Search Results

Sculptor:

Partridge, William Ordway 1861-1930  Search this

Founder:

Roman Bronze Works  Search this

Subject:

Homer  Search this

Medium:

Bronze

Type:

Sculptures

Owner/Location:

Art Institute of Chicago 111 South Michigan Avenue Chicago Illinois 60603-6110 Accession Number: 1985.4

Date:

1900

Topic:

Portrait male  Search this

Occupation--Writer--Poet  Search this

State of Being--Disabled--Blind  Search this

Literature--Homer--Iliad  Search this

Control number:

IAS 12000023

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_296626

Sculptor:

Rogers, Randolph 1825-1892  Search this

Medium:

Marble

Type:

Sculptures

Owner/Location:

Art Institute of Chicago 111 South Michigan Avenue Chicago Illinois 60603-6110 Accession Number: 1896.77

Date:

Modeled 1855-1856. Carved 1858

Topic:

Literature--Character--Nydia  Search this

State of Being--Disabled--Blind  Search this

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

Control number:

IAS 75004366

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_8299

Creator:

Lipchitz, Jacques, 1891-1973  Search this

Names:

Buchholz Gallery (New York, N.Y.)  Search this

Curt Valentin Gallery (New York, N.Y.)  Search this

Bassett, Bruce W.  Search this

Cortois, Jenny  Search this

Frank, Mary, 1933-  Search this

Fry, Annette  Search this

Fry, Varian, 1907-1967  Search this

Gaspard, Leon, 1882-1964  Search this

Hay, Gyorgy  Search this

Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this

Landau, Gregorio  Search this

Larrea, Juan  Search this

Larrea, Marianne  Search this

Lipchitz, Yulla, 1911-  Search this

Modigliani, Amedeo, 1884-1920  Search this

Rapoport, Nathan, 1911-  Search this

Soula, Camille, 1888-  Search this

Starrels, Celeste  Search this

Starrels, Joel  Search this

Wilkinson, Alan G., 1941-  Search this

Zorach, William, 1887-1966  Search this

Extent:

52.8 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Scrapbooks

Sketches

Designs

Date:

circa 1910-2001

bulk 1941-2001

Summary:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Scope and Contents note:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Arrangement note:

The collection is arranged as 2 series:

Missing Title

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)

Biographical/Historical note:

Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.

Related Archival Materials note:

Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.

Provenance:

Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.

Rights:

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

Topic:

Artists' studios -- Photographs  Search this

Genre/Form:

Diaries

Scrapbooks

Sketches

Designs

Citation:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Jacques and Yulla Lipchitz Foundation, Inc.

Identifier:

AAA.lipcjacq2

See more items in:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91b1a0c38-358c-4de5-bef5-2c27f942b166

EDAN-URL:

ead_collection:sova-aaa-lipcjacq2

Creator:

Archives of American Art  Search this

Type:

Sound recordings

Interviews

Podcast

MIME Type:

audio/mpeg

Uploaded:

Tue, 11 Jan 2011 07:00:00 -0500

Topic:

Art  Search this

American  Search this

See more episodes:

Oral History Collection from the Archives of American Art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:podcasts_5f78896c3020d5f9b3dc645ed8b9da24

Creator:

Archives of American Art  Search this

Type:

Sound recordings

Interviews

Podcast

MIME Type:

audio/mpeg

Uploaded:

Tue, 04 Jan 2011 07:00:00 -0500

Topic:

Art  Search this

American  Search this

See more episodes:

Oral History Collection from the Archives of American Art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:podcasts_c077beede7e13eed3acc829a7207dca8

Creator:

Archives of American Art  Search this

Type:

Sound recordings

Interviews

Podcast

MIME Type:

audio/mpeg

Uploaded:

Tue, 25 Jan 2011 07:00:00 -0500

Topic:

Art  Search this

American  Search this

See more episodes:

Oral History Collection from the Archives of American Art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:podcasts_f7e656094ae5d724577ee2f8a314df82

Sculptor:

Ward, John Quincy Adams 1830-1910  Search this

Medium:

Bronze

Culture:

African American  Search this

Type:

Sculptures

Owner/Location:

Art Institute of Chicago 111 South Michigan Avenue Chicago Illinois 60603-6110 Accession Number: 1998.1

Date:

Modeled 1863

Topic:

Figure male--Full length  Search this

Ethnic  Search this

State of Being--Other--Enslaved  Search this

History--United States--Black History  Search this

Allegory--Civic--Liberty  Search this

Control number:

IAS 12000079

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_379162

Former owner:

Allen, John  Search this

Starling, Lyne  Search this

Garden designer:

Mason, James T.  Search this

Present owner:

Columbus Recreation and Parks Department  Search this

Former occupants:

Ohio State Deaf and Dumb Institute  Search this

Provenance:

Little Garden Club of Columbus  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Topiary Garden at Old Deaf School Park (Columbus, Ohio)

United States of America -- Ohio -- Franklin County -- Columbus

Scope and Contents:

The folder includes a worksheet, landscape plan, artist's statement, color copy of article on Seurat's "A Sunday Afternoon on The Ille De La Grand Jatte," magazine article, histories of Deaf School Park, topiary plant list, and a survey.

