An interview of Roswell Weidner conducted 1989 July 20-27, by Marina Pacini, for the Archives of American Art Philadelphia Project. Weidner discusses his early life, education, and art training at the Pennsylvania Academy of the Fine Arts, first at the school at Chester Springs, and later at the main school in Philadelphia. He discusses the programs at both schools, and recalls some of the faculty members, including Roy Nuse, Albert Laessle, George Harding, Joseph Pierson, Francis Speight, Daniel Garber, and Henry McCarter. He discusses the courses, exhibitions, and the competitions for traveling scholarships. He also discusses his study at the Barnes Foundation with Violette De Mazia and Angelo Pinto. After leaving the Academy, he joined the National Youth Administration and then transferred to the WPA with the Museum Extension, the Painting Project and the Print Project. He speaks of his work for each of these programs, their administration, and some of the individuals involved including Dox Thrash. He recalls Mary Curran and the efforts made by Albert Barnes to have her removed as head of the Painting Project. Weidner discusses his fifty years as a teacher at the Academy, beginning in 1939, and the changes in the institution since then, including the introduction of printmaking, the growth of abstraction, the hiring of women and black instructors, and other changes. He speaks of his wife, Marilyn Kemp Weidner, a paper conservator, and the development of her practice, as well as his own future work.
Biographical / Historical:
Roswell T. Weidner (1911-1999) was a painter and educator from Philadelphia, Pennsylvania.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr.; 18 min.
Provenance:
These interviews are 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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on prints and printmaking and his personal relationships with artists.
Included are: correspondence with family and with over 900 printmakers, painters, sculptors, acquaintances, friends, associates, organizations, museums, publishers, and magazines; general correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine; files of correspondence from Zigrosser's work at: the Philadelphia Museum of Art, 1932-1971; John Simon Guggenheim Memorial Foundation; Solomon R. Guggenheim Foundation and Museum, 1946-1971, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum; Print Council of America, 1954-1971, regarding exhibitions, council meetings and other matters; and the Tamarind Workshop, 1960-1971.
Of particular interest is material relating to the 1913 Armory Show, including Zigrosser's annotated catalog, notes and sketches. Also included are speeches and notes, 1930-1968; manuscripts for lectures and unpublished materials; memorabilia; a photo album of sculpture by John B. Flannagan; art work, including prints and drawings by Karig Nalbandian, prints by Rockwell Kent, and oversized works of art on paper by Mabel Dwight, Wanda Gag and Kent; family photograph album; journals and pamphlets (covers only); and diaries, 1916-1971, discussing personal and professional events such as art openings, conversations and activities with Rockwell Kent, Alfred Stieglitz, and Georgia O'Keeffe, among others.
Among the correspondents are: the American Artists Group, John Taylor Arms, Art in America magazine, Art Institute of Chicago, Alfred Barr, E. Boyd, Charles Burchfield, Alexander Calder, Fitz Roy Carrington, Federico Castellon, Ed Colker, Howard N. Cook, Crown Publishers, Adolf Dehn, Caroline Durieux, John Bernard Flannagan, Andre Girard, Stanley William Hayter, Edward Hopper, Victoria Hutson Huntley, Independent Citizens Committee for the Arts, Sciences and Professions, R. Sturgis Ingersoll, Frederick Keppel, Rockwell Kent, Fiske Kimball, Misch Kohn, Yasuo Kuniyoshi, Julius Lankes, Mauricico Lasansky, Merritt Mauzey, Kneeland McNulty, James A. Michener, Marian Mitchell,
Museum of Non-Objective Painting (Solomon R. Guggenheim Museum), Karnig Nalbandian, Dorothy Norman, Georgia O'Keeffe, Walter Pach, Harold Paris, Print Club (Philadelphia), Diego Rivera, Ruth Starr Rose, Arnold Ronnebeck, Lessing J. Rosenwald, Andre Ruellan, Carl Oscar Schniewind, Roderick Seidenberg, William Spratling, Benton Spruance, Alfred Stieglitz, Harry Sternberg, Tamarind Lithography Workshop, Kuei Teng, U.S. Office of War Information, Curt Valentin, Heinz Warneke, Edward Weston, Weyhe Gallery, Whitney Museum of American Art, Harry Wickey, and Adja Yunkers.
