Search Results

Artist:

Grace Wells Parkinson  Search this

Medium:

Bust, Amelia Earhart

Dimensions:

3-D: 24.1 x 24.1 x 35.6cm, 10.7kg (9 1/2 x 9 1/2 x 14 in., 23 5/8lb.)

Type:

ART-Sculpture

Country of Origin:

United States of America

Date:

1948

Credit Line:

Gift of Amelia Earhart Post 678, American Legion Auxiliary

Inventory Number:

A19500108000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9b0032470-e1e0-4b84-be4f-e8e0aee03838

EDAN-URL:

edanmdm:nasm_A19500108000

Creator:

Smithsonian Institution  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2014-04-26T16:50:52.000Z

YouTube Category:

Education  Search this

Topic:

Art  Search this

See more by:

SmithsonianArt

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianArt

EDAN-URL:

edanmdm:yt_t9O9Iu9rh4o

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2014-12-18T15:29:27.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_7tZah-bIxpk

Creator:

Cutler-Shaw, Joyce, 1932-  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1974-1977

Summary:

The scattered papers of sculptor Joyce Cutler Shaw measure 0.2 linear feet and date from 1974 to 1977. The papers include a proposal for her work The Lady and the Bird Odyssey, general printed material, and printed copies of letters, photographs, and newsletters relating to Shaw's attempt to erect her ice sculpture We the People in Washington, D.C. on the Capitol grounds.

Scope and Contents:

The scattered papers of sculptor Joyce Cutler Shaw measure 0.2 linear feet and date from 1974 to 1977. The papers include a proposal for her work The Lady and the Bird Odyssey, general printed material, and printed copies of letters, photographs, and newsletters relating to Shaw's attempt to erect her ice sculpture We the People in Washington, D.C. on the Capitol grounds.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Joyce Cutler Shaw (1935-2018) was a sculptor active in San Diego and La Jolla, California, who carved many of her notable works in ice.

Originally from New York, Cutler Shaw received a bachelor's degree from New York University and a master's degree from the University of California, San Diego in visual arts. Her work explored the natural world, human nature, and the built environment within nature.

Provenance:

Donated 1977 by Joyce Cutler Shaw.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Conceptual artists -- California  Search this

Sculptors -- California  Search this

Ice sculptors -- California  Search this

Collagists -- California  Search this

Topic:

Women artists  Search this

Women sculptors  Search this

Citation:

Joyce Cutler Shaw papers, 1974-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.cutljoyc

See more items in:

Joyce Cutler Shaw papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99151b4c5-9a27-46a0-9b31-a6bff0ab8ecf

EDAN-URL:

ead_collection:sova-aaa-cutljoyc

Sculptor:

Rogers, Randolph 1825-1892  Search this

Medium:

Marble

Type:

Sculptures

Owner/Location:

Forest Lawn Museum 1712 S. Glendale Avenue Glendale California 91205

Date:

1856

Topic:

Figure female--Full length  Search this

State of Being--Disabled--Blind  Search this

Literature--Bulwer-Lytton--Last Days of Pompeii  Search this

Literature--Character--Nydia  Search this

Control number:

IAS 02580016

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_297897

Sculptor:

Wilson, Ed 1925-1996  Search this

Medium:

Bronze

Type:

Sculptures

Owner/Location:

San Francisco Museum of Modern Art 151 Third Street San Francisco California 94103 Accession Number: 77.4 A-G

Date:

1966

Topic:

State of Being--Disabled--Physical Disability  Search this

Allegory--Quality--Ignorance  Search this

Abstract  Search this

Control number:

IAS 04280340

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_303946

Sculptor:

Unknown  Search this

Medium:

Sculpture: bronze; Base: marble

Type:

Sculptures

Owner/Location:

Administered by University of California at Los Angeles Jules Stein Eye Institute 100 Stein Plaza Los Angeles California 90024