General:

The 10-acre garden began in 1989 by the Columbus Recreation and Parks Department. It is a recreation in sculpted shrubbery (topiary) of French artist Georges Seurat's famous oil painting "A Sunday Afternoon on The Ile De La Grand Jatte" (1884-1886) owned by the Art of Chicago, Illinois. The topiary project was conceived, designed and executed by Columbus sculptor, James T. Mason, and assisted by his wife, Elaine. Mason matches sculpture from "Taxus" shrubs with Seurat's painting of eight boats, three dogs, a monkey, and fifty-four figures (the tallest is twelve feet). Trees, ponds, paths, benches, and a gate house have been added. The last armature was set in place in 1990. The wrought iron fence around the park once surrounded The State House of the State of Ohio.

Persons and firms associated with the property and garden include: John Allen (former owner, 1802-1809); Lyne Starling (former owner, 1809-1812); State of Ohio (former owner, 1829-1981); Columbus Recreation and Parks Department (owner); and James T. Mason (garden designer, 1888-1993).

Related Materials:

Topiary Garden at Old Deaf School Park related holdings consist of 1 folder (11 35 mm. slides)

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:

Gardens -- Ohio -- Columbus  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, File OH212

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Ohio

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6f2d2221f-4a4c-4c01-9621-19104403beda

EDAN-URL:

ead_component:sova-aag-gca-ref15498

Interviewee:

Cahn, Joshua Binion, 1915-1995  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Florsheim, Richard A., 1916-1979  Search this

Kearney, John, 1924-  Search this

Walker, Hudson D. (Hudson Dean), 1907-1976  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Joshua Binion Cahn, Richard A. Florsheim, and John Kearney, 1971 July 20. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Record number:

(DSI-AAA_CollID)13305

(DSI-AAA_SIRISBib)212574

AAA_collcode_cahn71

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212574

Landscape architect:

Tyznik, Anthony  Search this

Architect:

Binkley, Roy  Search this

Myhrum, Arthur  Search this

Landscape designer:

Siegel, Julie  Search this

Sculptor:

van Dijk, Nenne  Search this

Former owner:

Ellis, Corson  Search this

Ellis, Roberta  Search this

Provenance:

Lake Forest Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

The Carton Garden (Lake Forest, Illinois)

United States of America -- Illinois -- Lake County -- Lake Forest

Scope and Contents:

The folder includes worksheets, site plans, historical information about the house and garden, photocopies of articles about the property and garden, reference images, and other information.

General:

The Carton Garden is a two and one-half acre property on a one hundred year flood plain, west of the natural ridge that extends from Chicago to Wisconsin, tiled land that was a marshy area of the original prairie. A contemporary house by architect Roy Binkley was built in 1984, with design elements derived from Bauhaus and New England saltbox. Large Palladian windows provide solar gain in the winter, and the garden maintenance regime is based on Integrated Pest Management (I.P.M.) to reduce the use of chemicals. The current Carton Garden and house were created after the owners subdivided their original holding of six acres. Landscape architect Anthony Tyznik, FALSA, began working with the owners in 1955 and on this property in 1984, and continues to consult with the owner.

Tyznik designed a semi-circular brick terrace to connect the house to the meandering lawn, which connects to all other parts of the rectangular property. There is a kitchen garden room, planted in both flowers and herbs, and a woodland garden of mature white pines under planted with deciduous trees, shrubs, and ferns and hostas on the garden floor. A shady area is used as an outdoor reading room in summer with the sculpture SeeSaw by Nenne van Dijk nearby which is the focal point of the garden; a secret garden next to the house has a treasured wooden mushroom from the garden of the Prince of Wales; the swimming pool and pool house in the modern international style were designed by Chicago architect Arthur Myhrum in the 1960's. A wall next to the pool house is criss-crossed by espaliered pear trees, and beyond the pool house there is a tennis court. A potager in the style of the 17th century has a fountain surrounded by medicinal herbs and raised beds for growing summer vegetables.

Anthony Tyznik designed a pond for one corner of the property, which attracts wild fowl and bullfrogs. A dog cemetery has inscriptions from Shakespeare and Whittier on its stones. There is an orchard of fruit trees and a campfire with rustic furnishings under spruce trees. The design extends to all four corners of the property, all of which has been thoughtfully planned, planted and tended.

In addition to the Carton Garden, Anthony Tyznik has designed The Morton Arboretum in Lisle, Illinois and The King Residence in Burr Ridge, Illinois.