Biographical / Historical:
Print curator; Philadelphia, Pa.; d. 1975. Graduated Columbia University in literature. Worked with prints in New York City at Keppel and Co. and Weyhe Gallery; print curator at Philadelphia Museum of Art 1940-1963; author of books on prints and art works.
Provenance:
Lent for microfilming, 1991, by the University of Pennsylvania Special Collections Department, Van Pelt Library. Zigrosser donated the papers to the University in 1972. Portions of the papers not microfilmed include research files, manuscript materials for published work, family records, and journals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the Curator of Manuscripts, Rare Book & Manuscript Library, University of Pennsylvania. 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.
Letters to Cassatt, from Cassatt, and from and to Cassatt's family and others; a typescript of a family history written by Cassatt's father, and other genealogical and biographical material; and pages from Paris Salon exhibition catalogs of 1872-1876 referencing Cassatt. The materials were primarily in the possession of Art Institute of Chicago curator Frederick Sweet at the time of microfilming; Sweet coordinated the microfilm project with the then newly formed Archives of American Art. The microfilm also identifies the owner at the time of microfilming (1955) and some of Sweet's correspondence concerning permission to microfilm from the various owners.
Among the recipients of letters from Cassatt are Cecilia Beaux, Electra Havemeyer Webb, Mrs. Potter Palmer, Theodate Pope, Mary Gardner Smith, Carroll S. Tyson, Ambroise Vollard, Harris Whittemore, her nephew Robert Kelso Cassatt and his wife Minnie Drexel Fell Cassatt; her sister-in-law Jennie (Mrs. J. Gardner Cassatt); and others. [Microfilm label: Frederick A. Sweet papers]
Provenance:
Lent for microfilming in 1955 by Frederick Sweet, author of the exhibition catalog Sargent, Whistler, and Mary Cassatt (1954) and Miss Mary Cassatt, Impressionist From Pennsylvania (1966). The owners of the letters at the time of microfilming are listed on the microfilm and the inventory. Letters and the typescript family history filmed on CI frames 1-869 were subsequently donated by their owner Mrs. John B. Thayer of Rosemont, Pa. to the Philadelphia Museum of Art, 1967, and letters from Cassatt to her nephew Robert Kelso Cassatt that were lent by Mr. Alexander Cassatt, Robert's brother in 1955, were subsequently donated to the Archives of American Art in 1986 by Alexander's son, also named Alexander Cassatt (microfilm reel 3684).
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the owners of the letters. [Frames 1-869 owned by Philadelphia Museum of Art] 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.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
An interview of Will Stokes conducted 1990 June 20, by Jack Lindsey, for the Archives of American Art Philadelphia Project.
Stokes speaks of his training in printmaking at the Brandywine Workshop and with Prints in Progress before joining the Fabric Workshop; the transition from working on paper to working on fabric; the development of his work; and some of the projects completed at the Fabric Workshop.
Biographical / Historical:
Will Stokes is a textile designer and printmaker from Philadelphia, Pennsylvania.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 4 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.
Occupation:
Printmakers -- Pennsylvania -- Philadelphia Search this
Textile designers -- Pennsylvania -- Philadelphia Search this
This small collection of sixty-three letters written by painter Mary Cassatt dates from 1882 to 1926. The bulk of these letters are to Cassatt's nephew, Robert Kelso Cassatt, and to his wife Minnie regarding family, mutual friends, and travel. The remaining letters are to friends regarding purchases of artwork, travel, and personal news. There is also one newsclipping of Cassett's obituary.
Scope and Contents:
This small collection of sixty-three letters written by painter Mary Cassatt dates from 1882 to 1926. The bulk of these letters are to Cassatt's nephew, Robert Kelso Cassatt, and to his wife Minnie regarding family, mutual friends, and travel. The remaining letters are to friends regarding purchases of artwork, travel, and personal news. There is also one newsclipping of Cassett's obituary.
Arrangement:
The collection is arranged as 1 series.
Missing Title
Series 1: Mary Cassatt letters, 1892-1926 (0.2 linear feet; Box 1)
Biographical / Historical:
Painter Mary Cassatt (1844-1926) lived and worked in Paris, France. She is one of the preeminent Impressionists known for her depictions of both the social and domestic lives of women and their children.
