Search Results

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:

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

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

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  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:

Kadish, Reuben, 1913-1992  Search this

Names:

Ashton, Dore  Search this

Cherry, Herman  Search this

Conant, Howard  Search this

De Kooning, Willem, 1904-1997  Search this

Guston, Philip, 1913-1980  Search this

Hiler, Hilaire, 1898-1966  Search this

Langsner, Jules, 1911-1967  Search this

Neininger, Urban  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Pollock, Charles C.  Search this

Pollock, Jackson, 1912-1956  Search this

Siqueiros, David Alfaro  Search this

Tully, Judd  Search this

Extent:

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Date:

1851-1995

bulk 1913-1995

Summary:

This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Scope and Content Note:

The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.

Arrangement:

The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Missing Title

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)

Biographical Note:

Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.

Related Material:

Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.

Provenance:

The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.

Restrictions:

The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.

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:

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

Muralists -- California  Search this

Sculptors -- California  Search this

Genre/Form:

Drawings

Photographs

Citation:

Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kadireub

See more items in:

Reuben Kadish papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974482335-aae0-4e72-8e41-8c2fb3fe28f8

EDAN-URL:

ead_collection:sova-aaa-kadireub

Creator:

Novros, David, 1941-  Search this

Names:

Bui, Phong, 1964-  Search this

Colpitt, Frances  Search this

Graham, Robert, 1938-  Search this

Hope, Charles  Search this

Humblet, Claudine, 1946-  Search this

Judd, Donald, 1928-  Search this

McEwen, Rory, 1932-  Search this

Pollock, Jackson, 1912-1956  Search this

Price, Kenneth, 1935-2012  Search this

Extent:

1 Linear foot

Type:

Collection descriptions

Archival materials

Poems

Transcripts

Interviews

Illustrated letters

Diaries

Date:

1963-2008

Summary:

The papers of abstract painter David Novros are dated 1963 to 2008, and measure 1.0 linear foot. Correspondence, records relating to the Liaunig Boat House commission (Middleburgh, NY), interview transcripts, printed material, and photographs document the painter's professional career.

Scope and Content Note:

The papers of abstract painter David Novros are dated 1963 to 2008, and measure 1.0 linear foot. Correspondence, records relating to the Liaunig Boat House commission (Middleburgh, NY), interview transcripts, printed material, and photographs document the painter's professional career.

The vast majority of correspondence consists of incoming letters. The only reciprocal exchanges preserved are with art historian Charles Hope and the Menil Collection. Letters are from artists Rory McEwen, Paul Mogensen, and Ken Price; writers Frances Colpitt and Claudine Humblet; and from other colleagues and friends. The letters David Novros wrote to his family between 1963 and 1979 recount his travels and describe in some detail - many with accompanying illustrations and diagrams - work in progress, exhibitions, and commissions. Also preserved are copies of his letters to the Trustees of the Donald Judd Estate and Ranier Judd concerning the Marfa, Texas properties and projects, his Spring Street studio in New York City, and the Judd Foundation. Novros's letters to editors concern art-related articles that appeared in The New York Review of Books, The New York Times, Los Angeles Times, and other publications.

Peter Liaunig's commission for a boat house with three fresco paintings in Middleburgh, New York, is documented by correspondence, plans, and designs. The "Boat House Diary, Middleburgh, NY," kept by Novros August 10-15, 2003, describes the process of painting the frescoes with the assistance of Jason, and notes materials and techniques used.

Interview transcripts are of Phong Bui's conversation with David Novros, published June 2008 in The Brooklyn Rail, and an unpublished interview Novros conducted with sculptor Robert Graham in 2008.

Printed material about or mentioning David Novros consists of articles and reviews, exhibition announcements and posters. Items written by Novros are a review of Jackson Pollock and two poems.

Photographs are of David Novros with his family and friends. There are also views of the Novros family's home in Van Nuys, California, and Indian-painted rocks at Sears Point, Arizona that influenced Novros' art.

Arrangement:

The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, 1963-2008 (Boxes 1-2; 0.4 linear ft.)

Series 2: Liaunig Boat House, 1998-2004 (Box 2, OV3; 0.2 linear ft.)

Series 3: Interview Transcripts, 2008 (Box 2; 0.1 linear ft.)

Series 4: Printed Material, 1966-2008 (Box 2, OV 4; 0.2 linear ft.)

Series 5: Photographs, 1976-1999 (Box 2; 0.1 linear ft.)

Biographical Note:

David Novros (1941-) is an abstract painter in New York, NY.

Abstract painter David Novros was born in Los Angeles in 1941 and lived with his family in Van Nuys, California. His father, Lester Novros, was an artist whose interest in movement eventually led him to the Walt Disney Company, where he worked on animation projects. In 1941 he established his own production company, Graphic Films, and began teaching in the Cinema Department of the University of Southern California. Both David and his brother Paul were enamored with film; David turned to painting, but Paul followed in their father's line of work and became an award-winning film producer.