Located University of California at Los Angeles Doris Stein Eye Research Center, Lobby Los Angeles California

Topic:

Figure male--Nude  Search this

State of Being--Disabled--Blind  Search this

Control number:

IAS CA000318

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_318873

Sculptor:

Sheets, Tony 1942-  Search this

Medium:

Cast concrete

Culture:

Indian  Search this

Spanish  Search this

Chinese  Search this

Type:

Sculptures-Outdoor Sculpture

Sculptures-Relief

Sculptures-Architectural component

Sculptures

Owner/Location:

Administered by Los Angeles Times Times Mirror Square Los Angeles California

Located Los Angeles Times Parking Garage Broadway Street near 2nd Street Los Angeles California

Date:

1988-1989

Topic:

History--United States--California  Search this

Figure group  Search this

Ethnic  Search this

Object--Foodstuff--Nuts  Search this

Occupation--Religion--Clergy  Search this

Architecture--Religious--Mission  Search this

Equestrian  Search this

Occupation--Other--Explorer  Search this

Architecture--Boat--Sailing Ship  Search this

Object--Tool--Shovel  Search this

Object--Tool--Axe  Search this

Architecture--Vehicle--Train  Search this

Occupation--Labor  Search this

Architecture--Vehicle--Carriage  Search this

Occupation--Other--Cowboy  Search this

Animal--Cattle  Search this

Occupation--Education--Teacher  Search this

Architecture--Education  Search this

Landscape--Orchard--Orange Grove  Search this

Architecture--Machine--Oil Rig  Search this

Architecture--Industry--Waterwork  Search this

Architecture--Vehicle--Spacecraft  Search this

Architecture--Vehicle--Airplane  Search this

Cityscape--California--Los Angeles  Search this

Occupation--Art--Architect  Search this

Object--Other--Computer  Search this

Occupation--Science  Search this

Recreation--Sport & Play--Basketball  Search this

State of Being--Disabled--Physical Disability  Search this

Dress--Ethnic--Spanish Dress  Search this

Control number:

IAS CA001379

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_337286

Sculptor:

Taylor, Lee Harris  Search this

Medium:

Bronze

Type:

Sculptures-Outdoor Sculpture

Sculptures

Owner/Location:

St. John's Hospital and Health Center Foundation Child & Family Development Center 1328 22nd Street Courtyard Santa Monica California

Date:

1995

Topic:

Figure female--Full length  Search this

Children  Search this

State of Being--Disabled  Search this

Literature--Unknown--Heaven's Very Special Child  Search this

Control number:

IAS CA001887

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_341467

Sculptor:

Rogers, Randolph 1825-1892  Search this

Medium:

Marble

Type:

Sculptures

Owner/Location:

Los Angeles County Museum of Art 5905 Wilshire Boulevard Los Angeles California 90036 Accession Number: 78.4

Date:

Modeled 1855. Carved ca. 1888

Topic:

Literature--Character--Nydia  Search this

Literature--Bulwer-Lytton--Last Days of Pompeii  Search this

State of Being--Disabled--Blind  Search this

Control number:

IAS 02960003

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_352780

Sculptor:

Roeder, John  Search this

Medium:

Painted concrete

Type:

Sculptures

Owner/Location:

Richmond Art Center 25th & Barrett Avenues Richmond California 94804

Topic:

State of Being--Disabled--Dwarf  Search this

Control number:

IAS 75001220

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_3655

Sculptor:

Rogers, Randolph 1825-1892  Search this

Medium:

Marble

Type:

Sculptures

Owner/Location:

Crocker Art Museum 216 O Street Sacramento California 95814 Accession Number: 1925.3.147

Date:

1885

Topic:

Literature--Character--Nydia  Search this

State of Being--Disabled--Blind  Search this

Control number:

IAS 75001280

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_3715

Creator:

Zorthian, Jirayr, 1912-2004  Search this

Type:

Video recordings

Drawings

Citation:

Jirayr Zorthian papers, circa 1937-2004. Archives of American Art, Smithsonian Institution.