Cassatt was born in Allegheny City, Pennsylvania and began her art studies at the Pennsylvania Academy of Fine Arts at the age of sixteen. In 1865, she traveled to Paris to further her art studies under the private tutelage of Jean-Léon Gérôme and Thomas Couture, and augmented these studies with daily copying at the Louve. From 1868 to 1877, she traveled to Italy, Spain, Belgium, and Holland to view and copy the old masters and produced works that were accepted into the Paris Salon. With the encouragement of Edgar Degas, Cassatt began painting in the avant-garde Impressionist style in 1877. For the next ten years, Cassatt exhibited Impressionist paintings to critical international acclaim. After 1887, she began to experiment with other mediums and techniques, though she continued to focus her subject matter on the lives of women and children. Through the 1890s, she became a mentor to young American artists, acted as an advisor to American art collectors, and served as an ambassador for various art institutions. In 1904, she received France's Légion d'Honneur and continued producing works through the 1900s. In 1915, Cassatt stopped painting due to her failing eyesight, and lived in Le Mesnil-Théribus, France until her death in 1926.
Related Materials:
The Archives of American Art also holds the Frederick A. Sweet research material on Mary Cassatt and James McNeill Whistler; Nancy Hale research material on Mary Cassatt; the Mary Cassatt collection (reel C1); and the Mary Cassatt correspondence with Emily Sartain (reel 3658).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-77) including letters written by Cassatt to Eugene Vail and Mabel and Mathilde Valet. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Items in this collection are gifts of various donors. The letters to Peter and Vollard were donated by Charles Feinberg in 1955. The letters to William T. Evans, Miss Lamb, and Miss Stillman were transferred from the National Museum of Art, Smithsonian Institution in 1980. An obituary and the letters to Robert Kelso Cassatt and his wife Minnie were donated by Alexander J. Cassatt Jr., the great nephew of Mary Cassatt, in 1986.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.
Scope and Contents:
The papers of painter, printmaker, educator and administrator Ed Colker are dated 1944-2020 and measure 3.4 linear feet. Colker's painting, printmaking, and Haybarn Press, as well as his career as an art teacher and university administrator, are documented through biographical materials, correspondence, interviews, writings, subject files, printed material, and photographs. There is a 0.2 linear ft. addition to the collection donated in 2020 that includes lists of works of art, exhibition information, letters to Colker, talks and lecutres by Colker, printed material and miscellany.
Biographical materials include official letters regarding Colker's performance in the Army, caricatures of him, diplomas, resume, awards, and certificates.
Correspondence, mainly professional in nature with a few scattered personal letters, concerns Colker's academic and artistic work, Haybarn Editions, exhibitions, projects, and various interests. Poet correspondents are J. Curtis Johnson, Kathleen Norris, Deborah Pease, and Jeanne Walker; translators include Melvin Konner and others.
Interviews with Ed Colker, conducted between 1982 and 2008 for various purposes, are preserved as 1 sound cassette and published transcripts. Also found are 1 sound cassette, 1 videocassette, and a published transcript of interviews Colker conducted with Will Barnet and Toshiko Takaezu in 1981 and 1994 respectively.
Among Colker's writings are the published versions of several articles and the manuscript of an unpublished one; two proposed books for students of design and typography; lectures delivered to students (3 videocassettes), miscellaneous writings, notes, and 1 videocassete of readings by artists from one of Colker's Haybarn Press poetry portfolios.
Subject files document many of Colker's professional interests, activities, projects, and relationships. Also of note are files about Haybarn Press.
The bulk of the printed material consists of exhibition catalogs, announcements, and school catalogs. Almost all is about or mentions Colker, or features reproductions of his work. Of note is the first and only issue of Re-Art: A Reflection of Current Ideas on the Arts (1954), published by Colker and Gene Feldman.
Photographs are of Colker and his family; Colker at events related to his artistic, academic, and publishing activities; artwork by Colker, and his work as reproduced in Haybarn Editions. Also found are an exterior view of the barn studio and one of printers working at Desjobert Press.
