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Oral history interview with James L. Tanner, 2011 October 7-8

Interviewee:
Tanner, James L., 1941-  Search this
Tanner, James L., 1941-  Search this
Interviewer:
Savig, Mary, 1982-  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Interviews
Sound recordings
Topic:
Ceramicists -- Minnesota -- Interviews  Search this
Educators -- Minnesota -- Interviews  Search this
Painters -- Minnesota -- Interviews  Search this
Printmakers -- Minnesota -- Interviews  Search this
Sculptors -- Minnesota -- Interviews  Search this
Record number:
(DSI-AAA_CollID)16000
(DSI-AAA_SIRISBib)305690
AAA_collcode_tanner11
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_305690
Online Media:

Oral history interview with James L. Tanner

Interviewee:
Tanner, James L., 1941-  Search this
Interviewer:
Savig, Mary, 1982-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
5 Items (Sound recording: 5 sound files (2 hr., 46 min.))
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2011 October 7-8
Scope and Contents:
An interview of James L. Tannery conducted 2011 October 7 and 8, by Mary Savig, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Tanner's home, in Janesville, Minnesota.
Biographical / Historical:
James L. Tanner (1941- ) is a ceramic sculptor, painter, printmaker, and educator in Janesville, Minnesota.
General:
Originally recorded as 5 sound files. Duration is 2 hr., 46 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Ceramicists -- Minnesota -- Interviews  Search this
Educators -- Minnesota -- Interviews  Search this
Painters -- Minnesota -- Interviews  Search this
Printmakers -- Minnesota -- Interviews  Search this
Sculptors -- Minnesota -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.tanner11
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tanner11
Online Media:

Oral history interview with Alonzo Hauser, 1965 Oct. 12

Interviewee:
Hauser, Alonzo, 1909-1988  Search this
Hauser, Alonzo, 1909-1988  Search this
Interviewer:
Nagle, Virginia  Search this
Subject:
Federal Art Project  Search this
Public Works of Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Educators -- New Mexico -- Interviews  Search this
Sculptors -- New Mexico -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12540
(DSI-AAA_SIRISBib)213563
AAA_collcode_hauser65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213563

Oral history interview with Alonzo Hauser

Interviewee:
Hauser, Alonzo, 1909-1988  Search this
Interviewer:
Nagle, Virginia  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Public Works of Art Project  Search this
Extent:
1 Item (1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 32 min)
18 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 Oct. 12
Scope and Contents:
An interview of Alonzo Hauser conducted 1965 Oct. 12, by Virginia Nagle, for the Archives of American Art New Deal and the Arts Project.
Hauser speaks of his involvement with the Public Works of Art Project cleaning monuments in New York; making wood carvings for a post office in Minnesota under the Federal Art Project; designing sculptures for housing projects; and teaching sculpture.
Biographical / Historical:
Alonzo Hauser (1909-1988) was a painter and sculptor from Mesilla Park, N.M.
General:
An interview of Dewey Albinson (10/27/65) conducted by B. Hoag is also on this tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Occupation:
Painters -- New Mexico -- Interviews  Search this
Topic:
Federal aid to the arts  Search this
Educators -- New Mexico -- Interviews  Search this
Sculptors -- New Mexico -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hauser65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hauser65
Online Media:

Oral history interview with Peter Busa

Interviewee:
Busa, Peter, 1914-1985  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Gorky, Arshile, 1904-1948  Search this
Extent:
45 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1965 September 5
Scope and Contents:
An interview of Peter Busa conducted 1965 September 5, by Dorothy Seckler, for the Archives of American Art. Busa speaks of family background; influences on his work; and his work on the WPA. He recalls Arshile Gorky, Stuart Davis, Jackson Pollock, William Baziotes, Kamrowski, and discusses his work being purchased by art patron Walter Chrysler in the late 1950's.
Biographical / Historical:
Peter Busa (1914-1985) was a painter and sculptor from Minneapolis, Minnesota.
General:
Originally recorded as 2 sound tapes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 37 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art, Abstract  Search this
Painters -- Minnesota -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painters -- Massachusetts -- Provincetown -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.busa65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-busa65
Online Media:

Oral history interview with Charles Biederman

Interviewee:
Biederman, Charles Joseph, 1906-2004  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
126 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1976 May 6
Scope and Contents:
Interview of Charles Biederman conducted 1976 May 6, by Paul Cummings, for the Archives of American Art.
Biographical / Historical:
Charles Biederman (1906-2004) was a sculptor from Red Wing, Minnesota.
General:
Originally recorded 3 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 4 hr., 41 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Art, American  Search this
Sculptors -- Minnesota -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bieder76
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bieder76
Online Media:

Oral history interview with Laurence E. Schmeckebier

Interviewee:
Schmeckebier, Laurence Eli, 1906-1984  Search this
Interviewer:
Brown, Robert F.  Search this
Extent:
3 Items (tape reels (5 hr., 7 min.))
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1974 June 7-July 15
Scope and Contents:
Interview of Laurence E. Schmeckebier, conducted by Robert Brown, for the Archives of American Art, Smithsonian Institution, in Lyme, New Hampshire on June 7 and July 15, 1974. Schmeckebier speaks of his education; his training as an art historian in Germany; the influence of Heinrich Wölfflin on his art historical training; his interest in art history and art criticism; his books Art in Red Wing and John Steuart Curry's Pageant of America; and his career as a professor, administrator, and collector at the University of Wisconsin, University of Minnesota, Cleveland Art Institute, and University of Syracuse. Schmeckebier also recalls Oskar Hagen, Carl Horst, José Clemente Orozco, John Steuart Curry, George Grosz, Jean Charlot, and others.
Biographical / Historical:
Laurence E. Schmeckebier (1906-1984) was an art historian and sculptor from Lyme, N.H.
General:
Originally recorded on 3 tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 5 hr., 7 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Art historians -- Interviews  Search this
Topic:
Sculptors -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.schmec74
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schmec74
Online Media:

Oral history interview with Duane Hanson

Interviewee:
Hanson, Duane  Search this
Interviewer:
Kirwin, Liza  Search this
Names:
O.K. Harris Gallery (New York, N.Y.)  Search this
Carter, Dudley  Search this
De Andrea, John, 1941-  Search this
Grygo, George  Search this
Hauser, Alonzo, 1909-1988  Search this
Karp, Ivan C., 1926-2012  Search this
Kienholz, Edward, 1927-  Search this
McVey, William Mozart, 1905-1995  Search this
Milles, Carl, 1875-1955  Search this
Rood, John, 1902-1974  Search this
Extent:
3 Items (Sound recording, sound cassettes)
39 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1989 August 23-24
Scope and Contents:
An interview of Duane Hanson conducted 1989 August 23-24, by Liza Kirwin, for the Archives of American Art.
Hanson speaks of his years growing up in rural Minnesota; his Swedish ancestry; the influence of his wives and family on his art; his teaching career spanning sixteen to twenty years; his experiences at Cranbook; discussions of his place in the art world as a Realist, Hyperrealist, or New Realist; influence of contemporary sculptors of the time on his work; the importance of American art being able to break into the Russian art scene; his process and the pitfalls and advantages of different types of materials, including bronze and polyester resin; the schedule he follows when working and how the pace of his schedule and deadlines affect his art; whether the materials he employs contributed to his cancer; the discussion of his disease, subsequent treatment, and how it impacted his art; the change in focus from his earlier pieces centered around war or social upheaval to his newer, satirical work such as "Jogger" or "Sunbather with Black Bikini," which featured more athletic or trendy characterizations of people; his thought process in choosing what to sculpt; discussions of his exhibition at the Whitney Museum and various galleries in the United States, Germany, Japan, New Zealand, and Australia, among others; and his ecological concerns. Duane Hanson also recalls Andy Warhol, John DeAndrea, Carl Milles, John Rood, Julius Schmidt, William McVey, Rodin, Robert Rauschenberg, Roy Lichtenstein, Claes Oldenburg, and others.
Biographical / Historical:
Duane Hanson (1925-1996) was a sculptor from Davie, Florida. Hanson was best known for his life-size figures, often dressed in real clothes.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview provided by the Lannan Foundation.
Occupation:
Artists' models  Search this
Artists' models  Search this
Topic:
Figure sculpture  Search this
Sculpture -- Technique  Search this
Pop art  Search this
Sculptors -- Florida -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hanson89
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hanson89
Online Media:

Berta N. Briggs papers

Creator:
Briggs, Berta N. (Berta Nabersberg), 1884-1976  Search this
Names:
Peale, Charles Willson, 1741-1827  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Photographs
Scrapbooks
Date:
1908-1976
Summary:
The papers of painter, writer and educator Berta N. Briggs measure 1.3 linear feet and date from 1908-1976. Found within the papers are biographical material, scattered letters primarily discussing her activities with various arts organizations, notes and writings, artwork including sketchbooks and drawings, scrapbooks, printed material, and photographs primarily of her artwork.
Scope and Content Note:
The papers of painter, writer and educator Berta N. Briggs measure 1.3 linear feet and date from 1908-1976. Found in the collection are biographical material such as curriculum vitae and awards, and scattered letters primarily discussing Briggs's activities with various arts organizations. Notes and writings include notebooks for Briggs's two books Charles Willson Peale: Artist and Patriot (1952) and To the Shores of Tripoli (1955). The papers also contain artwork by Briggs including sketchbooks and drawings of birds, scrapbooks and printed material including exhibition catalogs and announcements, and photographs of Briggs's artwork.
Arrangement:
The collection has been arranged as 7 series. Documents within each series are arranged chronologically.

Missing Title

Series 1: Biographical Material, circa 1932-1975 (Box 1; 3 folders)

Series 2: Letters, 1932-1961 (Box 1; 2 folders)

Series 3: Notes and Writings, 1950-1954 (Box 1; 19 folders)

Series 4: Artwork, 1931-1942 (Boxes 1-2; 6 folders)

Series 5: Scrapbooks, 1908-1968 (Boxes 1-2; 7 folders)

Series 6: Printed Material, 1932-1976 (Box 1; 12 folders)

Series 7: Photographs, 1929-1943 (Boxes 1-2; 4 folders)
Biographical Note:
Berta N. Briggs (née Nabersberg) was born June 5, 1884 in St. Paul, Minnesota, daughter of John William and Rosina (Reinfrank) Nabersberg. After her graduation from Central High School, she moved to New York to study art at the Art Students League under Kenyon Cox, at the Pratt Institute under Ralph Johannot, and at the Teachers College of Columbia University under Arthur W. Dow.

Upon her return to St. Paul in 1905, Briggs was appointed the first Supervisor of Handicrafts in the public schools, a position she held for three years. From 1908-1911, she organized and directed the Department of Crafts at the St. Paul Institute School of Art and taught woodblock printing, leather work, metal work, and pottery. During these years, she attended the summer school of the Minneapolis Handicraft Guild, working under Ernest Batchelder and Bertha Lum.

In 1911, Briggs moved to New York to become the head of the art department in the Charlton School, a private school for girls, where she taught art and lectured on the history of art and architecture for two years. On June 18, 1913, she married William Harlowe Briggs, an editorial executive for Harper Brothers publishers.

From 1918 to 1928, Berta Briggs lectured on the history of art at Miss Chandor's School for girls in New York. With nine other craft workers, she founded an outlet for craftwork, the Noank Studio Guild.

In 1928, Briggs began to paint landscapes and specialized in paintings birds. From 1930 to 1932, she was President of the National Association of Women Painters and Sculptors. She was Vice-President of the Society of Woman Geographers from 1939 to 1942, and was a member of the National Association of Women Artists.

Briggs's book Charles Willson Peale, Artist and Patriot was published in 1952, followed by To the Shores of Tripoli, published in 1955.

