filmmaker in New York, New York. Freeman manages L and S Video (established 1987), a company that creates, produces, and distributes documentaries about American Artists.

In a lecture by Freeman at the Philadelphia Museum of Art in October 2000, she describes how she received training in filmmaking at New York University, and set out to create documentaries about contemporary artists who were both widely recognized as important artists and had not yet been the subjects of documentaries. Her first subject was Faith Ringgold, who she approached in 1990 for what would become Faith Ringgold: The Last Story Quilt. Freeman went on to produce 28 documentaries with director and writer David Irving featuring primarily living African American artists, but also women artists, self-taught artists, and mixed-media artists. The documentaries are based on extended interviews with the artists, studio footage of the artists working, and interviews with notable curators, dealers, critics, art historians, and other artists with expertise in the work and career of the subject at hand. Freeman included herself in the documentary The Creative Process: Artists at Work along with footage of other artists from her previous productions that had not been used in her finished works to date.

As an artist, Freeman has shown work in multiple traveling group exhibitions including "Women Call for Peace: Global Vistas," "Our Ancestors Quilt Project," "Women Only! In Their Studios," "Voices in Cloth: Story Quilts," and has had solo exhibitions at the Henry Gallery at Penn State Great Valley and SOHO20 gallery.
Provenance:
The collection was donated in 2015 by Linda Freeman, L and S Video.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that she may own.
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:
Multimedia artists -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women motion picture producers and directors  Search this
Genre/Form:
Interviews
Moving images
Documentary films
Unedited footage
Citation:
Linda Freeman papers, 1971-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.freelind
See more items in:
Linda Freeman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freelind

Horace Pippin printed material, 1939-1946

Creator:
Pippin, Horace, 1888-1946  Search this
Topic:
Painting -- Pennsylvania -- West Chester  Search this
African American artists  Search this
Self-taught artists  Search this
Record number:
(DSI-AAA_CollID)10161
(DSI-AAA_SIRISBib)213144
AAA_collcode_pipphopm
Theme:
African American
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213144

Horace Pippin: artist file, [photographs]

Artist:
Pippin, Horace 1888-1946  Search this
Physical description:
1 folder
Type:
Photograph
Artist files
Topic:
Art, American  Search this
Image number:
VFM VF002315
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_140954

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