Arrangement:
The collection is arranged as 8 series:
Missing Title
Series 1: Biographical Materials, 1946-circa 2011 (Box 1; 1 folder)
Series 2: Correspondence,1954-2011 (Box 1; 0.3 linear feet)
Series 3: Interviews, 1981-2008 (Box 1; 0.2 linear feet)
Series 4: Writings, 1961-1990s (Box 1; 0.5 linear feet)
Series 5: Subject files, 1952-2013 (Boxes 2-3; 1.3 linear feet)
Series 6: Printed Material,1944-2011 (Box 3; 0.7 linear feet)
Series 7: Photographs, circa 1960s-2010 (Box 4; 0.2 linear feet)
Series 8: Unprocessed Addition, circa 1963-2020 (Box 5; 0.2 linear feet)
Biographical / Historical:
Ed Colker (b. 1927) is a painter, printmaker, educator, and administrator who has worked in Chicago, Philadelphia, and New York City. Colker founded the not-for-profit fine art publisher Haybarn Press. He is married to artist Elaine Galen and resides in Mt. Kisco, NY.
After high school, Colker was awarded a scholarship and began his art education at the Pennsylvania Museum School of Industrial Arts. He interrupted his studies to serve in the U.S. Army (1944-1946). He graduated in 1949, by which time the school had become the Philadelphia Museum School of Art; today it is the University of the Arts. He taught art in the Philadelphia area before moving to New York City in 1956. Later, Colker earned degrees from New York University (B.S. Ed, 1964; M.A., 1985).
Colker taught art and design courses at the University of Pennsylvania, University of Illinois at Chicago Circle, Cornell University, Pratt Institute, and Philadelphia College of Art. By the 1980s, he had become an administrator as well as a professor. Throughout his academic career, Colker published and lectured widely, served as a visiting artist, acted as a consultant, and participated in professional organizations. He occasionally organized exhibitions and served on exhibition juries.
Since 1960, under the imprints Editions du Grenier, Haybarn Editions, and Haybarn Press, Colker has published limited edition books, portfolios, broadsides, individual pages, and folders of poetry. Most are accompanied by Colker's etchings and lithographs inspired by the texts. Haybarn Press, under the Ambor Edition imprint, also produced four portfolios with text and drawings by Elaine Galen, 1996-2008. From its inception, the work of Haybarn Press has been featured in many exhibitions of book arts. Colker also participated in group shows throughout the United States and enjoyed solo exhibitions of his paintings and prints. Haybarn Press productions and Colker's prints and paintings are in the permanent collections of Brown University, Cornell University, Harvard University, Library of Congress, Museum of Modern Art, New York Public Library, University of Arizona Museum of Art, and others.
Now retired from university administration and teaching, Colker continues to operate Haybarn Press and occasionally serves as an exhibition juror and visiting artist.
Provenance:
Donated by Ed Colker in 1991, 2013 and 2020.
Restrictions:
Use of original material 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.
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.
Scrapbooks documenting the activities of the Print Club since its founding.
Biographical / Historical:
Art club; Philadelphia, Pa. Founded 1916 by a group of collectors interested in stimulating an interest in contemporary prints and art work.
Provenance:
Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project. Lent by the Historical Society of Pennsylvania which owns all the remaining and unfilmed Print Club records.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Printmakers -- Pennsylvania -- Philadelphia Search this
Topic:
Prints -- 20th century -- History -- Pennsylvania -- Philadelphia Search this
A 27 page inventory of drawings and sketchbooks by American artists in the Rosenthal Collection in the Free Library of Philadelphia's Prints Department. The inventory lists artists, their dates, and titles of works in the collection donated by Albert Rosenthal.
Biographical / Historical:
Albert Rosenthal was a portrait painter, printmaker, writer and collector in Philadelphia. In 1927 he began donating a collection of 846 drawings by American artists of the 19th and early 20th centuries to the Free Library of Philadelphia.
Provenance:
Lent for microfilming, 1954, by the Free Library of Philadelphia.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Drawing, American -- Pennsylvania -- Philadelphia Search this
Art -- Collectors and collecting -- Pennsylvania -- Philadelphia Search this
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; eight sketchbooks; and photographs of Clements, her family and friends, and her work.
Scope and Contents:
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; 8 sketchbooks; and photographs of Clements, her family and friends, and her work.