Persons and firms associated with the garden include Corson and Roberta Ellis (previous owners, 1928-1950); Roy Binkley (architect, 1984); Anthony Tyznik, FALSA (landscape architect, 1955-2009); Julie Siegel (landscape designer); Nenne van Dijk (sculptress, 1992); Arthur Myhrum (architect of pool and pool house, circa 1960).

Related Materials:

The Carton Garden related holdings consist of 1 folder (19 digital images + reference photographs)

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:

Gardens -- Illinois -- Lake Forest  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, File IL125

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Illinois

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb670083e66-278e-4715-aee8-8f4b7aee9bbe

EDAN-URL:

ead_component:sova-aag-gca-ref6820

Creator:

Saarinen, Lilian Swann, 1912-1995  Search this

Names:

Cambridge Art Center  Search this

Cranbrook Academy of Art -- Faculty  Search this

G Place Gallery (Washington, D.C.)  Search this

Knoll Associates, inc.  Search this

Massachusetts Institute of Technology -- Faculty  Search this

Midtown Galleries (New York, N.Y.)  Search this

Otava Publishing Company  Search this

Reynal & Hitchcock  Search this

Armitage, Merle, 1893-1975  Search this

Crosby, Caresse, 1892-  Search this

Eames, Charles  Search this

Eames, Ray  Search this

Koch, Carl  Search this

Kreis, Henry, 1899-1963  Search this

Milles, Carl, 1875-1955  Search this

Moholy-Nagy, László, 1895-1946  Search this

Moholy-Nagy, Sibyl, 1905-  Search this

Saarinen, Eero, 1910-1961  Search this

Saarinen, Eliel, 1873-1950  Search this

Saarinen, Loja  Search this

Venturi, Robert  Search this

Weese, Harry, 1915-1998  Search this

Extent:

9 Linear feet

Type:

Collection descriptions

Archival materials

Blueprints

Diaries

Illustrations

Sketches

Photographs

Scrapbooks

Date:

circa 1909-1977

Summary:

The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Scope and Contents:

The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.

Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.

Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.

Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.

Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.

Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.

Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.

Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.

Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.

Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.

Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.

Arrangement:

The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)

Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)

Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)

Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)

Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)

Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)

Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)

Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)

Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)

Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)

Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)

Biographical / Historical:

Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.

At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.

Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.

Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.

Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.

Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.

Provenance:

Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

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 -- Massachusetts -- Cambridge  Search this

Topic:

Women artists  Search this

Art -- Study and teaching  Search this

Illustrated books, Children's  Search this

Gateway Arch (Saint Louis, Mo.)  Search this

Sculpture, Modern -- 20th century -- United States  Search this

Illustrators -- Massachusetts  Search this

Art, Municipal  Search this

Women sculptors  Search this

Women illustrators  Search this

Function:

Art commissions

Genre/Form:

Blueprints

Diaries

Illustrations

Sketches

Photographs

Scrapbooks

Citation:

Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Walton Family Foundation; and John R. & Barbara Robinson and Deborah Schmidt Robinson & Dr. R. Perry Robinson, The Widgeon Point Charitable Foundation.

Identifier:

AAA.saarlili

See more items in:

Lilian Swann Saarinen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97f1e4305-3886-479a-9db7-48c98fd8d2dd

EDAN-URL:

ead_collection:sova-aaa-saarlili

Interviewee:

Rocca, Suellen, 1943-2020  Search this

Interviewer:

Silverman, Lanny  Search this

Names:

Chicago Art and Artists: Oral History Project  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Extent:

121 Pages (Transcript)

4 Items (sound files (3 hrs., 22 min.), digital, wav)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2015 November 5-6

Scope and Contents:

An interview with Suellen Rocca conducted 2015 November 5-6, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Elmhurst College in Elmhurst, Illinois.

Biographical / Historical:

Suellen Rocca (1943-2020) was an artist, curator, and educator in Romeoville, Illinois. Interviewee Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Art museum curators -- Illinois -- Chicago  Search this

Painters -- Illinois -- Chicago  Search this

Sculptors -- Illinois -- Chicago  Search this

Educators -- Illinois -- Chicago  Search this

Topic:

Art, American -- Illinois -- Chicago  Search this

Women artists  Search this

Women educators  Search this

Women museum curators  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Terra Foundation for American Art.

Identifier:

AAA.rocca15

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94c8a93c2-0fcb-4511-a3a4-55c4b9053012

EDAN-URL:

ead_collection:sova-aaa-rocca15

Creator:

Bohnen, Carl A., 1872-1951  Search this

Names:

Bernhardt, Sarah, 1844-1923  Search this

Bryan, William Jennings, 1860-1925  Search this

Caruso, Enrico, 1873-1921  Search this

Collier, Constance, 1878-1955  Search this

DuBois, Paul  Search this

Erskine, John, 1879-1951  Search this

Feld, Fritz, 1900-1993  Search this

Ferber, Edna, 1887-1968  Search this

Garden, Mary, 1874-1967  Search this

Hayes, Helen, 1900-1993  Search this

Kellogg, Frank B. (Frank Billings), 1856-1937  Search this

Marr, Carl von, 1858-1936  Search this

Neal, Grace, 1917-  Search this

Extent:

3.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Etchings

Sketches

Writings

Sketchbooks

Date:

1888-1977

Summary:

The papers of portrait painter Carl Bohnen date from 1888-1977, and measure 3.7 linear feet. Found within the papers are biographical materials; correspondence among family, clients, and colleagues; scattered business records; a sketchbook and loose sketches; miscellaneous notes and writings; three scrapbooks of clippings and additional printed materials. Photographs are of Bohnen, family members, colleagues, views of Paris in the late 1920s, Native American models, portrait clients, and artwork.