Berta N. Briggs died November 12, 1976 in New York City.
Provenance:
The Berta N. Briggs papers were donated in 1977 by Mrs. Malcolm Fooshee, Briggs's niece.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Scrapbooks
Citation:
Berta N. Briggs papers, 1908-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brigbert
See more items in:
Berta N. Briggs papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brigbert

Elyn Zimmerman papers

Creator:
Zimmerman, Elyn, 1945-  Search this
Names:
Dicker, Ruth  Search this
Diebenkorn, Richard, 1922-1993  Search this
Gund, Agnes  Search this
Teraoka, Masami, 1936-  Search this
Varnedoe, Kirk  Search this
Extent:
28.5 Linear feet
0.223 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Date:
1969-2017
Summary:
The papers of sculptor and site-specific installation artist Elyn Zimmerman measure 28.5 linear feet and 0.223 gigabytes, and date from 1969-2017. The collection documents the artist's life and work through correspondence, writings, project and commission files, exhibition files, teaching files, and printed material. Project and commission files comprise the majority of the collection at 18.2 linear feet and comprehensively document dozens of Zimmerman's site-specific sculptural projects and proposals for public and private sites across the United States and internationally. Items include correspondence, contracts, photographs, models, blueprints, and original sketches and drawings. The papers include a small number of born digital records, including digital images of projects, construction sites, and floorplans, as well as PowerPoint presentations.
Scope and Contents:
The papers of sculptor and site-specific installation artist Elyn Zimmerman measure 28.5 linear feet and 0.223 gigabytes, and date from 1969-2017. The collection documents the artist's life and work through correspondence, writings, project and commission files, exhibition files, teaching files, and printed material.

Correspondence is comprised predominately of received letters and fewer drafts and copies of outgoing letters. Notable correspondents include Zimmerman's late husband, curator Kirk Varnedoe, arts advocate Agnes Gund, and artists Ruth Dicker, Richard Diebenkorn, Kady Hoffman, and Masami Teraoka.

Writings include drafts of journal articles, a book mock-up, project notes, and statements. Agendas and address books are filed with writings.

Project and commission files comprise the bulk of the collection and comprehensively document dozens of Zimmerman's site-specific sculptural projects and proposals for public and private sites across the United States and internationally. Items include correspondence, contracts, photographs, models, blueprints, and original sketches and drawings. The files include a small number of born digital records, including digital images of projects, construction sites, and floorplans, as well as PowerPoint presentations.

Exhibition files document Zimmerman's site-specific installations and exhibitions in a gallery and museum context. Files include correspondence, photographs, slides, statements, press releases, shipping information, and price lists.

Teaching files document the many courses Zimmerman taught in painting, drawing, design, architecture, and landscape architecture. Items include syllabi, assignments, lecture notes, reading lists, and articles.

Printed material primarily consists of items cataloging Zimmerman's career including exhibition announcements, catalogs, and press clippings. Subject files were saved and collected by Zimmerman and are arranged at the end of the series.
Arrangement:
The collection is arranged as six series.

Series 1: Correspondence, 1978-2011 (3.7 linear feet; Box 1-4)

Series 2: Writings, Agendas, and Address Books, 1970-2003 (0.5 linear feet; Box 4-5)

Series 3: Project and Commission Files, 1970-2016 (18.2 linear feet, Box 5-15, 21-22, OV 23-85, RD 97-98; 0.223 gigabytes, ER01-04)

Series 4: Exhibition Files, 1969-2015 (3.5 linear feet; Box 15-16, 20-21, OV 86-96, RD 99)

Series 5: Teaching Files, 1970-1994 (0.4 linear feet; Box 16)

Series 6: Printed Material, 1970-2017 (2.2 linear feet; Box 16-19)
Biographical / Historical:
Elyn Zimmerman (1945-) is a New York City and Los Angeles based sculptor best known for her large scale site-specific outdoor installations incorporating granite, water features, and landscape architecture.

Born in Philadelphia, Pennsylvania, Zimmerman moved to California for college, earning both her BFA and MFA from University of California, Los Angeles. While at UCLA, she studied with Richard Diebenkorn and Robert Irwin, and worked in photography, drawing, and site-specific installation. In 1978 she created Monarch's Trough for Artpark in Lewiston, New York, her first site-specific work using granite. For the next several decades Zimmerman would complete dozens of site-specific installations in public and private spaces across the United States, and submit proposals for dozens more. Working frequently with stone and granite, she developed a decades long relationship with a granite quarry in Cold Spring, Minnesota, which fabricated many of her designs. Zimmerman's clients have included the National Geographic Society, the Birmingham Art Museum, and the New York City Parks Department.

In addition to her site-specific work, Zimmerman has had an extensive exhibition history, and has shown for many years with Gagosian Gallery. In 2016, Zimmerman was the recipient of the Isamu Noguchi Award. She has taught at Mills College, California Institute of the Arts, Harvard University, New York University, and the University of Pennsylvania.

Zimmerman was married to the late curator Kirk Varnedoe from 1978-2002.
Provenance:
The collection was donated to the Archives of American Art in 2015 and 2017 by Elyn Zimmerman.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. 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 -- Los Angeles  Search this
Sculptors -- New York (State) -- New York  Search this
Installation artists -- California -- Los Angeles  Search this
Installation artists -- New York (State) -- New York  Search this
Topic:
Women sculptors  Search this
Installations (Art)  Search this
Genre/Form:
Sound recordings
Citation:
Elyn Zimmerman papers, 1969-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zimmelyn
See more items in:
Elyn Zimmerman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zimmelyn

Correspondence

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Extent:
2.9 Linear feet (Boxes 2-5)
Type:
Archival materials
Date:
1923-1960
Scope and Contents note:
Series consists primarily of McCausland's professional and, to a lesser extent, personal correspondence, which includes general, artist, and some family correspondence. Correspondence typically consists of letters to and copies of letters from McCausland, along with enclosures (such as clippings and other printed material; contracts, agreements, and other business and financial papers; and proposals and manuscripts) and related material (such as notes, illustrations, and writings). Correspondents include artists, art organizations, museums, curators, editors, publishers, scholars, research institutions, her agent (Mary Squire Abbot), friends, and her mother, Belle Noble McCausland. Correspondence largely documents McCausland's various professional activities as an art critic, art historian, and freelance writer, and her relationships with various figures of the art and publishing worlds before, during, and immediately after the Second World War.

General correspondence relates to articles and reviews that McCausland wrote for the Springfield Republican; to freelance articles she wrote over the years for various publications, including ones for Parnassus, The New Republic, and Magazine of Art, as well as yearly articles for various encyclopedias (such as Encyclopedia Britannica, Encyclopedia Americana, and Collier Encyclopedia); and to various book projects, including Changing New York (1939), Careers in the Arts (1950), and ones on the artists E. L. Henry, George Inness, and Alfred H. Maurer. General correspondence also relates to her teaching job at Sarah Lawrence College and other courses taught; to various editing projects, including photo-editing Carl Sandburg's Poems of the Midwest and the planned book Art and Advertising; her work as a research consultant on the American Processional exhibition and book, and on other exhibitions; and her involvement in various art and social organization, as well as her participation in various conferences. General correspondence largely documents McCausland's tireless efforts to drum up work, and to fund (through various grants and fellowships) and carry out her many research and writing projects.