Biographical material consists of an address book, artwork sales and price lists, and autobiographical notes.
Correspondence is primarily with Clements' family, friends, and business associates. The series includes significant correspondence from Clements to her mother during her college years at Cornell University.
Writings include notes and essays on art history and etching techniques, 2 notebooks of poetry, and a travel diary chronicling a trip to Egypt with Ellen Day Hale.
Printed material includes clippings, exhibition catalogs, a map of the artists' colony at Rockport, Folly Cove in Massachusetts, and a copy of the book Suggestions for Illuminating by W. Randle Harrison.
Artwork consists of sketches and original etchings by Clements and artwork by others.
There are 8 sketchbooks consisting primarily of cityscapes, landscapes, and figure and portrait studies.
Photographs are of Clements, her family and friends, artists models, and work by Clements and others.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical materials, circa 1920-1944 (3 folders; Box 1)
Series 2: Correspondence, circa 1875-1945 (0.3 linear feet; Box 1)
Series 3: Writings, circa 1885-1940 (8 folders; Box 1)
Series 4: Printed material, circa 1860-1948 (5 folders; Box 1)
Series 5: Artwork, circa 1895-1940 (3 folders; Box 1)
Series 6: Sketchbooks, circa 1884-1940 (0.3 linear feet; Box 1)
Series 7: Photographs, circa 1875-1940 (0.2 linear feet; Box 1)
Biographical / Historical:
Painter, printer, and art teacher Gabrielle de Veaux Clements (1858-1948) lived and worked in Philadelphia, Pennsylvania; Baltimore, Maryland; and Folly Cove near Gloucester, Massachusetts. She was known for her etchings and her commissioned murals for the cities of Baltimore and Washington, D.C.
Clements was born in Philadelphia, Pennsylvania to physician Richard Clements and his wife, Gabrielle De Vaux. Her interest in art was supported by her family and, at the age of seventeen, she began studying lithography with the designer Charles Page at the Philadelphia School of Design for Women. After graduating in 1880 from Cornell University, where she had produced a number of scientific drawings and lithographs, Clements studied with painter Thomas Eakins at the Pennsylvania Academy of Fine Arts and won the school's Toppan Prize. In 1883, Clements was introduced to etching techniques by the artist Stephen Parrish and began exhibiting and printing her works professionally.
In 1884, Clements traveled abroad to Paris to study at the Academie Julian where she was joined in 1885 by fellow painter and future lifelong companion Ellen Day Hale. Upon returning to her Philadelphia studio in 1885, Clements taught other female artists, including Margaret Bush-Brown, and exhibited in numerous institutions, including the National Academy of Design and the Boston Museum of Fine Arts. In 1895, Clements moved to Baltimore to teach art at the newly established Bryn Mawr School, where she remained until 1908. During her tenure in Baltimore, she was commissioned by the Bendann Galleries to etch nine views of Baltimore and also painted five church murals in Washington, D.C., which led to subsequent murals in Detroit, Philadelphia, and Chicago.
Clements and Hale frequently traveled abroad, visiting France, Italy, Egypt, Syria, and Palestine, and spent summers at "The Thickets," the house they purchased in the artists' colony at Folly Cove. During World War I, they wintered in Charleston, South Carolina where they opened their studios to young female artists and taught innovative etching, painting, and color printmaking techniques. After the war, they again opened their studios in Folly Cove to young artists and continued to teach and experiment with soft-ground etching and aquatints in color. This work was highlighted in special exhibitions at the J.B. Speed Art Museum and the Smithsonian Institution. Clements died in Rockport, Massachusetts in 1948.
Provenance:
The Gabrielle de Veaux Clements papers were donated by Mrs. Harlan Starr, Jr. in 1983.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
1 Microfilm reel (2 pages on partial microfilm reel)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
circa 1960
Scope and Contents:
This microfilm collection contains 2 photocopy typescript pages of African American printer Dox Thrash's autobiography discussing his travels, education, and exhibition history.
Biographical / Historical:
Dox Thrash (1892-1965) was an African American printer in Philadelphia, Pennsylvania. Thrash joined the Works Progress Administration Federal Arts Project in 1937 and began working at the Fine Print Workshop of Philadelphia. While there he co-created the carborundum printmaking process.
