The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.
Scope and Contents:
The papers of Una Hanbury measure 5.3 linear feet and date from 1910 to 1994, with the bulk of the material from 1966 to 1990. The collection documents the sculptor's career and the dispersal of her estate through business records, project files, subject files, printed material, and photographs. There is also a small amount of material relating to her personal life including correspondence with friends and family and photographs from various stages of her life.
Arrangement:
The collection is arranged into seven series.
Missing Title
Series 1: Personal Papers, 1926-1983 (Box 1; 4 folders)
Series 2: Business Records, 1965-1991 (Boxes 1-2; 1.2 linear feet)
Series 3: Project Files, 1961-1992 (Boxes 2-3; 1.8 linear feet)
Series 4: Subject Files, circa 1924-1985 (Box 4, OV 7; 1.0 linear feet)
Series 5: Estate of Una Hanbury, 1990-1994 (Boxes 4-5; 0.6 linear feet)
Series 6: Printed Material, 1926-1990 (Box 5; 0.4 linear feet)
Series 7: Photographs, 1910-1991 (Boxes 5-6, 0.3 linear feet)
Biographical / Historical:
Una Hanbury (1904-1990) was a sculptor in Washington, D.C. and Santa Fe, New Mexico. Hanbury was born in Middlesex, England, in 1904; the incorrect birth date of 1909 that she submitted to Who's Who and other biographical reference sources is cited in numerous published articles. Hanbury [née Rawnsley] exhibited artistic talent as a young child and received instruction from animal artist Frank Calderon. After graduation from London's Polytechnic School of Art, she studied for three years at the Royal Academy. Jacob Epstein was her most influential teacher.
Soon after completing her formal education, Una Rawnsley became Una Hanbury and devoted herself full-time to being a wife and mother. During World War II she left England for Bermuda and brought her family to the United States once the war was over. Hanbury settled in Washington, D.C., where she resumed her sculpting career, completing many large scale commissions for public buildings such as the Medical Examiners Building, Baltimore, and St. Mark's Lutheran Church, Springfield, Virginia, among others. She developed a fine reputation as a portrait sculptor, and commissions included busts of Rachel Carson, Enrico Fermi, Buckminster Fuller, Laura Gilpin, Richard Neutra, Georgia O'Keeffe, Robert Oppenheimer, S. Dillon Ripley, and Andrés Segovia. In addition, animals--particularly horses--were a favorite subject since childhood; sculptures were commissioned by several zoos, and horse portraits often were commissioned by owners.
In 1970, Una Hanbury relocated to Santa Fe, New Mexico, where she continued working well into old age and became a significant force in the art life of that region.
Provenance:
The Una Hanbury papers were donated to the Archives of American Art by the artist's daughter, Jillian Poole, in 1999 and 2006.
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 access copy requires advance notice. 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.
The papers of muralist and sculptor, Pietro Lazzari, measure 12.84 linear feet and date from 1878 to 1998. The papers document Lazzari's life and career through biographical material, correspondence, business records, notes, writings, artwork, photographs, and printed material.
Scope and Content Note:
The papers of muralist and sculptor, Pietro Lazzari, measure 12.84 linear feet and date from 1878 to 1998. The collection documents Lazzari's life and career through biographical material, correspondence, business records, notes, writings, artwork, photographs, and printed material.
Biographical material includes biographical sketches and various identification documents. Correspondence comprises letters exchanged between Lazzari, family members, and colleagues and includes about a hundred letters concerning post office murals in several states.
Notebooks contain drawings and annotated diagrams in addition to notes on artwork and designs for inventions. Writings are both by and about Lazzari and include autobiographical material. Artwork includes sketchbooks, loose sketches, prints, and paintings.
Almost a quarter of the collection consists of photographs which include images of Lazzari, his family and colleagues, and gallery installations. Also found are photographs of several notable individuals.
Arrangement:
The collection is arranged as ten series according to material type. For each series, material within folders is arranged chronologically. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1880-1980 (box 1; 4 folders)
Series 2: Correspondence, 1895-1998, undated (boxes 1-2; 1.7 linear ft.)
Series 3: Personal Business Records, 1925-1993, undated (box 2; 0.4 linear ft.)
Series 4: Notes, 1915-1979, undated (boxes 3, 13, OV 14; 1 linear ft.)
Series 5: Writings, 1910-1979, undated (box 4, 13; 0.4 linear ft.)
Series 6: Artwork, 1918-1979, undated (boxes 4-5, 13, OV 14; 0.9 linear ft.)
Series 7: Printed Material, 1905-1994, undated (boxes 5-8, 13, OV 14; 3.8 linear ft.)
Series 8: Photographs, 1878-1980, undated (boxes 8-13, MGP 1, MGP 4; 3.8 linear ft.)