Correspondence from particular artists, including Arthur Dove, Louis Eilshemius, Marsden Hartley, Georgia O'Keeffe, and Alfred Stieglitz, was maintained by McCausland in files separate from general correspondence. Artist correspondence documents her relationships with these artists - particularly well-documented are her relationships with Dove and Stieglitz - and the artists' reactions to her reviews of their shows. Files of artist correspondence also include some of McCausland's own notes on her feelings about or relationship with particular artists.

Family correspondence consists almost entirely of letters and copies of letters from McCausland to her mother, Belle Noble McCausland. These seem to have originated from the scrapbook kept by McCausland's mother which can be found amongst personal papers.

See Appendix for a list of notable correspondents from Series 2
Arrangement note:
General correspondence is arranged in rough chronological order. Within individual yearly files, McCausland often grouped together letters to and from a particular correspondent; this existing organization has for the most part been maintained. Selected artist correspondence and family correspondence are arranged in files at the end of the series. Correspondence can also be found amongst research and writing files.
Appendix: Notable Correspondents from Series 2:
List represents only a selection of correspondents from general correspondence.

A. A. Wynn Inc.: 1951

ACA Gallery: 1941, 1943, 1945, 1946, 1947

Abbot, Mary Squire (McIntosh and Otis Company): 1941, 1945, 1947, 1948, 1949, 1950, 1952, 1953, 1954, 1955, 1958

Abbott, Berenice: 1934

Adams, Charles: 1938, 1939, 1940, 1943, 1944, 1946, 1947, 1948, 1949, 1950, 1951, 1952

Adams, Harriet Dyer: 1946

Adelphi College: 1953

Adlow, Dorothy ( -- Christian Science Monitor -- ): 1950, 1951, 1952, 1953, 1954

Albany Institute of History and Art: 1946, 1947

Aldrich, Adolf: 1945

American Academy of Arts and Sciences: 1946, 1947

American Artist Magazine -- : 1952

American Artists Congress: 1938, 1939, 1942

American Artists Group: 1939, 1945, 1946, 1947, 1950

American Association of University Women: 1951

American Federation of Arts: 1946, 1947, 1948, 1949, 1951, 1952, 1954, 1956

American Museum of Natural History: 1944

American Newspaper Guild: 1942

American Philosophical Society: 1947

Anderson, Mrs. Sherwood (Eleanor): 1949

Antiques -- : 1955

Arden, Elizabeth: 1937

Arnason, H. Harvard (Walker Art Center): 1951, 1952, 1953, 1954

Art Digest -- : 1951

Art in America -- (see also Jean Lipman): 1957

Art Institute of Chicago: 1945, 1947

Art of this Century: 1944

Artists for Victory: 1944

Artists Equity Association: 1956

Artists League of America: 1942, 1943, 1944, 1945

Artists Society for National Defense: 1941

Associated American Artists: 1940

Baltimore Museum of Art: 1953

Bard College: 1953

Barnes, Djuna: 1951

Barr, Alfred H.: 1939, 1944, 1947, 1951

Barr, Norman: 1941, 1942, 1943, 1945

Baumann, Gustave: 1946

Baur, John I. H.: 1939, 1942, 1946

Beam, Lura: 1945, 1958

Beard, Mary: 1938, 1939, 1944

Benn, Ben: 1951

Bennington School of the Arts: 1940

Berkshire Museum: 1939, 1940

Biddle, George: 1947

The Bobbs-Merrill Company: 1944

Bourke-White, Margaret (letter to Berenice Abbott): 1940

Brewster, William F.: 1954, 1955

The Brooklyn Museum: 1943, 1945, 1948, 1954

Brown, Milton: 1945

Buchholz Gallery: 1941, 1943

Butler, Joseph (Butler Institute of Art): 1954, 1955

Cahill, Holger: 1937, 1942, 1944, 1946, 1950

Carter, Clarence H.: 1945, 1946

Cinema -- : 1947

Clarke, Bert: 1950

Constantine, Mildred: 1939, 1941, 1942

Cook, Waldo Leland: 1949

Cooper Union: 1949, 1952

Cooper Union Art School: 1947, 1948

Corcoran Gallery of Art: 1948, 1949, 1950, 1951

Cowdrey, Mary Bartlett (Smith College Museum of Art): 1943, 1949, 1951, 1952, 1953, 1954

Crawley, Lawrence: 1950

Crehan, Hubert ( -- Art Digest -- ): 1953

Crichlow, Ernest: 1941

Curran, Charles: 1942

D'Harnoncourt, Rene: 1947

Daura, Pierre: 1949, 1951, 1954

Detroit Institute of Arts: 1945

Devree, Howard: 1949

Diamond (Rotkin), Adele: 1941

Donato, Louis: 1939

Dows, Olin: 1942

Eames, Charles: 1950, 1951

Estler, William C.: 1944

Federation of Modern Painters and Sculptors: 1946

Fitch, George: 1955

Fitch, James: 1940

Fortune Magazine -- : 1946

Francis, Robert: 1940, 1942, 1943

Frick Art Reference Library: 1944, 1948, 1950, 1951, 1953, 1958

Friedman, William: 1939

Fuerstenberg, Eugenia Maurer: 1950, 1951

Fulton, W. Joseph (University of Chicago): 1951, 1952, 1954, 1955, 1956, 1958, 1959