Related Materials:
The Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library holds the Dox Thrash collection, 1920-1966
Provenance:
Microfilmed in 1990 as part of AAA's Philadelphia Arts Documentation Project. Photocopies donated to the Free Library of Philadelphia by Ruth Fine, who obtained them from Samuel Nowak for her entry on Thrash for "Philadelphia: Three Centuries of American Art," Philadelphia Museum of Art, 1976.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Printmakers -- Pennsylvania -- Philadelphia Search this
Fourteen letters from Cassatt to Emily Sartain and one letter from Sartain to Cassatt, discussing a trip the two were to take to Europe, as well as some mention by Cassatt of her artistic development in Spain and Italy. Dates on the correspondence are by an unknown hand and are questionable.
Biographical / Historical:
Painter; Philadelphia, Pa. and Europe. Emily Sartain was the daughter of John Sartain. She studied both with her father and Christian Schussele at the Pennsylvania Academy. She won several awards at the Academy and taught at the Philadelphia School of Art and Design.
Provenance:
Lent for microfilming 1985, by the PAFA as part of the AAA's documentation project. The source of the letters is unknown, although it is probable that they came through the estate of Harriet Sartain.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
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
6 Microfilm reels (3.6 linear feet on 6 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Sketchbooks
Drawings
Place:
Chandeleur Islands (La.) -- Description and Travel
Horn Island (Miss.) -- Description and Travel
Hong Kong -- Description and Travel
Date:
circa 1915-1960
Scope and Contents:
The Walter Inglis Anderson papers, microfilmed on reels 4867-4868, include letters from Anderson (referred to as Bob) to his parents, mostly from boarding school in Manlius, New York (1915-1919), and from New York City and Philadelphia while attending the Pennsylvania Academy of the Fine Arts (1922-1928); correspondence with his wife Agnes Grinstead (referred to as Sissy); writings, including Anderson's logbooks of his travels to Hong Kong (circa 1949), and boat trip to Graveline and Oldfields, Mississippi, as well as his account of pelicans and copies of his favorite poems; and six sketchbooks. Papers microfilmed on reels 4869-4872 include logbooks, both bound and on loose pages, recording Anderson's travels. Notable logbooks record travels to the Gulf Coast's Chandeleur and Horn Islands; others describe his trips out-of-state and abroad, as well as Anderson's activities while living at Oldfields in Gautier, Mississippi. Also included are several files of loose pages containing Anderson's commentaries on a variety of subjects including nature, the arts, religion, philosophy, and poetry, as well as Anderon's notes on Ancient Near Eastern and Greek and Egyptian art.
Biographical / Historical:
Walter Inglis Anderson (1903-1965) was a painter, muralist, printmaker, and sculptor in Ocean Springs, Mississippi. He attended the Pennsylvania Academy of the Fine Arts in Philadelphia from 1923 to 1929. In the 1930s, Anderson painted murals for the Ocean Springs School auditorium for the Works Progress Administration Public Works of Art Project. In 1940, following hospitalization for mental illness, Anderson moved to Oldfields, near Gautier, Mississippi. He returned to Ocean Springs in 1946 and from 1947 until his death he traveled repeatedly to Horn Island and other remote sites on the Gulf Coast to paint and write. In 1991, the Walter Anderson Museum of Art opened in Ocean Springs, Mississippi.
Related Materials:
The University of Southern Mississippi Libraries de Grummond Children's Literature Collection holds the Walter Anderson Papers, circa 1945-1980s.
Provenance:
Material on reels 4867-4868 was lent for microfilming by the Family of Walter Anderson, 1993. Material on reels 4869-4872, was lent for microfilming by the Mississippi Department of Archives and History, 1993.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of African American painter, printmaker, and educator Reginald Gammon measure 2.4 linear feet and 5.30 GB and date from 1927 to 2007, with bulk of the materials dating from 1960-2005. The collection consists of scattered biographical materials, including video and sound recordings of interviews; correspondence with artists, galleries, organizations, and museums; writings and notebooks; teaching files; printed materials; photographic material; and artwork in the form of sketches, drawings, and paint sketches.