Scope and Content Note:

The papers of portrait painter Carl Bohnen date from 1888-1977, and measure 3.7 linear feet. Found within the papers are biographical materials; correspondence among family, clients, and colleagues; scattered business records; a sketchbook and loose sketches; miscellaneous notes and writings; three scrapbooks of clippings and additional printed materials. Photographs are of Bohnen, family members, colleagues, views of Paris in the late 1920s, Native American models, portrait clients, and artwork.

Biographical material includes miscellaneous Bohnen family histories and chronologies of Bohnen's career, Bohnen's marriage certificate, school transcripts, and copies of his burial certificate.

Family correspondence consists of letters exchanged between Bohnen, his wife, siblings, and children. General correspondence is with colleagues including Carl Von Marr, and portrait clients including Constance Collier, John Erskine, Edna Ferber, and Frank B. Kellogg. The letters are often emotional and illustrate occasionally volatile relationships between Bohnen, his clients, and his children. Also included are condolence letters received by the family following Bohnen's death.

Business records include a contract for financial backing of artistic activities, insurance records, miscellaneous receipts, and a file concerning the elderly Bohnen's injuries on an American Airlines flight bringing him from California to live with his son in Chicago.

Artwork found within the papers consists of a sketchbook, miscellaneous sketches, hand-lettered signs for Bohnen's portrait business, etchings by Bohnen and others, a bronze plaque displaying a self-portrait of Bohnen, and etching plates. Scattered notes and writings include typescripts of speeches, plays, and poems.

Three scrapbooks of clippings and additional printed material consisting of loose clippings, exhibition announcements and catalogs, and reproductions of artwork offer a good overview of Bohnen's career.

Photographs are primarily of Bohnen's artwork and protrait clients. Two photograph albums contain scattered photographs of Bohnen, family members, colleagues, and artwork. Other photographs are of Bohnen at his easel, family members, colleagues including sculptor Paul Dubois working in his studio, artist Grace Neal, and views of Paris. There are also photographs of Native American models in ceremonial headdresses. Photographs of clients include Sarah Bernhardt, William Jennings Bryan, Enrico Caruso, Fritz Feld, Mary Garden, and Helen Hayes, among others.

Arrangement:

The collection is arranged as 8 series. Each series is arranged chronologically, with the exception of Series 8: Photographs. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1898-1952 (Box 1; 2 folders)

Series 2: Correspondence, 1892-1977 (Box 1; 0.5 linear feet)

Series 3: Business Records, 1914-1952 (Box 1; 10 folders)

Series 4: Artwork, 1900-1935 (Box 1; 8 folders)

Series 5: Notes and Writings, 1917-1974 (Box 1; 8 folders)

Series 6: Scrapbooks, 1904-1962 (Boxes 1-2, OV 5; 15 folders)

Series 7: Printed Material, 1907-1977 (Boxes 2, 4; 19 folders)

Series 8: Photographs, 1888-1951 (Boxes 2-4, 6; 1.5 linear feet)

Biographical Note:

Charles "Carl" Bohnen was born in October 1872 (according to the U.S. Census) in Erie, Pennsylvania, to Nicholas and Marie Jochin Bohnen, who had emigrated from Germany. The family moved to Meyer's Grove, Minnesota in the following year.

Carl Bohnen graduated from St. John's University at Collegeville, Minnesota in 1892, earning a diploma in "Bookkeeping and Penmanship." Soon afterwards, he met Jake Hohman who employed him in a business involving drawing portraits from photographs. In 1896, Bohnen established a studio in St. Paul, Minnesota, where he continued creating portraits from photographs. During this time, he met Charlotte Johnson, whom he married in 1898.

Bohnen moved his studio in 1902 and began painting portraits from life. Paul Manship's family were neighbors of the Bohnens at Bald Eagle Lake near St. Paul, Minnesota. Bohnen studied at the Minnesota School of Fine Arts in exchange for cleaning up the classrooms. He later made space available to Manship in his studio.