G. P. Putnam's Sons: 1937

Genauer, Emily: 1947

George Walter Vincent Art Museum (Cordelia Sargent Pond): 1945, 1946, 1947, 1948

Gibran, Khalil: 1928

Gilbert, Dorothy: 1950

Godsoe, Robert Ulrich: 1951

Golden, Samuel (see also American Artists Group): 1946

Goodrich, Lloyd: 1942, 1947, 1950, 1951, 1952

Goodwin, Phillip L.: 1943

Gottlieb, Harry: 1944

Griffin, Maude: 1953

Graham, Martha: 1934, 1942

Grossman, Sid: 1938

Gwathmey, Robert: 1945

Harcourt, Brace and Company: 1947, 1949

Harper and Brothers: 1951

Hayes, Bartlett (Addison Gallery of Art): 1942, 1945, 1947

Hess, Thomas ( -- Art News -- ): 1950

Hope, Henry (University of Indiana): 1949, 1950

International Fine Arts Council: 1950

Irvine, Rosalind: 1952

J. B. Lippincott Company: 1951, 1952

Jacques Seligmann and Company: 1938

James, Rebecca Salsbury: 1951

Javitz, Romana: 1946, 1950, 1951, 1952, 1954, 1955

Jewell, Edward Alden: 1946, 1947

John Day Company: 1950, 1951, 1955

John Simon Guggenheim Memorial Foundation: 1941, 1942, 1943, 1944, 1945, 1946, 1947, 1952, 1953

Jones, Howard Mumford (Harvard University): 1947

Kauffer, E. McKnight: 1946

Kent, Rockwell: 1945, 1946

Kirstein, Lincoln: 1941, 1943, 1944, 1946, 1947

Kish, Maurice: 1945

Kistler, Aline: 1941

Knight Publishers Inc.: 1938

Kuniyoshi, Yasuo: 1945

Landon, Edward: 1939

Lange, Dorothea: 1945

Larkin, Oliver: 1943, 1944, 1949

Leeper, John and Blanche (see also Corcoran Gallery of Art): 1950, 1951, 1954

Leighton, George: 1945

Lerner, Abe (see also World Publishing Company): 1950, 1951

Lipman, Jean: 1945, 1946, 1947, 1952

Lipton, Norman C. ( -- Good Photography -- ): 1941, 1942, 1943

Longman, Lester: 1940

MacMahon, Audrey (see also -- Parnassus -- ): 1936, 1938, 1939, 1940, 1942

The MacMillan Company: 1943, 1947, 1949, 1950

Magazine of Art -- : 1944, 1945, 1946, 1947

Magriel, Paul: 1954

Maurer, Alfred L.: 1951

Metropolitan Museum of Art: 1943, 1947, 1955

Miller, Dorothy: 1950, 1951

Milwaukee Art Institute: 1948

Minicam Photography -- : 1941, 1943, 1944

Modernage Furniture Corp.: 1945

More, Herman (Whitney Museum of American Art): 1954

Morton, Phillip: 1951, 1952

Mount Holyoke College: 1943

Munson-Williams-Proctor Institute: 1956

Museum of Modern Art: 1934, 1942, 1943, 1944, 1945

Museum of the City of New York: 1958

N.W. Ayer and Son: 1945, 1946, 1950

The Nation -- : 1940, 1955

National Gallery of Art: 1944, 1945

National Maritime Union: 1945

Navas, Elizabeth: 1952, 1953, 1954

Neuberger, Roy: 1952

The New American Library -- : 1955, 1956

The New Republic -- : 1944, 1947

The New School for Social Research: 1945

The New York Herald Tribune -- : 1945, 1947

New York Historical Society: 1943

New York Public Library: 1943, 1955, 1956

New York State Museum: 1949

The New York Times -- : 1940

Newark Museum: 1944

Newhall, Beaumont: 1944

Newhall, Nancy: 1945

Norman, Dorothy: 1934, 1937, 1938, 1940

Old Print Shop: 1945

Olmsted, Anna Wetherill (Syracuse Museum of Art): 1950

Opportunity -- : 1943, 1944, 1945

Ossorio, Alfonso: 1953

P. F. Collier and Son Corp.: 1947, 1948, 1949, 1951, 1952, 1953, 1954, 1955, 1957, 1958

Pach, Walter: 1955

Parnassus -- : 1939

Pennsylvania Academy of Fine Art: 1951

Pepsi-Cola Company: 1944, 1945

Philadelphia Art Alliance: 1946

Pierre Matisse Gallery: 1938, 1939

Popular Photography -- : 1943

Portland Art Museum: 1940

Porter, Eliot: 1954

Printer's Ink (Carl Weiss): 1951

Railway Express Agency: 1949

Rivera, Diego: 1949

Rogers, John C.: 1941

Roosevelt, Eleanor: 1944

Rosenblum, Walter: 1944

Rothschild, Lincoln: 1937, 1942, 1945, 1946, 1949

Royce, William: 1933, 1934, 1935, 1942, 1958

Rukeyser, Muriel: 1941, 1950

San Francisco Chronicle -- : 1951, 1953

Sarah Lawrence College: 1942, 1943, 1944

Saturday Evening Post -- : 1946

Schlesinger, Arthur: 1943

School Art League of New York City: 1953, 1954

Schwimmer, Rosika: 1933, 1935, 1943

Sculpture's Guild: 1938, 1940, 1941

Segy, Ladislaw: 1943

Shelter -- : 1939

Sloan, John: 1951

Smith College Museum of Art: 1939, 1954

Soby, James Thrall: 1935, 1946, 1951

Social Science Research Council: 1948

Springfield Museum of Fine Art: 1938, 1940, 1941

Standard Oil: 1946

Stein, Gertrude: 1934

Sterling, Charles (Department of Painting, The Louvre): 1951

Strand, Paul: 1942

Survey Associates -- : 1938, 1939

Sweeney, James John: 1954, 1955, 1956

Thornton, Russell (see also Corcoran Gallery of Art): 1951, 1952, 1953

Time Magazine -- : 1945

Toklas, Alice B.: 1949

Traphagen School of Fashion: 1957

U.S. Camera -- : 1940

University of Chicago Library: 1951

University of Minnesota: 1951

University of Nebraska: 1953, 1954, 1956, 1957

Vanderbilt, Paul (Library of Congress): 1950

Vogue Magazine -- : 1953

Vose, Robert C.: 1945

Wade, Henry: 1954

Walker Art Center: 1946, 1947, 1949, 1950, 1951

Walker, Hudson: 1948, 1949, 1950, 1951, 1952

Ward, Lynd: 1942, 1945, 1947

Western Photography -- : 1946

Weston, Edward: 1943

Weyhe Gallery: 1940, 1951

Wheaton College: 1955

Wheeler, Monroe: 1941, 1942, 1943, 1944, 1945

Whitney Museum of American Art: 1946, 1947, 1951

Wichita Art Association: 1947

Williams, Hermann Warner (see also Corcoran Gallery of Art): 1950, 1951, 1952, 1954