Scope and Contents:
The papers of African American painter, printmaker, and educator Reginald Gammon measure 2.4 linear feet and 5.30 GB and date from 1927 to 2007, with bulk of the materials dating from 1960-2005. The collection consists of scattered biographical materials, including video and sound recordings of interviews; correspondence with artists, galleries, organizations, and museums; writings and notebooks; teaching files; printed materials; photographic material; and artwork in the form of sketches, drawings, and paint sketches.
Biographical materials include Gammon's academic records and diplomas, certificates, military records, an address book, and information about his memorial service. There is a folder on The Spiral Group which includes an exhibition catalog and photographs. There are video interviews, a conversation video, and two TV advertisements, all digital; one analog and one digital audio interview.
Approximately one-half of the collection consists of correspondence with other artists, museums, galleries and arts organizations. Correspondents include Benny Andrews, Romare Bearden, Vivian Browne, Thomas Frey, Joseph Greenberg, Harwood Art Center, Patrick King, Hughie Lee-Smith, Midtown Galleries, National Afro-American Museum & Cultural Center, New Mexico African American Artists Guild, Harvey Overton, Schomberg Center, Smithsonian Institution's Anacostia Museum, Western Michigan University, and Jonathan Wynberg, among many others.
Writings by Gammon consists of essays, a research proposal, notes, grant applications, and notebooks wherein Gammon jotted down thoughts and drafted letters.
Teaching files are related to Reginald Gammon's tenure at Western Michigan University. There are teaching certifications, lecture notes, one sound recording (sound cassette) of a lecture, student recommendations, and grade books, among other items.
Printed materials primarily consist of exhibition catalogs and announcements, including the catalog Ida Y Vuelta on Gammon's 1998 exhibition in Rodez, France. Other materials found in this series are clippings that feature Gammon and his work, periodicals, posters designed by Gammon, and source materials related to jazz. and limited subject files.
Photographic materials include prints, slides, digital photographs, and negatives depicting Reginald Gammon and his artwork, friends and family, and various studios and events.
Artwork includes pencil and ink sketches, drawings, and paint sketches. The series also contains storyboards for children's books as well as mockups for advertisements.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Material, 1936-2006 (0.2 linear feet; Box 1, 3, 5.29 GB; ER01-ER03)
Series 2: Correspondence, 1964-2005 (0.8 linear feet; Box 1-3)
Series 3: Writings and Notebooks, 1948-circa 2000 (0.1 linear feet; Box 2)
Series 4: Teaching Files, 1969-1991 (0.1 linear feet; Box 2)
Series 5: Printed Material, 1955-2005 (0.4 linear feet; Box 2, OV 4)
Series 6: Photographic Material, 1927-2007 (0.2 linear feet; Box 2-3, 0.010 GB; ER04)
Series 7: Artwork, 1937-circa 1999 (0.5 linear feet; Box 2-3)
Biographical / Historical:
Reginald A. Gammon (1921-2005) was a painter and art educator who worked in New York City, Michigan, and Albuquerque, New Mexico. He was a member of Spiral, an African American artist's collective based in New York City, as well as a member of the New Mexico Afro-American Artist Guild. He taught in the New York public schools and at Western Michigan University.
Gammon was born and raised in Philadelphia, Pennsylvania. In 1941, he received a scholarship to study art at the Philadelphia Museum College of Arts (then the Philadelphia Museum School of Industrial Arts) and the following summer worked in the Philadelphia Naval Shipyard refurbishing battleships for the war effort. While working, he also attended school at night. He was drafted and served in the Navy from 1944-1946 with an African-American unit stationed in Guam. He lived in Philadelphia briefly after the war and moved to New York City in 1948. During his early years in New York City, Gammon worked at various jobs such as sorting mail for the post office and designing advertising copy. Around this time, he first met his future wife Janice Goldberger whom he married in 1972.
In 1963, Gammon was invited to join Spiral, a group of African American artists which included Charles Alston, Romare Bearden, Alvin Hollingsworth, Norman Lewis, Richard Mayhew, and Hale Woodruff. As a member of this group, Gammon participated in the 1965 exhibition First Group Showing: Works in Black and White. Spiral disbanded later that same year. In 1969, Gammon and Benny Andrews formed the Black Emergency Cultural Coalition. This politically active group of artists picketed the Metropolitan Museum of Art and the Whitney Museum of Modern Art to protest the exclusion of black artists and curators.