Series 9: Motion Picture Film, undated (FC 15; 1 film can)
Series 10: Artifact, undated (box 12; 1 folder)
Biographical Note:
Pietro Lazzari was born in Rome, on May 15, 1898. At the age of 15, he was apprenticed to Roman sculptor, Jerace. Four years on the Italian front in World War I interrupted his studies, until he could return to the Ornamental School of Rome, where he received a Master Artist degree in 1922. Lazzari's first solo exhibition was at the Theatre of the Independents in Rome. He was also employed by newspaper Il Messaggero to illustrate articles with athletes' portraits.
Lazzari visited the United States in 1925, exhibiting in a group show at the New Gallery in the New York the following year. He also married American social worker Elizabeth Paine in 1926. After four more trips between the United States and Italy, he permanently settled in New York City in 1929. In addition to participating in major art exhibitions, he was hired by a New York newspaper to make courtroom sketches at the Lindbergh kidnapping trial. Divorcing his first wife in 1932, Lazzari married Evelyn Cohen in 1934, and became a U.S. citizen in 1936. Between 1936 and 1942, he worked on four post office murals for the U.S. Section of Fine Arts and began experimentation that led to his own method of painting in polychrome concrete.
In 1942, Lazzari moved to Washington, D.C. and participated in the war effort. He also taught painting and sculpture at The American University, and from 1948 to 1950, he headed the Art Department at Dumbarton College. In 1950, he received a Fulbright Fellowship for research in techniques of Etruscan Art.
Lazzari is known for his bronze busts of humanitarians, most notably Pope Paul VI, Adlai Stevenson, and Eleanor Roosevelt. Represented by the Betty Parsons Gallery in New York, he was also very active in the Washngton, D.C. art community, where he was represented by the Caresse Crosby Gallery.
Pietro Lazzari died on May 1, 1979 in Bethesda, Maryland.
Related Material:
Also found in the Archives of American Art is one sound tape reel of a transcribed interview with Pietro Lazzari, conducted by Harlan Phillips in 1964.
Provenance:
The Pietro Lazzari papers were donated to the Archives of American Art in 1989 by Evelyn C. Lazzari, widow of Pietro Lazzari, and in 1998 by her estate.
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.
Topic:
Portrait sculpture, American -- Washington (D.C.) Search this
Letters from sitters for Weill portrait busts, including several prominent political figures; sculpture; inventories; photographs; exhibition catalogs; and clippings.
A resume; a New Jersey Senate resolution honoring Weill and a photocopy of a certificate of appreciation from the Teaneck Township Council; correspondence with American Friends of the Hebrew University, Leonard Bernstein, philosopher Martin Buber, Coretta Scott King, Martin Luther King, Fiorello H. La Guardia, Golda Meir, National Portrait Gallery, Linus Pauling, Kalman Yaron of the Hebrew University of Jerusalem, and others; a handwritten draft of Weill's speech given at a 1983 reception in her honor; lists of Weill's sculpture and the collectors who own her works; exhibition catalogs; news releases; and magazine and newspaper clippings.
Also includes photographs of Martin Buber, Martin Luther King, Jr., Rudolph Serkin, and Elie Wiesel, and of Weill in her studio, as well as photos of her portrait busts of Rabbi Leo Baeck, Leonard Bernstein, Buber, Abraham Heschel, Fiorello H. La Guardia, King, Golda Meir, Linus Pauling, Franklin D. Roosevelt, Wiesel and others, and her figural, architectural and ceremonial sculpture.
Biographical / Historical:
Sculptor, educator; Teaneck, N.J.
Provenance:
Donated 1983 by Erna Weill.
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.
Biographical accounts; a history of the Ney Museum; Ney family, business and Ney Museum correspondence, 1871-1981; a transcript of an interview with the museum's curator, Mrs. J.W. Rutland; articles and poems dedicated to Ney and 4 of her notebooks, 1865-1898, containing letters and accounts of her experiences with Guiseppe Garibaldi and her travels to Egypt; legal documents, Ney's marriage certificate, contracts for indenture, deeds and wills of her husband, Edmund Montgomery; financial records; organizational records of the museum including attendence figures, financial reports and minutes; printed material, brochures and clippings about Ney and the museum; photographs, 1896-1961, of Ney, Ney with her work, and in her studio.
Biographical / Historical:
Portrait sculptor; Austin, Texas. Born in Westphalia, Germany. Date of birth sometimes cited as 1830. She formed a band that came from Germany to Georgia to form a colony. When it disbanded in 1872 she bought a plantation in Texas. Famous people who sat for her include Garibaldi, Sam Houston, Bismark, Von Humboldt, Von Liebig, Jacob Grimm and Schopenhauer. The museum was founded in 1909.
Provenance:
Lent for microfilming, 1984, by the Elisabet Ney Museum via James Fisher, as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