In 1904, Bohnen completed studies at the St. Paul Art Institute. He also did commercial work, including doing portraits of sports figures for the St. Paul Pioneer Press and Dispatch. Through his newspaper connections, he did portraits of many other celebrities, later selling reproductions of these artworks. Eventually, he was hired as a portrait painter by a variety of prominent sitters, including R. A. Jackson, a railroad executive in St. Paul. An exhibition of Bohnen's portraits organized by Jackson resulted in additional commissions.

Through R. A. Jackson, several lumber millionaires helped finance a European trip for the Bohnen family in 1914. Bohnen studied at the Koenigliche Kunst Academie in Munich under Carl Von Marr and Angelo Jank, and established a studio in that city. Travel constraints resulting from the onset of World War I caused the family to remain in Munich for three years. During this time, Bohnen was a member of the American Artist Club that included E. Martin Hennings, Louis Grell, and Emil Frei.

Bohnen and his family returned to St. Paul, Minnesota in May 1918, where he established a studio. He moved to Chicago in the following year, opening a studio in the Fine Arts building where he remained until the 1930s. Bohnen created thousands of portraits primarily of notable people including Edward the Prince of Wales, Ethel Barrymore, Enrico Caruso, Helen Hayes, Charles Lindbergh, Douglas MacArthur, John McCormack, Cardinal Mundelein, and Lawrence Tibbett.

In 1928, Bohnen established a studio in Paris and worked there sporadically through 1933. In 1933, he returned to St. Paul, Minnesota, setting up his studio in the Ryan Hotel. In 1944, he retired to live in Los Angeles, California, with his son, actor Roman Bohnen. After his son's sudden death in 1949, Bohnen lived with his other son, Arthur, in Chicago.

Carl Bohnen died on December 31, 1951 in Willmette, Illinois.

Provenance:

The Carl Bohnen papers were donated in 1978 by the artist's daughter-in-law, Dorothy Clark Bohnen, and his granddaughter, Blythe Bohnen.

Restrictions:

The collection is open for research. Use requires an appointment. Glass plate negatives are housed separately and not served to researchers.

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:

Portrait painters -- Minnesota  Search this

Topic:

Works of art  Search this

Genre/Form:

Photographs

Scrapbooks

Etchings

Sketches

Writings

Sketchbooks

Citation:

Carl Bohnen papers, 1888-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.bohncarl

See more items in:

Carl Bohnen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ae17a6ca-6a45-4d51-ba73-16a63969dc45

EDAN-URL:

ead_collection:sova-aaa-bohncarl

Creator:

Vonnoh, Bessie Potter, 1872-1955  Search this

Subject:

Raffaëlli, Jean François  Search this

Carter, Charles M.  Search this

French, Daniel Chester  Search this

Taft, Lorado  Search this

Vonnoh, Robert William, 1858-1933  Search this

Citation:

Bessie Potter Vonnoh papers, circa 1860-1991, bulk 1890-1955. Archives of American Art, Smithsonian Institution.

Topic:

Artist couples  Search this

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

Landscape painters -- New York (State) -- New York  Search this

Portrait painters -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6601

(DSI-AAA_SIRISBib)215911

AAA_collcode_vonnbess

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215911

Creator:

Archives of American Art  Search this

Names:

American Film House  Search this

Archives of American Art  Search this

Abramsky, Linda  Search this

Barrie, Dennis  Search this

Brown, Roger, 1941-1997  Search this

Cirgenski, Charles F.  Search this

Graham, Ralph  Search this

Hegarty, John, 1938-  Search this

Hunt, Richard, 1935-  Search this

Extent:

1 Item (videocassette (45 min.), sd., col., 3/4 in.)

Type:

Collection descriptions

Archival materials

Date:

1983

Scope and Contents:

Dennis Barrie, Midwest director of the Archives of American Art, narrates three separate documentaries about Chicago artists, including painter Roger Brown, sculptor Richard Hunt, and realist painter John Hegarty. Version combines three separate 15 min. video productions on one cassette.

Publication, Distribution, Etc. (Imprint):

Birmingham, Mich. : American Film House, 1983.

Provenance:

A film by the Archives of American Art, Smithsonian Institution.

Topic:

Artists -- Illinois -- Chicago -- Interviews  Search this

Identifier:

AAA.archamea2

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96062790c-5aac-445c-94e6-fbd85b46a12c

EDAN-URL:

ead_collection:sova-aaa-archamea2

Collection Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Container:

Box 15, Folder 57

Type:

Archival materials

Date:

1975

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art / Series 4: Exhibition Files / "James Brooks Retrospective" (1975)

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw901b78c13-47d1-48de-86cd-6bf4409dc533

EDAN-URL:

ead_component:sova-aaa-finccoll-ref1957

Creator:

Taylor, Sue, 1949-  Search this

Baum, Don, 1922-  Search this

Names:

Baum, Don, 1922-  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1990-2001

Scope and Contents:

Sue Taylor letters from sculptor, assemblage artist, and curator Don Baum (1922-2008) measure 0.2 linear feet and date from circa 1990-2001. Included are approximately 40 letters and postcards from Baum to Taylor and printed material regarding Baum.