David entered the University of Southern California and studied painting with James Jervaisee. He made a few student films and sometimes worked with his father, but before long he turned to painting. During the summer of 1961, Novros attended courses at Yale and met Chuck Close, Brice Marden, and Vija Celmins.

After earning a B.F.A. in 1963, Novros completed his Army Reserve obligations and travelled in Europe. He moved to New York City in 1964 and met many Minimalist artists. Over the next several years, Novros's rectangular paintings gave way to multi-panel paintings and then to shaped panels. From the late 1960s through the 1970s, Novros developed a reputation as a geometric abstractionist. He showed at Park Place Gallery and had a solo exhibition at Virginia Dwan Gallery (Los Angeles) in 1966; the next year, his work was again presented at Park Place Gallery and at the Virginia Dwan Gallery (New York). Several solo exhibitions followed at Klaus Kertess's influential Bykert Gallery, as well as at other venues.

Novros participated in important exhibitions of abstraction, among them "Systemic Painting" (Guggenheim Museum, 1966), "Color and Structure" (Whitney Museum of American Art, 1971), and "Abstract-Geometry-Painting: Selected Geometric Abstract Painting in America since 1945" (Albright-Knox Gallery, 1989). In 1970, he was awarded a Guggenheim Foundation Fellowship.

In the 1970s, Novros turned to fresco painting, and his eventual decision to focus on murals effectively removed him from the commercial gallery scene. One of his earliest commissions was a fresco painted in 1970 for the second floor of Donald Judd's studio/home. Other commissions include: Solar Triptych, a radial triptych that opens and closes throughout the day, for the lobby of Union Station, Newark, NJ (1984); a fresco in the Old Court House, Miami (1984); a painted-glass and copper fresco in the Gross Building, Winslow, Arizona (1994-1996); and the Liaunig Boat House with fresco paintings, Middleburgh, NY (1996-2003). A number of museums in the United States and Europe include Novros's work in their permanent collections, among them: Menil Collection, Museum of Modern Art, Whitney Museum of American Art, Museum Liaunig (Austria), and Daimler contemporary (Berlin).

Mr. Novros lives and works in New York City.

Related Material:

An oral history interview with David Novros was conducted by Michael Brennan for the Archives of American Art in 2008.

Provenance:

Gift of David Novros, 2009

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.

Topic:

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

Painting -- Technique  Search this

Genre/Form:

Poems

Transcripts

Interviews

Illustrated letters

Diaries

Citation:

David Novros papers, 1963-2008. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.novrdavi

See more items in:

David Novros papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97500999c-12e4-49d2-9d4e-a6790aeba4d0

EDAN-URL:

ead_collection:sova-aaa-novrdavi

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

Culture/People:

probably Tapirapé (Tapirape) (attributed)  Search this

Previous owner:

Harry A. Franklin Gallery  Search this

George Rickey, Non-Indian, 1907-2002  Search this

Edith L. Rickey (Mrs. George Rickey), Non-Indian  Search this

Donor:

George Rickey, Non-Indian, 1907-2002  Search this

Edith L. Rickey (Mrs. George Rickey), Non-Indian  Search this

Object Name:

Mask

Media/Materials:

Wood, feather/feathers, paint, mother-of-pearl, cotton cloth, reed, wax, fish tooth/teeth, twine/string

Techniques:

Carved

Dimensions:

56 x 78 x 2 cm

Object Type:

Masks and Masking

Place:

Mato Grosso State, Central-West Region; Brazil

Catalog Number:

25/702

Barcode:

250702.000

See related items:

Tapirapé (Tapirape)

Masks and Masking

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6d0f03bad-a420-4ff0-8d92-55ca45329495

EDAN-URL:

edanmdm:NMAI_266219

Creator:

Finkel, Bruria, 1932-  Search this

Extent:

15.3 Linear feet

83.815 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Video recordings

Sound recordings

Date:

1953-2020

Summary:

The papers of California artist, curator, and educator Bruria Finkel measure 15.3 linear feet and 83.815 GB, and date from 1953 to 2021. This collection includes biographical materials, correspondence, writings, project files, professional records, exhibition files, artists' files, personal business records, printed and digital materials, photographic materials, and sound and video recordings.

There is a 3.2 linear foot and .225 GB unprocessed addition to this collection donated in 2021 and 2022 that includes photographs, film photo slides and slides of works of art; printed material; biographical material; research material regarding papermaking in Japan; journals; project and exhibition files; interviews with Bruria and others on audio cassette, mini DVs and ¼ inch reels; and 16 mm film "Bruria" sequence from Art in America Part 5- Art Careers; and a video, Artist Talk with Bruria Finkel, October 21, 2021, created by the Southern California Women Caucus for the Arts for Third Thursday Artist Talk Time. Material dates from circa 1960-2021.

Scope and Contents:

The papers of California artist, curator, and educator Bruria Finkel measure 15.3 linear feet and 83.815 GB, and date from 1953 to 2021. This collection includes biographical materials, correspondence, writings, project files, professional records, exhibition files, artists' files, personal business records, printed and digital materials, photographic materials, and sound and video recordings.