Gammon also taught at the Saturday Academy Program for New York public schools. He set up an informal studio so that children from Harlem could work with resident artists. This position and a recommendation from Hughie Lee-Smith led to an offer from Western Michigan University for a visiting lectureship that turned into a full-time teaching position in which Gammon served until 1991, when he retired as Full Professor Emeritus of Fine Arts and Humanities.
After his retirement from Western Michigan University, Gammon and his wife moved to Albuquerque, New Mexico and he became involved in the New Mexico Afro-American Artist Guild and the Albuquerque United Artists, among other civic organizations. He regularly participated in exhibitions and art fairs sponsored by the Guild and served as their treasurer from 1999 until his death. He was artist-in-residence from 1992-2005 at the Harwood Art Center where he also maintained a studio.
Gammon was also one of the founding members of the New Grounds Print Workshop, where he completed his final collection of artworks - a collection of over 100 prints of historically significant gospel singers and jazz musicians. Gammon died on November 4, 2005.
Provenance:
The collection was donated in 2007 and 2008 by Reginald Gammon's widow Janice Gammon.
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.
Use of archival audiovisual recordings and electronic records with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Included are letters to Eunice Leopold (1958-1986) concerning loans and gifts of prints by Benton Spruance; a letter from Henri Marceau to Spruance (1963), a letter from Ludwig Bemelmans (1958); letters to Leopold from Spruance (1961- 1967); sound recordings containing a Spruance lecture on prints and printmaking; printed matter relating to Spruance's career including exhibition catalogs, invitations, announcements, typed essays and news clippings; and photographs depicting Spruance's mural for the Home of Detention Chapel, Philadelphia, Pa.
Biographical / Historical:
Leopold: collector and friend of Spruance. Spruance: painter and printmaker; Pennsylvania. Spruance is known especially for color lithography. Studied Pennsylvania Academy of the Fine Arts; taught at Philadelphia College of Art and Beaver College, Jenkintown, Pa.; b. 1916; d. Mar. 12, 2001, at age 84; full name Eunice Robinson Leopold.
Provenance:
Donated 1986 by Eunice Leopold and 2002 by Ellen Leopold, Eunice Leopold's daughter.
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:
Lithographers -- Pennsylvania -- Philadelphia Search this
Topic:
Prints, American -- Collectors and collecting -- Pennsylvania -- Philadelphia Search this
An interview of Peter Paone conducted 1991 Sept. 27, by Cynthia Veloric, for the Archives of American Art Philadelphia Project.
Paone discusses his family and early education; art classes at the Fleisher Art Memorial and the Philadelphia College of Art; studying with Benton Spruance; exhibiting at the Print Club of Philadelphia and the Philadelphia Museum of Art; teaching at Pratt Institute; working with Ben Shahn in the late 1950s as a studio assistant; being included in Selden Rodman's book "The Insiders"; his galleries in New York and Houston; receiving a Tiffany and Guggenheim grant to study in London; his relationship with Federico Castellon; and the development of his style, subject matter and technique.
Biographical / Historical:
Peter Paone (1936- ) is a printmaker from Philadelphia, Pa.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 4 hrs., 56 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
This microfilm collection of the papers of African American printmaker Raymond Steth contains corrrespondence; business records; photographs; printed material; and records of the Philographic School of Art including correspondence, financial records, course materials, student records, printed material, and photographs.
Biographical / Historical:
Raymond Steth (1917-1997) was an African American printmaker in Philadelphia, Pennsylvania. He worked for the WPA's Federal Art Project graphics division and collaborated with Dox Thrash, an artist known for developing new methods of Carborundum printing. After the WPA, Steth founded and directed the Philographic School of Art, an independent printmaking and graphics workshop teaching commercial, fine, and graphic art.
Related Materials:
The Archives of American Art also holds the Oral history interview with Raymond Steth, 1990 April 28 conducted by Marge Kline.
Provenance:
Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Educators -- Pennsylvania -- Philadelphia Search this
Printmakers -- Pennsylvania -- Philadelphia Search this
Topic:
Art -- Study and teaching -- Pennsylvania -- Philadelphia Search this
Federal aid to the arts -- Pennsylvania -- Philadelphia Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