Biographical / Historical:

Sue Taylor is an art history professor at Portland State University, Portland, Oregon and was friends with Baum and studied his work.

Related Materials:

The Archives of American Art also holds the papers of Don Baum.

Provenance:

Donated 2017 by Sue Taylor.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Assemblage artists -- Illinois -- Chicago  Search this

Sculptors -- Illinois -- Chicago  Search this

Topic:

Curators -- Illinois -- Chicago  Search this

Identifier:

AAA.taylosue

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw984284d32-9678-4bfe-aa7b-10251743b0e8

EDAN-URL:

ead_collection:sova-aaa-taylosue

Interviewee:

Baum, Don, 1922-  Search this

Interviewer:

Prince, Sue Ann  Search this

Names:

Illinois Arts Council  Search this

Roosevelt University  Search this

Abercrombie, Gertrude, 1909-1977  Search this

Cornell, Joseph  Search this

Golub, Leon, 1922-2004  Search this

Ito, Miyoko, 1918-1983  Search this

Leaf, June, 1929-  Search this

Moholy-Nagy, László, 1895-1946  Search this

Spears, Ethel, 1903-1974  Search this

Extent:

2 Sound cassettes (Sound recording, analog)

108 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Interviews

Date:

1986 January 31-May 13

Scope and Contents:

An interview of Don Baum conducted 1986 January 31 and May 13, by Sue Ann Kendall, for the Archives of American Art, in Chicago, Illinois.

Baum speaks about his childhood in Michigan; interests during his college years at Michigan State; classes at the School of the Art Institute of Chicago; friendship with artists such as Miyoko Ito and Ethel Spears; the Institute of Design and Laszlo Moholy-Nagy; faculty and classes at the University of Chicago; jam sessions at Gertrude Abercrombie's home; teaching at Roosevelt University; the influence of travel; June Leaf; Leon Golub; psychoanalysis and its influence on his work; collage; The Hyde Park Art Center; objects with a magical aura; writing and writers; dolls; the relationship of self to art; outsider art; transformation; Joseph Cornell; the Hairy Who artists; collectors; the Museum of Contemporary Art; the Illinois Arts Council; Chicago art and artists; and travel in Indonesia.

Biographical / Historical:

Don Baum (1922-2008) was a sculptor, assemblage artist, curator, and educator from Chicago, Illinois.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 5 hr., 23 min.

Provenance:

This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Patrons must use transcript.

Transcript available on the Archives of American Art website.

Topic:

Psychoanalysis and art  Search this

Art -- Study and teaching -- Illinois -- Chicago  Search this

Sculpture, Modern -- 20th century -- United States  Search this

Sculptors -- Illinois -- Chicago -- Interviews  Search this

Assemblage (Art)  Search this

Function:

Art Schools -- Illinois -- Chicago

Genre/Form:

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.baum86

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92ba7721e-824e-4e07-8e13-b3c15587ea48

EDAN-URL:

ead_collection:sova-aaa-baum86

Creator:

Storrs, John Henry Bradley, 1885-1956  Search this

Names:

Downtown Gallery (New York, N.Y.)  Search this

Andersen, Hendrik Christian, 1872-1940  Search this

Anderson, Sherwood, 1876-1941  Search this

Bennett, Edward H.  Search this

Biddle, George, 1885-1973  Search this

Blum, Jerome, 1884-1956  Search this

Braque, Georges, 1882-1963  Search this

Bryant, Louise, 1885-1936  Search this

Calder, Alexander, 1898-1976  Search this

Cole, Walter, b. 1891  Search this

Cret, Paul Philippe, 1876-1945  Search this

Dismorr, Jessica Stewart, 1885-1939  Search this

Dreier, Katherine Sophie, 1877-1952  Search this

Duchamp, Marcel, 1887-1968  Search this

Eastman, Max, 1883-1969  Search this

Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Hartley, Marsden, 1877-1943  Search this

Heap, Jane  Search this

Hecht, Zoltan, 1890-1968  Search this

Hélion, Jean, 1904-1987  Search this

Lipchitz, Jacques, 1891-1973  Search this

Léger, Fernand, 1881-1955  Search this

Ray, Man, 1890-1976  Search this

Raynal, Maurice  Search this

Rodin, Auguste, 1840-1917  Search this

Sheeler, Charles, 1883-1965  Search this

Stella, Joseph, 1877-1946  Search this

Sterne, Maurice, 1878-1957  Search this

Stieglitz, Alfred, 1864-1946  Search this

Storrs, Marguerite Deville Chabrol  Search this

Survage, Leopold  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, William, 1887-1966  Search this

Extent:

20.44 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Poems

Diaries

Sketches

Video recordings

Sketchbooks

Prints

Portfolios (groups of works)

Date:

1790-2007

bulk 1900-1956

Summary:

The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.