Biographical materials include curriculum vitae, art portfolios, documents about studios, honors and awards, website designs and contents, travel documents, family-related video recordings, and miscellaneous items.

The bulk of the correspondence consists of professional correspondence with artists, curators, museums, and galleries about exhibitions. There is some personal correspondence with friends and family.

Writings include an annotated appointment calendar, book proposals, notes, and typescript drafts of statements and articles by Bruria Finkel, along with some writing by others.

Project files include correspondence, proposals, designs, photographic material, notes, budgets, reports, invoices, and printed and digital materials. Notable projects include the Natural Elements Sculpture Park, Tibet Project, and Verona Hotel Wall.

Professional records document Finkel's feminist and political activities. There are membership records of organizations, councils, and committees in addition to files on symposiums, conferences, workshops, and artist residencies. This series includes reports, correspondence, grant applications, mailing lists, presentations, video cassettes and digital video recordings, and other material.

Exhibition files contain material related to exhibitions that featured Bruria Finkel's work as well as exhibitions she curated. There are press releases, reviews, catalogs, correspondence, photographs, digital photographs, slides, price lists, resumes, videocassettes, and digital video recordings. Major exhibitions include Across Time, Space and The Ages (1992-1993), On Xenophobia and Walls (1997), and Women Artists of Southern California Then and Now (2007).

Artists' files consist of limited correspondence, resumes, photographs, and printed and digital materials.

Personal business records include assorted financial and legal documents such as price lists, sales invoices, contracts, and a financial ledger.

Printed material consists of exhibition catalogs, announcements, clippings, newspapers, magazines, documentaries, and news programs. Some of the materials are in digital format. Most of the material is related to Bruria Finkel, but there is some material on other artists and subjects.

Photographic materials include photographs, digital photographs, and slides. Photographs are of Bruria Finkel, her artwork, projects, and exhibitions. There are some photographs of family, friends, and travel.

There is a 3.2 linear foot and .225 GB unprocessed addition to this collection donated in 2021 and 2022 that includes photographs, film photo slides and slides of works of art; printed material; biographical material; research material regarding papermaking in Japan; journals; project and exhibition files; interviews with Bruria and others on audio cassette, mini DVs and ¼ inch reels; and 16 mm film "Bruria" sequence from Art in America Part 5- Art Careers; and a video, Artist Talk with Bruria Finkel, October 21, 2021, created by the Southern California Women Caucus for the Arts for Third Thursday Artist Talk Time. Material dates from circa 1960-2021.

Arrangement:

The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1977-circa 2014 (0.5 linear feet; Box 1, 15.64 GB; ER01-ER13)

Series 2: Correspondence, 1953-2014 (2.5 linear feet; Boxes 1-3)

Series 3: Writings, 1978-circa 2010 (0.2 linear feet; Box 4)

Series 4: Project Files, 1979-2014 (2.1 linear feet; Boxes 4-6, OV 14, 2.01 GB; ER14-ER20)

Series 5: Professional Records, 1971-2013 (1.6 linear feet; Boxes 6-7, OV 14, 0.941 GB; ER21-ER22)

Series 6: Exhibition Files, 1972-2012 (3.2 linear feet; Boxes 7-10, OV 15, 54.34 GB; ER23-ER49)

Series 7: Artists' Files, 1979-2013 (0.3 linear feet; Boxes 10-11, 4.47 GB; ER50-ER55)

Series 8: Personal Business Records, 1977-2007 (0.2 linear feet; Box 11)

Series 9: Printed Materials, 1970-2014 (1 linear feet; Boxes 11-12, OV 15-16, 1.01 GB; ER56-ER58)

Series 10: Photographic Materials, circa 1963-2014 (0.5 linear feet; Boxes 12-13, 5.18 GB; ER59-ER66)

Series 11: Unprocessed Addition, 2021 and 2022 (Boxes 17-19, OV 20-21, .225 GB)

Biographical / Historical:

Bruria Finkel (1932-) is an artist, curator and teacher based in Santa Monica, California.

Bruria Finkel was born in Jerusalem in 1932. She studied animal husbandry at Ayanot Agriculture School and received a teaching degree from Seminar Hakibutzim in Tel Aviv, Israel. In 1953, she married a musician and immigrated to the U.S. Their two daughters were born in New York City. In 1959, she divorced and moved to Santa Monica, California with her children. She later married David Finkel, a civil rights lawyer who went on to become a Superior Court judge, with whom she had a son and daughter.

Finkel works with a variety of mediums including pottery, paper, painting, porcelain, and sculpture. She has exhibited widely and her work has been featured in galleries and museums in California, across the country, and abroad. Major exhibitions include Across Time, Space and The Ages (1992-1993) at the Dusseldorf Stadtmuseum in Germany, On Xenophobia and Walls (1997) at the Mill Gallery in England, and The Complete Aleph Series (2009) at Track 16 Gallery in California.

In addition to being a prolific artist, Finkel also has a successful career as a curator. She has curated major exhibitions featuring artists such as Lita Albuquerque, John Baldessari, and Frank Gehry. Santa Monica Originals (2004-2005), Women Artists of Southern California Then and Now (2007), and Breaking in Two: Provocative Images of Motherhood (2012) are a few of the exhibitions she has curated.