Wilson, Sol: 1945

Worcester Art Museum: 1943, 1945

World Publishing Company: 1946, 1949, 1950, 1955

Yale University Art Gallery: 1949

Yale University Library: 1951, 1952, 1953, 1954

Young, Art: 1941

Young Artists Guild: 1948
Collection 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.
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:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccaeliz, Series 2
See more items in:
Elizabeth McCausland papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref60

Vaclav Vytlacil papers

Creator:
Vytlacil, Vaclav, 1892-1984  Search this
Names:
Albers, Josef  Search this
Day, Worden, 1916-1986  Search this
Feigl, Hugo  Search this
Haley, John, 1905-1991  Search this
Jensen, Alfred, 1903-1981  Search this
Larsen, Susan C.  Search this
Lazzell, Blanche, 1878-1956 -- Photographs  Search this
Manoir, Irving K. (Irving Kraut), 1891-1982  Search this
Matter, Mercedes  Search this
Rivera, Diego, 1886-1957 -- Photographs  Search this
Ryder, Worth, 1884-1960  Search this
Thurn, Ernest  Search this
Vytlacil, Elizabeth Foster, 1899-  Search this
Wessels, Glenn A. (Glenn Anthony), 1895-  Search this
Zalmar  Search this
Extent:
5.2 Linear feet
Type:
Collection descriptions
Archival materials
Writings
Interviews
Scrapbooks
Photographs
Drawings
Sound recordings
Woodcuts
Motion pictures (visual works)
Prints
Etchings
Date:
1885-1990
Summary:
The papers of abstract painter and art instructor Vaclav Vytlacil date from 1885-1990 and measure 5.2 linear feet. Found within the papers are scattered biographical materials, correspondence primarily discussing art school-related matters and the exhibition and sale of Vytlacil's work, scattered business and financial records, and notes and writings including lecture notes. The papers also contain audio recordings of interviews of Vytlacil and his associates, artwork by Vytlacil and others, four scrapbooks, printed material including clippings and exhibition catalogs, and photographs of Vytlacil, his colleagues, and his artwork.
Scope and Content Note:
The papers of abstract painter and art instructor Vaclav Vytlacil date from 1885-1990 and measure 5.2 linear feet. Found within the papers are scattered biographical materials, correspondence, scattered business and financial records, and notes and writings including lecture notes. The papers also contain audio recordings of interviews of Vytlacil and his associates, artwork by Vytlacil and others, four scrapbooks, printed material including clippings and exhibition catalogs, and photographs of Vytlacil, his colleagues, and his artwork.

Scattered biographical materials include documents relating to family history and biographical accounts for Vytlacil. Correspondence consists of letters exchanged between Vytlacil and his wife and colleagues including Josef Albers, Worden Day, Hugo Feigl, John Haley, Alfred Jensen, Irving Manoir, Mercedes Matter, Worth Ryder, Ernest Thurn, and Glenn Wessels.

Scattered business and financial records consist of teaching contracts and scattered financial records. Notes and writings include lecture notes, notebooks concerning teaching, minutes of meetings, essays, and writings by others. Three untranscribed sound recordings on cassette contain an interview of Vytlacil by Susan Larsen and interviews of Vytlacil's students and associates.

Artwork consists of drawings and prints by Vytlacil and others, etchings by Betty Vytlacil, and a color woodcut by Zalmar. Four scrapbooks contain printed materials and artwork by students compiled as a get-well gift to Vytlacil. Additional printed materials include numerous clippings, exhibition catalogs, and art school catalogs. Photographs in the collection are of Vytlacil, family members, his artwork, and his colleagues including Blanche Lazzell and Irving Manoir with Diego Rivera. One small motion picture film reel, 8mm, shows views of Manhattan and a family outing.
Arrangement:
The collection is arranged as 10 series:

Series 1: Biographical Material, 1885, 1933-1981 (Box 1; 3 folders)

Series 2: Correspondence, 1911-1985 (Boxes 1-2, 7; 2.0 linear feet)

Series 3: Business Records, 1912-1982 (Box 3; 11 folders)

Series 4: Notes and Writings, 1928-1978 (Boxes 3, 7; 0.9 linear feet)

Series 5: Interviews (Sound Recordings), 1974, 1984 (Box 4; 2 folders)

Series 6: Artwork, 1921-1952 (Boxes 4, 7; 5 folders)

Series 7: Scrapbooks, 1927-1979 (Boxes 4, 7; 4 folders)

Series 8: Printed Material, 1912-1990 (Boxes 4-5, 7; 1.3 linear feet)

Series 9: Photographs, 1906-1976 (Boxes 6-7; 27 folders)

Series 10: Motion Picture Film, circa 1938-1968 (Box FC 8; 1 film reel)
Biographical Note:
Vaclav Vytlacil (1892-1984) was an abstract painter and art instructor who worked primarily in the New York city area. He was also one of the co-founders of the American Abstract Artists group.

Born in New York City of Czech parentage, Vytlacil moved at an early age with his family to Chicago. Beginning in 1906 he studied at the Art Institute of Chicago under Antonin Sterba for approximately 3 years. In 1912 he graduated as William Vytlacil from Crane Technical and English High School. After receiving a scholarship in 1913, Vytlacil returned to New York to study at the Art Students League with John C. Johansen for three years. From 1917 to 1921 Vytlacil was employed as an instructor at the Minneapolis School of Art.

Beginning in 1921 Vytlacil traveled to Paris, Prague, and Munich, deciding to remain in the latter city indefinitely. He enrolled as a student at the Royal Academy of Art in Munich with fellow American art students Worth Ryder and Ernest Thurn. Vytlacil first studied under Karl Kaspar and, a year later, he and Ernest Thurn enrolled at the Hans Hofmann School in Munich. Vytlacil studied with Hofmann sporadically over the next seven years.

On August 18, 1927, Vytlacil married Elizabeth Foster of St. Paul, Minnesota at the Palazzo Vecchio in Florence, Italy. In the following year, he accepted an invitation to teach at the Art Students League and became an invited lecturer at the University of California at Berkeley during the summer terms of 1928 to 1929. Vytlacil urged Hans Hofmann, with his assistance, to come to the United States to teach at the Art Students League during the 1931-1932 term. Also during the early 1930s, Vytlacil and his wife spent summers in Positano, Italy, and winters in Paris.