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6517

(DSI-AAA_SIRISBib)215776

AAA_collcode_zortjira

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215776

Artist:

Cauleen Smith, born Riverside, CA 1967  Search this

Medium:

digital video, color, sound, 22:41 minutes

Type:

Media Arts

Date:

2018

Credit Line:

Smithsonian American Art Museum, Museum purchase made possible by the SJ Weiler Fund

Copyright:

© 2020, Cauleen Smith

Object number:

2020.54.1

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Time-Based Media Art

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk719536258-e31e-4549-93c1-718929a1901b

EDAN-URL:

edanmdm:saam_2020.54.1

Creator:

Zorthian, Jirayr  Search this

Extent:

2 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Drawings

Date:

circa 1937-2004

Summary:

The papers of Jirayr Zorthian measure 2.0 linear feet and date from circa 1937 to 2004. The papers document Zorthian's career as a muralist through correspondence with family and friends; an interview, resumes, certificates, writings, and other professional activity material; clippings, exhibition announcements and catalogs, pamphlets on the Zorthian Day Ranch for Children, and other printed material; and photographs of Zorthian, his friends and family, and some of his artwork.

Scope and Contents:

The papers of Jirayr Zorthian measure 2.0 linear feet and date from circa 1937 to 2004. The papers document Zorthian's career as a muralist through correspondence with family and friends; an interview, resumes, certificates, writings, and other professional activity material; clippings, exhibition announcements and catalogs, pamphlets on the Zorthian Day Ranch for Children, and other printed material; and photographs of Zorthian, his friends and family, and some of his artwork.

Correspondence includes letters from family and friends. There are also a small number of letters from colleagues and art institutions in regards to exhibitions. Professional material includes sketches by Zorthian, an interview with Zorthian, writings and observations by Zorthian and others, and financial materials. Also included is "Creative and a Little Bit Crazy," a video recording on the life of Zorthian, and material related to additions made to the Zorthian Day Ranch for Children. Printed material consists of prints of some of Zorthian's artwork, newspaper clippings on Zorthian and the Zorthian Day Ranch for Children, exhibition announcements and catalogs. Photographic material consists of photographs of Zorthian along with friends and family at the Zorthian Day Ranch for Children, photographs of the ranch, and photographs of some of Zorthian's murals.

Arrangement:

The collection is arranged into four series.

Series 1: Correspondence, 1959-2001 (0.2 linear feet; Box 1)

Series 2: Professional Activity Files, 1970-2004 (0.4 linear feet; Box 1)

Series 3: Printed Material, 1959-2001 (0.5 linear feet; Boxes 1-2)

Series 4: Photographic Material, circa 1937-1992 (0.9 linear feet; Box 2)

Biographical / Historical:

Mural painter, painter, sculptor; Los Angeles, Calif.; b. 1911; d. 2004.

Jirayr Zorthian (1911-2004) was a sculptor and mural painter in Los Angeles, California. Born to an Armenian family in the Ottoman Empire, he immigrated to the United States with his family following World War I. Zorthian earned a Masters of Fine Arts from Yale University and went on to study art in Italy during the 1930s. Among some of Zorthian's works are eleven murals for the Tennessee State Capitol, a mural for the United States Post Office in St. Johnsville, New York titled "Early St. Johnsville Pioneers," and "Phantasmagoria of Military Intelligence Training." In the 1960s Zorthian also established a summer camp for children on his ranch, Zorthian Day Ranch for Children.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Jirayr Zorthian conducted by Paul Karlstrom, January 28-July 9, 1997.