Finkel has a long history of political activism and advocating for women. She helped establish the Santa Monica Arts Commission which is dedicated to creating city art programs. She is also a founding member of the Los Angeles County of Women Artists and Womenspace Gallery in Los Angeles. She continues to be actively involved in the Santa Monica community and art scene.

Provenance:

The Bruria Finkel papers were donated in 2015 and 2020-2022 by Bruria Finkel.

Restrictions:

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

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Sculptors -- California  Search this

Curators -- California  Search this

Photographers -- California  Search this

Painters -- California  Search this

Educators -- California  Search this

Topic:

Art -- Study and teaching  Search this

Political activists  Search this

Feminism and art  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Women photographers  Search this

Women educators  Search this

Genre/Form:

Photographs

Video recordings

Sound recordings

Citation:

Bruria Finkel papers, 1953-2021. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.finkbrur

See more items in:

Bruria Finkel papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f7f8c06a-1c5c-4b40-8ef9-338b4828d241

EDAN-URL:

ead_collection:sova-aaa-finkbrur

Creator:

McGrath, James A.  Search this

Names:

Rauschenberg, Robert, 1925-2008  Search this

Tobey, Mark  Search this

Wiley, William T., 1937-2021  Search this

Extent:

5.4 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Poems

Prints

Postcards

Paintings

Sketches

Illustrated letters

Christmas cards

Photographs

Date:

1950-2011

Summary:

The papers of arts educator James A. McGrath measure 5.4 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.

Scope and Content Note:

The papers of arts educator James A. McGrath measure 5.4 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.

James McGrath's papers regarding his artist's residencies and workshops are currently unprocessed.

Wiley's high school student files consist of exams and two Columbia High School yearbooks with contributions from Wiley. Correspondence includes mostly letters written from Wiley to McGrath, some of which are illustrated. There are also Christmas cards, postcards, prints and a wedding invitation and photograph of Wiley and his wife Mary. Wiley writes about his artwork, family, travels and his mother's death. There are also letters to McGrath from Wiley's first and second wives, Dorothy and Mary, his mother, and artists Robert Rauschenberg and Mark Tobey.

Printed materials include exhibition catalogs and announcements, news and magazine clippings, and the books Distraction, Lyrica and Almost Old/New Poems, all illustrated by Wiley.

Artwork by Wiley includes block prints, sketches and drawings, poems, paintings, prints and posters. Photographs are of Wiley's high school yearbook staff, art work and exhibitions, and a dinner honoring Wiley. There is a signed high school photograph of Wiley and a booklet of photographs of an exhibition of McGrath's art. There are also slides of artwork by Wiley, Bob Hudson and Bill Allan.

Arrangement:

The papers are arranged as 2 series.

Missing Title

Series 1: James A. McGrath Papers Concerning William T. Wiley (Box 1-3, OVs 4-6; 2.0 linear feet)

Series 2: Unprocessed James A. McGrath Papers, circa 1990-1995 (Boxes 7-9, OVs 10-12)

Biographical Note:

Arts educator James A. McGrath was a high school art teacher at Columbia High School in Richland, Washington where he taught William T. Wiley in the mid-1950s. They remained life-long friends. Later, McGrath worked at the Institute of American Indian Arts in Santa Fe as Director of Arts, Professor of Painting, and Dean. In 1973 he became Director of Arts, Humanities and Culture in the Department of Defense and was stationed in Japan, Korea, Okinawa, Taiwan and the Philippines. He also worked for the United States Information Agency in Yemen, Saudi Arabia and the Republic of the Congo. He continues to be active as an arts education specialist.

William T. Wiley (1937-2021) was a contemporary artist painting and teaching primarily in the San Francisco area. His artwork is associated with the Bay area Funk Movement. Wiley studied at the California School of Fine Arts and completed his MFA in 1962. One year later he joined the faculty of the UC Davis art department along with artists Robert Arneson and Roy DeForest. Wiley's students included Bruce Nauman and Deborah Butterfield.

Wiley's first solo exhibition was held at the San Francisco Museum of Modern Art in 1960, and he had works in the Venice Biennial (1980) and Whitney Biennial (1983), as well as major exhibitions at the San Francisco Museum of Modern Art and the M.H. de Young Memorial Museum in San Francisco. His artwork is in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden and the Los Angeles County Museum of Art, among many others. Wiley was the recipient of the Guggenheim Fellowship Award in 2004 and, in 2009, the Smithsonian American Art Museum presented a retrospective exhibition of Wiley's career.

Related Material:

The Archives of American Art also holds several collections related to William T. Wiley including an oral history interview conducted by Paul J. Karlstrom, October 8-November 20, 1997 and the William T. Wiley illustrated journals on microfilm reel 910. The University of Washington also holds papers of James A. McGrath.

Separated Material:

Six Documenta catalogs, originally donated to AAA with the James A. McGrath Papers Concerning William T. Wiley, were transferred to the Smithsonian Institution Libraries.