Scope and Contents:

The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790 to 2007, with the bulk of the papers dating from 1900 to 1956. The collection documents Storrs' career as an artist and his personal life through biographical material, correspondence with family, friends, and colleagues, personal business records, forty-eight diaries and other writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. There is also a substantial amount of Marguerite Storr's correspondence as well as scattered correspondence of other members of the Storr's family.

Biographical material consists of chronologies detailing the life of John Storrs, identification records, certificates, Storrs family documents, and records of John and Monique Storrs' French resistance activities during World War II.

Correspondence within this collection is divided into John Storrs Correspondence, Marguerite Storrs Correspondence, and Storrs Family Correspondence. The bulk of correspondence is John Storrs with friends, colleagues, art critics, patrons, art organizations and galleries. Correspondents of note include artists, architects, and writers such as Hendrick Andersen, Sherwood Anderson, Edward Bennett, George Biddle, Jerome Blum, Georges Braque, Louise Bryant, William Bullitt, Alexander Calder, Walter Cole, Paul Phillippe Cret, Katherine Dreier, Marcel Duchamp, Max Eastman, R. Buckminster Fuller, Marsden Hartley, Jane Heap, Jean Helion, Fernand Leger, Jacques Lipchitz, Man Ray, Charles Sheeler, Gertrude Stein, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, and William and Marguerite Zorach. There are also many letters to his wife Marguerite.

Marguerite Storrs' correspondence is with friends, family, colleagues, and others, including many letters to her husband. The letters are about general and family news, social activities and invitations, her work as a writer, and her husband's career. Storrs' family correspondence includes John and Marguerite's extensive correspondence with their daughter Monique as well as Monique's correspondence with others. Additional family correspondence is between John, his sister Mary ("Mae") and their parents David William and Hannah Storrs, much of it dating from 1900 to 1913.

Personal business records include address books, records regarding the sale and loan of Storrs' artwork, commission files regarding major public sculptures by Storrs, contracts, appraisals, financial records, and other documents regarding his professional activities. Of note are several files documenting Downtown Gallery's representation of Storrs' work during the 1960s, including correspondence between Edith Halpert and Monique Storrs. Various other documents include records of the Ecole de la Loire artists group (all in French.) Additionally there are records relating to Chateau de Chantecaille, an estate purchased by Storrs in the early 1920s as his primary residence and studio.

Forty-eight diaries contain scattered documentation of John Storrs' daily activities. Other writings by Storrs include four volumes of his memoirs that detail family history and his life from birth to 1906, notebooks, poetry, and personal accounts including the death of Auguste Rodin. Writings by others include poetry by Jessie Dismorr, essays by Zoltan Hecht and Maurice Raynal, and notebooks belonging to Storrs family members.

Printed material consists of books, art bulletins, brochures, invitations, announcements, and programs for art and social events. Also found are catalogs for exhibitions of Storrs' work and work by other artists; magazines, including a bound volume of the first ten issues of The Liberator; and clippings which include news about Storrs, his family, and friends.

Photographs depict John Storrs, his family, friends such as Arthur Bock and Gertrude Lambert, travels, and residences. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums, primarily documenting his time in Europe from 1905 to 1907, exhibition photographs, and numerous photographs of his artwork.

Original artwork includes a portfolio of artwork created by Storrs as a youth, loose sketches, one sketchbook, 31 lithographs, and drawings for mural projects.

Four scrapbooks and a portfolio kept by John and Marguerite Storrs contain newspaper and magazine clippings of articles and illustrations as well as printed material from exhibitions, social events, and professional activities. Also found is a portfolio containing scattered items regarding the publication of Song of Myself with original wood engravings by John Storrs. One additional scrapbook was created by John Storrs around 1945 for his daughter, Monique Storrs, to document her service as a nurse in World War II.

This collection also includes records of John Storrs' estate immediately following his death in 1956, as well as records of several galleries that represented the estate in managing Storrs' artwork from the 1970s to 2002.

Three videocassettes, transferred from an unknown reel format, contain footage of Storrs' family life at Chantecaille and in Chicago, Illinois, in the 1930s.

Arrangement:

The collection is arranged as 11 series.