Provenance:

Donated 1994 and 1995 by Jirayr Zorthian.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Muralists -- California -- Los Angeles  Search this

Sculptors -- California -- Los Angeles  Search this

Genre/Form:

Video recordings

Drawings

Citation:

Jirayr Zorthian papers, circa 1937-2004. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.zortjira

See more items in:

Jirayr Zorthian papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99b36cf48-2349-4c4e-a1b5-d92ddaae6f4f

EDAN-URL:

ead_collection:sova-aaa-zortjira

Creator:

Fine, Jud, 1944-  Search this

McCarren, Barbara, 1958-  Search this

Type:

Interviews

Citation:

Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.

Topic:

Public art -- United States  Search this

Theme:

Art instruction and services  Search this

Record number:

(DSI-AAA_CollID)22154

AAA_collcode_finejud

Theme:

Art instruction and services

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22154

Creator:

Fine, Jud  Search this

McCarren, Barbara  Search this

Extent:

16.7 Linear feet

0.345 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Date:

circa 1968-2009

Summary:

The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.

Scope and Contents:

The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.

Correspondence is mostly professional in nature and is largely from Jud Fine's early career in the late sixties through the 1970s. There is also come McCarren/Fine correspondence starting in the 1990s as well as some correspondence regarding Barbara McCarren's solo career.

The writings series is comprised primarily of Jud Fine's writing practice associated with his earlier career, including notes and journal entries, lectures by Fine, as well as manuscripts for catalog essays and artist publications, an interview from 1984, and writings on Fine by others.

The personal business series includes exhibition files as well as gallery files containing sale and consignment paperwork, as well as daily business of the studio, primarily pertaining to Jud Fine's earlier career, with some documents pertaining to Barbara McCarren's solo career from the 1990s on.

Project files document various public art works and commissions taken on or applied for by McCarren/Fine, as well as solo projects that date before and after their formal collaboration in 1996. These documents include correspondence, contracts, reports, meeting minutes, renderings and other plans, notes, photographic material and research material, some of which is in digital formats.

Printed material includes various promotional materials for McCarren/Fine and solo projects for Barbara McCarren and Jud Fine, as well as a graphic design magazine publication, and a monographic catalog for a Jud Fine exhibition from 1974. Photographic material includes miscellaneous snapshots and snapshot albums, some of Fine and McCarren, in the studio and with artist friends, as well as an untitled album with study images of a strelitzia plant.

Artwork includes a single, unsigned painted work on canvas that has been cut awat from the frame or support.

Arrangement:

The collection is arranged as seven series:

Series 1: Correspondence, circa 1970-2001 (0.5 Linear feet: Box 1)

Series 2: Writings, circa 1968-2003 (0.5 Linear feet: Box 1)

Series 3: Personal Business, circa 1969-2001 (1 Linear foot: Box 2)

Series 4: Project Files, circa 1988-2009 (14.4 Linear feet: Boxes 2-20; Oversize 21; 0.345 Gigabytes: ER0001-ER0005)

Series 5: Printed Material, circa 1974-1992 (0.2 Linear feet: Box 16)

Series 6: Photographic Material, circa 1970s-2000 (0.1 Linear feet: Box 16)

Series 7: Artwork, circa 1980s (1 Folder: Box 16)

Biographical / Historical:

Jud Fine (1944- ) is a sculptor and educator in Venice, California, as well as former director of the University of Southern California Roski School of Fine Arts. Jud Fine is married to fellow artist, sculptor and installation artist Barbara McCarren (1958-), born in Washington, D.C., and they maintain a studio where they work on projects and commissions both individually and collaboratively.