Provenance:

The papers were donated by James A. McGrath in five accessions between 2010-2015. A drawing on tree bark was donated by William T. Wiley in 2016.

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:

Sculptors -- California -- San Francisco  Search this

Painters -- California -- San Francisco  Search this

Topic:

Performance artists -- California -- San Francisco  Search this

Illustrators -- California -- San Francisco  Search this

Genre/Form:

Drawings

Poems

Prints

Postcards

Paintings

Sketches

Illustrated letters

Christmas cards

Photographs

Citation:

James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.mcgrjame

See more items in:

James A. McGrath papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f46f5e33-d56b-4f72-9bdc-6c6a5de8071b

EDAN-URL:

ead_collection:sova-aaa-mcgrjame

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 61, Folder 36

Type:

Archival materials

Date:

1975, 1992-1993

Collection Restrictions:

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.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cec61759-0e88-4287-8858-77efd96179fe

EDAN-URL:

ead_component:sova-aaa-andremmg-ref3054

Sculptor:

Ball, Thomas 1819-1911  Search this

Assistant:

Couper, William 1853-1942  Search this

Founder:

Royal Foundry  Search this

Medium:

Bronze

Type:

Sculptures-Outdoor Sculpture

Sculptures

Owner/Location:

Owned by Forest Lawn Museum 1712 S. Glendale Avenue Glendale California 91205

Located at Forest Lawn Memorial Park 6300 Forest Lawn Drive Los Angeles California 90068

Date:

Ca. 1870's

Topic:

State of Being--Other--Imprisonment  Search this

Figure female--Full length  Search this

Control number:

IAS 02580028

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_297909

Sculptor:

Otterness, Tom 1952-  Search this

Fabricator:

Hildebrand, Mark  Search this

Willis Construction Company  Search this

MJM Studios  Search this

Medium:

Sculpture: bronze; Base: bronze; Frieze: cast concrete

Type:

Sculptures-Outdoor Sculpture

Sculptures-Architectural component

Sculptures-Relief

Sculptures-Fountain

Sculptures

Owner/Location:

Administered by United States General Services Administration Washington District of Columbia

Located Edward R. Roybal Federal Building 255 East Temple Street Los Angeles California

Date:

1982-1991. Installed 1992

Topic:

Abstract  Search this

Figure group  Search this

Figure--Child  Search this

Figure female  Search this

Object--Other--Globe  Search this

State of Being--Other--Imprisonment  Search this

Occupation--Labor  Search this

Control number:

IAS CA001322

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_337155

Photographer:

Jacobs, Mimi  Search this

Names:

Adams, Ansel, 1902-1984 -- Photographs  Search this

Adams, Mark, 1925-2006 -- Photographs  Search this

Allan, William George, 1936- -- Photographs  Search this

Anderson, Jeremy, 1921-1982 -- Photographs  Search this

Armer, Ruth, 1896-1977 -- Photographs  Search this

Arneson, Robert, 1930-1992  Search this

Arnoldi, Charles, 1946- -- Photographs  Search this

Asawa, Ruth -- Photographs  Search this

Beall, Dennis Ray, 1929- -- Photographs  Search this

Beasley, Bruce, 1939- -- Photographs  Search this

Bechtle, Robert, 1932-2020 -- Photographs  Search this

Bengston, Billy Al -- Photographs  Search this

Benton, Fletcher, 1931- -- Photographs  Search this

Berlant, Anthony -- Photographs  Search this

Bischoff, Elmer, 1916-1991 -- Photographs  Search this

Blunk, J. B., 1926- -- Photographs  Search this

Brice, William, 1921-2008 -- Photographs  Search this

Brown, Joan, 1938-1990  Search this

Celmins, Vija, 1938- -- Photographs  Search this

Chicago, Judy, 1939- -- Photographs  Search this

Conner, Bruce, 1933-2008 -- Photographs  Search this

Cunningham, Imogen, 1883-1976 -- Photographs  Search this

De Forest, Roy, 1930-2007 -- Photographs  Search this

DeFeo, Jay, 1929-1989 -- Photographs  Search this

DeLap, Tony, 1927-2019 -- Photographs  Search this

Dickinson, Eleanor, 1931- -- Photographs  Search this

Diebenkorn, Richard, 1922-1993 -- Photographs  Search this

Dill, Guy, 1946- -- Photographs  Search this

Falkenstein, Claire, 1908-1997 -- Photographs  Search this

Francis, Sam, 1923- -- Photographs  Search this

Gilhooly, David -- Photographs  Search this

Goldyne, Joseph R.  Search this

Gooch, Gerald -- Photographs  Search this

Gordon, Russell Talbert, 1936- -- Photographs  Search this

Graham, Robert, 1938- -- Photographs  Search this

Hedrick, Wally, 1928-2003 -- Photographs  Search this

Holland, Tom, 1936- -- Photographs  Search this

Hopkins, Henry, 1928-2009  Search this

Howard, Robert Boardman, 1896-1983 -- Photographs  Search this

Hudson, Robert, 1938- -- Photographs  Search this

Ihle, John Livingston, 1925- -- Photographs  Search this

Irwin, Robert, 1928- -- Photographs  Search this

Johnson, Robert E. (Robert Emory), 1932- -- Photographs  Search this

Kauffman, Craig, 1932-2010  Search this

Light, Alvin, 1931- -- Photographs  Search this

Lobdell, Frank, 1921- -- Photographs  Search this

Martin, Bill, 1943- -- Photographs  Search this

McLean, Richard Thorpe, 1934- -- Photographs  Search this

Mullican, Lee, 1919-1998 -- Photographs  Search this

Nauman, Bruce, 1941- -- Photographs  Search this

Neri, Manuel, 1930- -- Photographs  Search this

Noguchi, Isamu, 1904-1988 -- Photographs  Search this

Oliveira, Nathan, 1928-2010 -- Photographs  Search this

Paris, Harold, 1925-1979 -- Photographs  Search this

Raffael, Joseph, 1933- -- Photographs  Search this

Ramos, Mel, 1935-2018 -- Photographs  Search this

Reichman, Fred, 1925- -- Photographs  Search this

Richardson, Sam, 1934- -- Photographs  Search this

Ruscha, Edward -- Photographs  Search this

Saar, Betye -- Photographs  Search this

Saunders, Raymond, 1934- -- Photographs  Search this

Shaw, Richard, 1941 Sept. 12- -- Photographs  Search this

Siegriest, Louis B., 1899- -- Photographs  Search this

Sinton, Nell, 1910-1997 -- Photographs  Search this

Thiebaud, Wayne -- Photographs  Search this

Todd, Mike, 1935- -- Photographs  Search this

Valledor, Leo, 1936-1989 -- Photographs  Search this

Villa, Carlos, 1936-2013 -- Photographs  Search this

Voulkos, Peter, 1924-2002 -- Photographs  Search this

Wasserstein, Julius -- Photographs  Search this

Wiley, William T., 1937-2021  Search this

Woelffer, Emerson, 1914- -- Photographs  Search this

Wonner, Paul, 1920-2008 -- Photographs  Search this

Zammitt, Norman, 1931- -- Photographs  Search this

Extent:

140 Items (photographic prints, b&w)

Type:

Collection descriptions

Archival materials

Date:

1971-1981

Scope and Contents:

Photographs of artists, many from the San Francisco Bay Area, taken by Mimi Jacobs.

Artists photographed: Ansel Adams, Robert Arneson, Ruth Asawa, Billy Al Bengston, Fletcher Benton, Robert Bechtle, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert B. Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Raymond Saunders, Richard Shaw, Louis Siegriest, Nell Sinton, Wayne Thiebaud, DeWain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William T. Wiley, Emerson Woelffer.

Photographs of Mark Adams, William Allan, Jeremy Anderson, Ruth Armer, Charles Arnoldi, Dennis Beall, Bruce Beasley, Tony Berlant, Elmer Bischoff, Vija Celmins, Judy Chicago, Bruce Conner, Roy de Forest, Tony DeLap, Guy Dill, Claire Falkenstein, Gerald Gooch, Russell Gordon, Wally Hedrick, Tom Holland, Robert Hudson, Robert Emory Johnson, Frank Lobdell, Robert Craig Kaufman, Richard McLean, Bill Martin, Manuel Neri, Bruce Nauman, Nathan Oliveira, Mel Ramos, Sam Richardson, Michael Todd, Julius Wasserstein, Paul Wonner and Norman Zammitt.

In 1999, additional photographs were donated including many duplicates of the previous donations. These include 50 mounted photographs of West Coast artists, twenty-four of which were exhibited in 1980 at the Museum of Contemporary Art, Los Angeles, and published in 50 West Coast Artists: A Critical Selection of Painters and Sculptors (1981, Chronicle Books). Photographs are of Ansel Adams, Robert Arneson, Billy Al Bengston, Robert Bechtle, Fletcher Benton, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Richard Shaw, Louis Siegrist, Nell Sinton, Wayne Thiebaud, De Wain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William Wiley, and Emerson Woeffer.

Biographical / Historical:

Photographer; Kentfield, Calif.; b. 1911; d. April 1, 1999. Known in the San Francisco Bay Area for her portraits of prominent local figures, many of whom were artists. She eventually expanded her scope beyond Northern California to included artists in the Los Angeles region as well. These images were widely reproduced in books and in exhibitions and in many cases became the portraits by which the individuals were best known. Among her subjects were Ed Ruscha, Robert Graham, Peter Voulkos, Joan Brown, Isamu Noguchi, Jay DeFeo, Wayne Thiebaud, Imogen Cunningham, and Richard Diebenkorn. Several exhibitions were devoted to the photographs as independent works of art, an acknowledgement of their pictorial qualities as well as their value as documents.