In 1935 the Vytlacils returned permanently from Europe to live at 8 West 13th Street in New York City, where they stayed for three years. Vytlacil resumed teaching at the Art Students League, spending the summer sessions teaching at the California College of Arts and Crafts. In the following year he accepted an invitation to teach at the Florence Cane School at Rockefeller Center and continued teaching during the summer session at the California College of Arts and Crafts. It was also during 1936 that Vytlacil co-founded the American Abstract Artists with thirteen other artists.

While continuing to teach at the Art Students League and at the Florence Cane School, Vytlacil began conducting art classes at the Dalton School, where he taught until 1941. In 1938, he moved from New York City to South Mountain Road in New City. Two years later, Vytlacil established his residence and studio in Sparkill, New York, and in 1941, he acquired property in Martha's Vineyard which provided a place to work during the summers.

In 1942, Vytlacil left the Art Students League to become Chairman of the Art Department of Queens College in Flushing, New York. He held this position until 1945, when he accepted an invitation to teach at Black Mountain College. From 1946 to 1951, he returned as instructor at the Art Students League and began selling his artwork through the Feigl Gallery in New York. He also taught at the Minneapolis School of Art in 1947, and at Columbia University in 1950.

From 1952 to 1954, Vytlacil traveled to Colorado to paint and teach at the summer sessions of the Colorado Springs Fine Arts Center. After a summer spent on Monhegan Island, Maine, Vytlacil and his wife spent 1955 in Europe. Upon his return in 1956, he became a guest instructor at the Art Institute of Chicago and, in the following year, he taught a summer session at Boston College.

During the winter months of 1960 and 1961, Vytlacil lived in Oaxaca, Mexico. In 1964, he was a guest instructor at the University of Georgia in Athens, Georgia.

Vytlacil was a member of the Art Students League of New York, the American Abstract Artists, the Federation of American Painters and Sculptors, and the Audubon Artists.

Vaclav Vytlacil died at his home in Sparkill, New York on January 5, 1984.
Related Material:
Also found in the Archives of American Art are oral history interviews with Vaclav Vytlacil, March 2, 1966 and January 10, 1974, and 19 items microfilmed on reel 2016 relating to a 1975 Montclair Art Museum exhibition organized by Worden Day.
Separated Material:
The Archives of American Art also holds material lent for microfilming (D295) including correspondence, lecture notes, general notes, clippings, notebooks concerning paintings, photographs of paintings, photographs titled "Vineyard Boats," and two of Mrs. Vytacil's Paris journals. Two dozen of these letters were later donated. All other lent materials remain with the lender and are not described in the collection container inventory.
Provenance:
Vaclav Vytlacil lent the Archives of American Art materials for microfilming in 1966. Vaclav Vytlacil's daughter, Anne Vytlacil, donated the Vaclav Vytlacil papers in several installments from 1989 to 1993.
Restrictions:
Use of the 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 teachers -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Writings
Interviews
Scrapbooks
Photographs
Drawings
Sound recordings
Woodcuts
Motion pictures (visual works)
Prints
Etchings
Citation:
Vaclav Vytlacil papers, 1885-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vytlvacl
See more items in:
Vaclav Vytlacil papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vytlvacl
Online Media:

David Ireland Papers

Artist:
Ireland, David, 1930-2009  Search this
Names:
American Academy in Rome  Search this
Arts Club of Chicago  Search this
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Center for the Arts at Yerba Buena Gardens  Search this
Gallery Paule Anglim  Search this
Helmhaus Zürich  Search this
Mattress Factory  Search this
New Museum of Contemporary Art (New York, N.Y.)  Search this
Perth Institute of Contemporary Arts  Search this
San Francisco Art Institute  Search this
San Francisco Museum of Modern Art  Search this
Skowhegan School of Painting and Sculpture  Search this
Stanford University  Search this
Walker Art Center  Search this
Washington State Arts Commission  Search this
Western Washington University  Search this
Coppola, Eleanor  Search this
Grobart, Jeffrey  Search this
Lee, Margie  Search this
Lienhard, Marie-Louise  Search this
Marion, Paul  Search this
Tingle, Alta  Search this
Extent:
24.8 Linear feet
8.39 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Date:
circa 1910s-circa 2009
bulk 1960-2005
Summary:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings 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.
Occupation:
Sculptors -- California -- San Francisco  Search this
Conceptual artists -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Installations (Art)  Search this
Public art  Search this
Genre/Form:
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ireldavi
See more items in:
David Ireland Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ireldavi

Richard Haas papers

Creator:
Haas, Richard, 1936-  Search this
Extent:
6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketchbooks
Travel diaries
Drawings
Sketches
Photographs
Date:
1937-2012
Summary:
The Richard Haas papers measure 6 linear feet and are dated 1937 to 2012, bulk 1970-2012. His work and career as a muralist, printmaker, and educator are documented by correspondence, writings, printed material, sketchbooks, and photographs.
Scope and Content Note:
The Richard Haas papers measure 6 linear feet and are dated 1937 to 2012, bulk 1970-2012. His work and career as a muralist, printmaker, and educator are documented by correspondence, writings, printed material, sketchbooks, and photographs.

Haas's correspondence relates to commissions, exhibitions, lectures, publications, teaching, and other professional activities. Correspondents include clients, galleries, professional organizations, critics, artists, architects and others. Also found is small amount of personal correspondence. Writings and notes by Haas include artist's statements, notes, lectures, a travel diary, papers and class notes from his undergraduate and graduate student days. Writings about him are a New Museum exhibition catalog text and a student paper. Subject files relate to Haas's professional activities and interests. They document exhibitions and projects, relationships with galleries, membership and participation in various organizations, and routine business matters. Sketchbooks (17 volumes) contain drawings, sketches, and a few watercolors, along with scattered writings and notes.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Materials, 1990, 2009 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1964-2008 (Box 1; 1 linear feet)

Series 3: Writings and Notes, circa 1954-2012 (Box 2; 0.8 linear feet)

Series 4: Subject Files, 1970-2011 (Boxes 2-4; 2.2 linear feet)

Series 5: Printed Material, 1956-2012 (Boxes 5-6; 1.2 linear feet)

Series 6: Artwork, 1954-2005 (Box 6; 0.1 linear feet)

Series 7: Sketchbooks, 1976-2009 (Box 6; 0.5 linear feet)

Series 8: Photographs, 1937-2006 (Box 6; 0.1 linear feet)
Biographical Note:
Richard Haas (b. 1936) is a mural painter of "architecture of illusion," his term describing the trompe l'oeil architectural subjects for which he is best known. His work as a printmaker also focuses on architecture, with iconic buildings of New York and other cities serving as subject matter. Hass is also an educator who has taught painting and printmaking at University of Minnesota, Michigan State University, Bennington College in Vermont, and School of Visual Arts in New York City.