Born in Los Angeles, Fine received a BA in History from the University of California, Santa Barbara. With a limited artwork portfolio he was lucky enough to be accepted into the Masters of Fine Arts program at Cornell University. Fine's reputation as an artist took hold firmly in the late 1960s and early 1970s, becoming particularly well known for sculpture and mixed media drawings, which established a recognizable style and conceptual framework. He has been represented by Ronald Feldman Gallery in New York City since 1972. He has participated in solo and group exhibitions internationally at institutions including Museum of Contemporary Art, Los Angeles, Los Angeles County Museum of Art, Chicago Art Institute, Museum of Contemporary Art, Chicago, Guggenheim Museum, New York, Yale University Art Museum, Museum Stuki, Poland, University of Sidney, Power Art Institute, Australia and the Pushkin State Museum of Fine Art, Moscow. McCarren received her bachelors of arts degree at UCLA in1980 and would meet Fine during work towards her masters of fine arts at USC in 1986. After nearly a decade of pursuing solo career opportunities including public art commissions, they decided to join forces making collaborative project proposals as McCarren Fine.

As Mccarren/Fine they have executed several works including Waterline a two square block mixed use development in Huntington Beach, CA, Split Mound for the San Francisco Zoo, Mais a 23-acre interactive park in Long beach, CA, Modestopo, the civic center plaza for the City of Modesto and Stanislaus County, CA and both the Central Library and Pershing Square in downtown Los Angeles. Beyond public art commissions, their collaboration has extended to their studio practice, with collaborative exhibitions including a 2002 show in Bangkok, Thailand, that was later expanded with new work for the 2005 show, Currency, at Ronald Feldman Gallery, New York. Together McCarren/Fine have completed around thirty public work projects, and numerous studio projects.

Provenance:

Donated in 2022 by Jud Fine and Barbara McCarren.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Sculptors -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Installation artists -- California -- Los Angeles  Search this

Topic:

Public art -- United States  Search this

Genre/Form:

Interviews

Citation:

Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.finejud

See more items in:

Jud Fine and Barbara McCarren papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c608732e-9329-442c-a514-56242b3018e9

EDAN-URL:

ead_collection:sova-aaa-finejud

Creator:

Russell, Morgan, 1886-1953  Search this

Names:

Alvarez, Mabel, 1891-1985  Search this

Henri, Robert, 1865-1929  Search this

Huston, Walter, 1884-1950  Search this

Kikoïne, Michel, 1892-1968  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Stein, Leo, 1872-1947  Search this

Stravinsky, Igor, 1882-1971  Search this

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Extent:

6.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1977

Summary:

The Morgan Russell papers, 1891-1977, present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence, biographical material, transcripts of lectures given by Russell, illustrated notebooks and sketches, printed material and photographs.

Scope and Content Note:

The Morgan Russell papers present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence with many prominent individuals who played a role in Russell's artistic development; biographical material primarily documenting his activities in Europe; transcripts of lectures given by Russell; illustrated notebooks and sketches documenting his interest in, and development of, color theory, music and Synchromism; printed material such as exhibition announcements, catalogs and clippings; and photographs of Russell, his wife, friends and artwork.

Arrangement:

The collection is arranged as 7 series according to record type and reflecting the lender's arrangement. With the exception of Series 1: Correspondence, all series are arranged chronologically.

Missing Title

Series 1: Correspondence, 1909-1964 (Reels 4524-4527)

Series 2: Biographical Material, 1925-1941 (Reel 4527)

Series 3: Business Records, 1911-1946 (Reel 4527)

Series 4: Writings, 1931-1953 (Reel 4527)

Series 5: Unbound Notes and Sketches, 1891-1977 (Reels 4528-4538)

Series 6: Printed Material, 1908-1963 (Reels 4539-4541)

Series 7: Photographs, 1908-1948 (Reel 4542)

Biographical Note:

Painter and sculptor Morgan Russell was born in New York City. He studied at the Art Students League and the New York School of Art with James Earle Fraser, Andrew Dasburg and Robert Henri from 1906 to 1907, before settling in Paris in 1909 where he remained for almost forty years. After meeting Stanton Macdonald-Wright in 1911, he became interested in Synchromism and studied with Canadian color theorist Ernest Tudor-Hart. In 1913 Russell produced the first abstract Synchromies and in 1917 developed a series of Synchromies entitled EIDOS. He visited California in the early 1930s, teaching at the Chouinard School of Art in Los Angeles from 1931-1932, in addition to lecturing at museums in Los Angeles and San Francisco. Russell left France permanently in 1946 and died in Pennsylvania in 1953.