Provenance:

Donated 1976-1992 by Mimi Jacobs. Additional photos, many of them duplicates of previous donations, were donated in 1999 by Leslie Fleming, Jacobs' daughter, for the Estate.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Photographers -- California  Search this

Topic:

Artists -- California -- Portraits  Search this

Artists -- California -- Photographs  Search this

Identifier:

AAA.jacomimi

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99e52eeab-c8aa-437c-9967-ac2af528c69f

EDAN-URL:

ead_collection:sova-aaa-jacomimi

Creator:

Langsner, Jules, 1911-1967  Search this

Names:

Art Institute of Chicago  Search this

Art in America  Search this

California Watercolor Society  Search this

Ford Foundation  Search this

Graham Foundation for Advanced Studies in the Fine Arts  Search this

International Association of Art Critics  Search this

Los Angeles County Museum of Art  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

New York Times  Search this

Pasadena Art Museum  Search this

Santa Barbara Museum of Art  Search this

Solomon R. Guggenheim Museum  Search this

University of Southern California -- Faculty  Search this

Adams, Clinton, 1918-2002  Search this

Brice, William, 1921-  Search this

Feitelson, Lorser, 1898-1978  Search this

Feldman, Eddy  Search this

Fogg, Adelaide  Search this

Guston, Musa  Search this

Guston, Philip, 1913-1980  Search this

Harwood, June  Search this

Kadish, Reuben, 1913-1992  Search this

Lebrun, Rico, 1900-1964  Search this

Lundeberg, Helen, 1918-  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Perls, Frank, 1910-1975  Search this

Ray, Julie  Search this

Ray, Man, 1890-1976  Search this

Turnbull, William, 2002  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Articles

Sound recordings

Essays

Lectures

Drafts (documents)

Manuscripts

Poems

Date:

circa 1910s-1998

bulk 1950-1967

Summary:

The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings normal="1941"> travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.

Scope and Contents note:

The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.

Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling.

The 0.9 linear feet of correspondence is of both a personal and professional nature. A significant portion of the correspondence is between Langsner and publications for which he wrote such as Art News, the New York Times, Meridian Books, Craft Horizons, Art International, and Art in America; galleries and museums where he lectured or curated exhibitions including the Art Institute of Chicago, California Water Color Society, Los Angeles County Museum of Art, Pasadena Art Museum, Santa Barbara Museum of Art, Museum of Modern Art, Guggenheim Museum, and the Fine Arts Patrons of Newport Harbor; colleges and organizations where he taught or was involved with such as the Graham Foundation, University of Southern California, International Association of Art Critics, and Ford Foundation; and artists that he worked with or knew personally including Rico Lebrun, William Turnbull, Man & Julie Ray, Lorser Feitelson, Helen Lundeberg, Adelaide Fogg, and Clinton Adams.

Letters to June Harwood were written while Langsner was traveling in 1964 and 1965 and discuss his travels and their relationship which culminated in marriage in Italy in 1965.

Among the 2.8 linear feet of the writings of Jules Langsner are articles for Art News, Art in America, Art International, Arts & Architecture, Aware, Beverly Hills Times, Craft Horizons, Creative Crafts, Goya Revista De Arte, Yomiuri, and Zodiac. There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts. There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art. There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects.

Exhibition files concern "Black and White" (1958), "California Hard-Edge Painting" (1964), the Man Ray Exhibition (1966), and the William Turnbull Exhibition (1966).

Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.

Photographs are of people, places, works of art, and exhibitions. There are photographs of Jules Langsner, June Harwood, Philip Guston, Musa Guston, William Brice, Eddy Feldman, Rube Kadish, Stanton MacDonald-Wright, Frank Perls, and unidentified individual people and groups. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Photographs of exhibitions include California Art Club, "Black and White," "California Painters & Sculptors, 35 & Under," and unidentified exhibitions. Photographs of works of art are by William Turnbull, Jack Zajac, Walter Mix, Marion Aldrich, Roger Majorowicz, and Jasper Johns.

Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The reel-to-reel tapes are of two lectures by Langsner, You & Art/Berlin Party, and of eulogies given at Langsner's funeral by Clement Greenberg, Henry Seldis, Peter Selz, Richard Brown, Donald Brewer, Tom Leavitt, Lorser Feitelson, Sam Francis, June Wayne, Gifford Phillips, and others. The cassette tape is a copy of eulogies.

Arrangement note:

The collection is arranged as 7 series. Photographs are arranged by subject, otherwise each series is generally arranged chronologically.

Missing Title

Series 1: Biographical Materials, 1957-circa 1960s (Box 1; 9 folders)

Series 2: Correspondence, 1948-1998 (Boxes 1-2; 0.9 linear feet)

Series 3: Writings, 1934-circa 1960s (Boxes 2-4; 2.8 linear feet)

Series 4: Exhibition Files, 1919, circa 1958-1966 (Box 4; 4 folders)

Series 5: Printed Materials, circa 1960s (Box 5; 2 folders)

Series 6: Photographs, circa 1910s-1960s (Box 5; 0.25 linear feet)

Series 7: Audio Recordings, 1954-1967 (Box 5; 0.25 linear feet)

Biographical/Historical note:

Jules Langsner (1911-1967) worked primarily in the Los Angeles area as a contemporary art critic, historian, and curator. He curated several seminal exhibitions of contemporary art, including the 1959-1960 show "Four Abstract Classicists" featuring the work of Southern California artists Lorser Feitelson, Karl Benjamin, Frederick Hammersley, and John McLaughlin.