During World War II, the Haas family moved from Spring Green, Wisconsin to Milwaukee. As a teenager, Richard spent two summers working with his great uncle, a master stone mason employed by Frank Lloyd Wright at Taliesin. He proved to be less interested in stonework than in exploring Wright's library and watching the young architects draw. He considered becoming an architect, but eventually concluded the artistic side of architecture was more attractive than the day to day work of an architect.

After graduating from the University of Wisconsin, Milwaukee (B.S., 1959), Hass worked as an art teacher in a Milwaukee high school. He attended graduate classes at University of Wisconsin, Milwaukee where visiting artist Jack Tworkov was his teacher. At the University of Minnesota (M.F.A., 1964), Haas studied with Peter Busa and Malcolm Myers. As an assistant professor at Michigan State University from 1964 to 1968, Haas's colleagues included Angelo Ippolito and Charles Pollock, and he met a number of important artists and critics who visited the campus. Haas moved to New York City in 1968 and soon accepted a part-time position teaching printmaking at Bennington College. He commuted weekly between New York and Vermont for the next decade.

During the 1960s Haas was a Color-field painter. He also continued making etchings and lithographs, and by 1970 several galleries were selling his architectural prints. His first outdoor mural, painted in the So Ho section of New York City in 1975, attracted attention and commissions followed. Mural commissions include: Boston Architectural Center (1977); Edison Bothers Store, Inc., St. Louis (1984); Home Savings of America, multiple locations in Florida and California (1990-1991); City of Huntsville, Texas (1991); Federal Building and Courthouse, Kansas City, Kansas (1994); and Yorkville Mural, New York City (2004.)

Haas, who began exhibiting while still a student, has participated in a large number of group shows and enjoyed many solo exhibitions. He was elected a National Academician, National Academy of Design, was granted a Guggenheim Fellowship, and has been a MacDowell Fellow. Among other honors, Haas has received the American Institute of Architects Medal of Honor, New York City Municipal Art Society Award, Doris C. Freedman Award for Public Art, and the Jimmy Ernst Award of the American Academy of Arts and Letters.

Mr. Haas, who works in New York City, is represented by David Findlay, Jr. Gallery. His wife, Katherine Sokolnikoff, is a sculptor and arts administrator; they live in Yonkers, New York.
Related Material:
An interview of Richard Haas conducted January 13 and March 16, 2009, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Haas' studio, in New York, N.Y.
Provenance:
Donated by Richard Haas in 2012.
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:
Educators -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Watercolors
Sketchbooks
Travel diaries
Drawings
Sketches
Photographs
Citation:
Richard Haas papers, 1937-2012, bulk 1970-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.haasrich
See more items in:
Richard Haas papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-haasrich

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
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Online Media:

Oral history interview with Duane Hanson, 1989 August 23-24

Interviewee:
Hanson, Duane, 1925-1996  Search this
Hanson, Duane, 1925-1996  Search this
Interviewer:
Kirwin, Liza, 1957-  Search this
Subject:
Carter, Dudley  Search this
De Andrea, John  Search this
Grygo, George  Search this
Hauser, Alonzo, 1909-1988  Search this
Karp, Ivan C.  Search this
Kienholz, Edward  Search this
McVey, William Mozart  Search this
Milles, Carl  Search this
Rood, John  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Topic:
Figure sculpture  Search this
Sculpture -- Technique  Search this
Pop art  Search this
Sculptors -- Florida -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11643
(DSI-AAA_SIRISBib)212357
AAA_collcode_hanson89
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212357
Online Media:

Oral history interview with Laurence E. Schmeckebier, 1974 June 7-July 15

Interviewee:
Schmeckebier, Laurence Eli, 1906-1984  Search this
Schmeckebier, Laurence Eli, 1906-1984  Search this
Interviewer:
Brown, Robert F  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12122
(DSI-AAA_SIRISBib)213098
AAA_collcode_schmec74
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213098
Online Media:

Oral history interview with Clement Haupers, 1965 June 15

Interviewee:
Haupers, Clement Bernard, 1900-1982  Search this
Haupers, Clement Bernard, 1900-1982  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Cahill, Holger  Search this
McMahon, Audrey  Search this
Federal Art Project (Minn.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Arts administrators -- Minnesota -- Interviews  Search this
Painters -- Minnesota -- St. Paul -- Interviews  Search this
Printmakers -- Minnesota -- St. Paul -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)13315
(DSI-AAA_SIRISBib)213562
AAA_collcode_hauper65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213562

Oral history interview with Earl Krentzin, 2002 August 30-31

Interviewee:
Krentzin, Earl, 1929-  Search this
Krentzin, Earl, 1929-  Search this
Interviewer:
Yager, Jan, 1951-  Search this
Subject:
Cranbrook Academy of Art  Search this
Wayne State University  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Metal-workers -- Michigan -- Interviews  Search this
Metal-work -- Study and teaching -- Michigan  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)11615
(DSI-AAA_SIRISBib)238672
AAA_collcode_krentz02
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_238672
Online Media:

Oral history interview with Peter Busa, 1965 September 5

Interviewee:
Busa, Peter, 1914-1985  Search this
Busa, Peter, 1914-1985  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Subject:
Gorky, Arshile  Search this
Type:
Interviews
Sound recordings
Topic:
Art, Abstract  Search this
Painters -- Minnesota -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painters -- Massachusetts -- Provincetown -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11686
(DSI-AAA_SIRISBib)214092
AAA_collcode_busa65
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214092
Online Media:

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