Some box and folder numbers in the container listing intentionally display out of sequence. An accretion was added in 2012 and integrated into the intellectual order, but not into the physical container order. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1837, 1860-1984 (Box 1, 20, 25, OV 23; 0.6 linear feet)

Series 2: Correspondence, 1857-2007 (Box 1-7, 25; 5.8 linear feet)

Series 3: Personal Business Records, 1790, 1855-1987 (Box 7-9, 25, OV 24, 28; 2.9 linear feet)

Series 4: Diaries, 1874-1955 (Box 9-10; 0.9 linear feet)

Series 5: Writings, 1888-1989 (Box 10-11, 25; 1.1 linear foot)

Series 6: Printed Material, 1867-1987, 2005 (Box 11-14, 25, OV 24; 3.6 linear feet)

Series 7: Photographs, circa 1885-1980 (Box 14-16, 18, 20-22, 25, MGP 1, MGP 2, MGP 5, MGP 6; 3.2 linear feet)

Series 8: Artwork, 1895-1935 (Box 18, 20, OV 23; 0.5 linear feet)

Series 9: Scrapbooks, 1895-1963 (Box 18-21, 25; 0.7 linear feet)

Series 10: Estate Records, 1956-2002 (Box 26; 0.4 linear feet)

Series 11: Video Recordings, circa 1980s (Box 26-27; 0.2 linear feet)

Biographical / Historical:

John Henry Bradley Storrs (1885-1956) worked primarily in Chicago, Illinois, and Mer, France, as a sculptor, painter, and printmaker.

John Storrs was born in 1885 in Chicago, Illinois, to David William Storrs, an architect, and Hannah Bradley Storrs. Upon completing his schooling in 1905 he went to Berlin with the intention of studying music, but instead chose to study sculpture with the Arthur Bock in Hamburg, Germany. He also spent time in Paris and traveled throughout Europe, Turkey, and Egypt, returning to the US in late 1907. Storrs took night classes at the Art Institute of Chicago, followed by periods of study at the School of the Museum of Fine Arts, Boston, with Bela Pratt, and at the Pennsylvania Academy of the Fine Arts with Charles Grafly. In 1912 he returned to Paris where he studied at the Académie Julian and with the famous sculptor Auguste Rodin. During this period his work was greatly influenced by cubism and futurism. In 1914 he married French writer Marguerite Deville-Chabrol. After briefly returning to the US to exhibit his work, Storrs worked at a hospital in Paris throughout World War I and in 1918 his daughter Monique was born. He and his family settled in Mer, France, at the Chateau de Chantecaille in 1921.

The following two decades were very productive for Storrs and he frequently travelled between the US and France to exhibit and create work. He showed in many notable exhibits such as the Société Anonyme's International Exhibition of Modern Art in New York in 1926, and he completed several commissions such as a statue for the Chicago Board of Trade in 1929. During this time Storrs completely moved away from representational work and refined his non-objective, machine-like sculpture. Besides sculpture, he also produced many paintings, woodcuts, lithographs, and other works on paper. He created works for the Century of Progress International Exposition in 1933 and also worked for the Public Works of Art Project in 1934.

During World War II Storrs was twice arrested and imprisoned by the German occupation forces, once for six months from 1941 to 1942 and again in 1944 along with his daughter Monique who was part of the French Resistance. These events greatly impacted his health and he produced very little work in the late 1940s and 1950s. He continued to exhibit his work and was also president in 1954 of the Ecole de la Loire, a group of 75 artists working in the Loire Valley. John Storrs died in 1956.

Related Materials:

Also available at the Archives of American Art is the Noel Frackman research material on John Henry Bradley Storrs, 1972-2003. In addition, Archives of American Art microfilm reels 1463 and ND/S-1 contain the John Henry Bradley Storrs scrapbook and studio book, 1909-1972.

Separated Materials:

The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microfilming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.

Provenance:

The John Henry Bradley Storrs papers were donated in several installments from 1979 to 1987 by Storrs' daughter, Monique Storrs Booz, and her daughter, Michelle Storrs Booz. A portion of these papers were loaned for microfilming in 1977 and subsequently donated in 1980. Additional papers were donated by Michelle Storrs Booz in 2011.

Restrictions:

Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.

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:

Expatriate artists -- France  Search this

Painters -- Illinois -- Chicago  Search this

Painters -- France -- Paris  Search this

Printmakers -- Illinois -- Chicago  Search this

Printmakers -- France -- Paris  Search this

Sculpture, Modern -- 20th century  Search this

Sculptors -- Illinois -- Chicago  Search this

Sculptors -- France -- Paris  Search this

World War, 1939-1945  Search this

Function:

Artists' studios -- France

Genre/Form:

Scrapbooks

Photographs

Poems

Diaries

Sketches

Video recordings

Sketchbooks

Prints

Portfolios (groups of works)

Citation:

John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.storjohn

See more items in:

John Henry Bradley Storrs papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97fbb0f90-38d0-4f9d-8293-83eb4d3dbe07

EDAN-URL:

ead_collection:sova-aaa-storjohn

Collection Creator:

Storrs, John Henry Bradley, 1885-1956  Search this

Container:

Box 1, Folder 31

Type:

Archival materials

Date:

1918-1919

Subseries Restrictions:

This series contains access-restricted medical records.

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:

John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

John Henry Bradley Storrs papers

John Henry Bradley Storrs papers / Series 2: Correspondence / 2.1: John Storrs Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e929e3fb-840b-46f0-b29b-84f1423dca39

EDAN-URL:

ead_component:sova-aaa-storjohn-ref1183