Born Julius Harold Langsner in New York City on May 5, 1911, his family moved to Ontario, California in 1922. The family lived on a farm and opened the Paradise Health Resort which was run by Langsner's father, chiropractor Isadore Langsner, and was popular in Jewish and intellectual circles. In Ontario, Langsner became friends with three of the Pollack family sons, Jackson, Frank, and Sanford, as well as Philip Guston, Reuben Kadish, Leonard Stark, and Don Brown as a teenager. Guston, Kadish, and Jackson Pollock were later mentored by Lorser Feitelston which helped to foster in Langsner an interest in avant-garde painting.

Langsner went on to study philosophy at the University of California, Los Angeles. In the early 1940s, Langsner married and had a son, Drew Langsner. He divorced in 1946. In 1944, he enlisted in the United States Army and served as a psychiatric social worker and psychologist during World War II in the United States.

Art & Architecture magazine was the first to publish Langsner's art criticism in 1948. Throughout the 1950s and 60s his work was published widely in Art & Architecture as well as Art News, Art in America, Craft Horizons, Beverly Hills Times, Zodiac, and others. Langsner wrote extensively about art history in both published and unpublished manuscripts, including Painting in the Modern World which he worked on until his death. Additionally, he taught art history classes at the Chouinard Art Institute and University of Southern California and lectured for a variety of organizations and occasions.

Langsner curated several influential exhibitions in southern California, including the "Four Abstract Classicists" exhibition for the Los Angeles County Museum of Art in 1959 and in whose catalog he and Peter Selz coined the term "Hard-Edge painting." He curated the first full-scale retrospective of Man Ray in the United States at the Los Angeles County Museum of Art in 1966.

Langsner received a grant from the Ford Foundation in 1964 that allowed him to travel throughout Asia, the Middle East, and Europe for a year studying regional art and architecture. He wrote notes on his travels and corresponded frequently with June Harwood, a Hard-Edge painter, whom he married in Italy in 1965.

Jules Langsner died unexpectedly of a heart attack on September 29, 1967, in Los Angeles.

Related Archival Materials note:

The papers of Lorser Feitelson and Helen Lundeberg at the Archives of American Art contain a significant amount of writings by Jules Langsner, including exhibition catalog essays.

Papers of Jules Langsner, 1941-1967, are also located at the University of California, Los Angeles.

Provenance:

The Jules Langsner papers were donated to the Archives of American Art in several installments from 1973-1996, and in 2004 by June Harwood Langsner, widow of Jules Langsner. Notes for a lecture given at the Art Institute of Chicago in 1966 and 39 pieces of correspondence were donated in 1982 by the University of California Art Library, Los Angeles, via Librarian Virginia Steele.

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:

Art critics -- California -- Los Angeles  Search this

Art historians -- California -- Los Angeles  Search this

Topic:

Works of art  Search this

Painting, Abstract -- California  Search this

Art -- Study and teaching  Search this

Art criticism  Search this

Curators -- California -- Los Angeles  Search this

Genre/Form:

Photographs

Articles

Sound recordings

Essays

Lectures

Drafts (documents)

Manuscripts

Poems

Citation:

Jules Langsner papers, circa 1910s-1998, bulk 1950-1967. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.langjule

See more items in:

Jules Langsner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96ca20c0c-5a91-42e5-9ff4-d5217f7fd266

EDAN-URL:

ead_collection:sova-aaa-langjule

Creator:

Weller, Eleanor C.  Search this

Sculptor:

Johnson, Seward  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slides (photographs) (col.)

Type:

Archival materials

Slides (photographs)

Place:

California -- Los Angeles

United States of America -- California -- Los Angeles County -- Los Angeles

Date:

05/01/1990

General:

Life size, reallistic sculpture, probably by Seward Johnson. 7

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Spring  Search this

Walls, plastered  Search this

Hedges  Search this

Garden ornaments and furniture  Search this

Lawns  Search this

Trees  Search this

Sculpture  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item CA165002

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / California / CA165: Los Angeles -- Haderway Hall

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6ae019b93-7ccc-4f64-800b-e02494de557f

EDAN-URL:

ead_component:sova-aag-gca-ref24902

Creator:

Weller, Eleanor C.  Search this

Sculptor:

Johnson, Seward  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slides (photographs) (col.)

Type:

Archival materials

Slides (photographs)

Place:

California -- Los Angeles

United States of America -- California -- Los Angeles County -- Los Angeles

Date:

05/01/1990

General:

Life size, reallistic sculpture, probably by Seward Johnson. 7

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Spring  Search this

Walls, plastered  Search this

Hedges  Search this

Garden ornaments and furniture  Search this

Lawns  Search this

Driveways  Search this

Sculpture  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item CA165003

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / California / CA165: Los Angeles -- Haderway Hall

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6f201ae36-91dd-4666-acc8-7343b3afce4c

EDAN-URL:

ead_component:sova-aag-gca-ref24903