Provenance:

The Morgan Russell papers were lent to the Archives of American Art for microfilming by the Montclair Art Museum in 1991. The material was returned to the lender in 1992.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Topic:

Synchromism (Art)  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Citation:

Morgan Russell papers, 1891-1977. Microfilm reels 4524-4542. Originals in the Montclair Art Museum.

Identifier:

AAA.russmorg

See more items in:

Microfilm of the Morgan Russell papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw978433968-7693-4610-a726-1f731d84a594

EDAN-URL:

ead_collection:sova-aaa-russmorg

Creator:

Zorach Family  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Adams, Ansel, 1902-1984  Search this

Cunningham, Imogen, 1883-1976  Search this

Ipcar, Dahlov, 1917-2017  Search this

Newman, Arnold, 1918-2006  Search this

Partridge, Roi, 1888-1984  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, Tessim  Search this

Zorach, William, 1887-1966  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Date:

1900-1987

Summary:

The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

Scope and Content Note:

The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.

Arrangement:

The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)

Biographical Note:

William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.

Related Material:

The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.

Separated Material:

The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.

Provenance:

William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.

Restrictions:

Use of originals 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:

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Weavers  Search this

Topic:

Art -- Collectors and collecting -- New York (State) -- New York  Search this

Artist couples  Search this

Artists' studios -- Photographs  Search this

Works of art  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Citation:

The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.zorazora

See more items in:

The Zorach family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99b759247-30c2-4d06-9c75-1c7b0054f5d5

EDAN-URL:

ead_collection:sova-aaa-zorazora

Interviewee:

Gordin, Sidney, 1918-1996  Search this

Interviewer:

Seckler, Dorothy Gees, 1910-1994  Search this

Names:

Cooper Union for the Advancement of Science and Art -- Students  Search this

Pratt Institute -- Faculty  Search this

Harrison, Wallace, 1900-  Search this

Hofmann, Hans, 1880-1966  Search this

Jewell, Edward Alden, 1888-1947  Search this

Kantor, Morris, 1896-1974  Search this

Picasso, Pablo, 1881-1973  Search this

Pollock, Jackson, 1912-1956  Search this

Rosenborg, Ralph M., 1913-1992  Search this

Thomas, Byron, 1902-1978  Search this

Extent:

23 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1965 Sept. 2

Scope and Contents:

An interview of Sidney Gordin conducted 1965 Sept. 2, by Dorothy Seckler, for the Archives of American Art.

Gordin speaks of immigrating to the United States from Shanghai, China in 1922; being the class artist in grade school; attending Brooklyn Technical High School; studying at the WPA art school at the Brooklyn Museum for a summer; attending the Cooper Union School of Art; encountering Cubism; working as a commercial artist and making cartoons; teaching at the Pratt Institute; and alternating, as inspiration strikes, between painting and sculpture; and Constructivist philosophy. Gordin also mentions Ralph Rosenborg, Tom Eldred, Carol and Wallace Harrison, Edward Alden Jewell, Pablo Picasso, Byron Thomas, Morris Kantor, Hans Hofmann, Paul Clay, Jackson Pollock, and others.

Biographical / Historical:

Sidney Gordin (1918-1996) was a sculptor and educator from Berkeley, Calif.

General:

Originally recorded on 1 sound tape. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 1 min.

Provenance:

These interviews are 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 others.

Occupation:

Art teachers -- California -- Berkeley -- Interviews  Search this

Painters -- California -- Berkeley  Search this

Topic:

Art, American  Search this

Sculptors -- California -- Berkeley -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.gordin65

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aa58f1bb-73cd-4791-a140-3dab28df15d5

EDAN-URL:

ead_collection:sova-aaa-gordin65