United States of America -- New Mexico -- Santa Fe County -- Santa Fe
Date:
09/01/1993
General:
" Once an old apple orchard, this twelve year old garden is a one acre walled oasis in the high desert. A one-quarter acre pond, complete with koi and ducks, circulates 200,000 gallons of water through a wetland purification system (seven small ponds) that separates numerous perennial and bulb beds, a fruit orchard and various small groves of globe willow, birch, aspen and poplar; all designed to highlight the dozens of realistic bronze and stone sculptures and fountains throughout the garden. - From researcher Cheryl Nance." Fenn garden with Glenna Goodacre sculpture, Bather.
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.
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.
United States of America -- New Mexico -- Santa Fe County -- Santa Fe
Date:
1993 Sep.
General:
" Once an old apple orchard, this twelve year old garden is a one acre walled oasis in the high desert. A one-quarter acre pond, complete with koi and ducks, circulates 200,000 gallons of water through a wetland purification system (seven small ponds) that separates numerous perennial and bulb beds, a fruit orchard and various small groves of globe willow, birch, aspen and poplar; all designed to highlight the dozens of realistic bronze and stone sculptures and fountains throughout the garden. - From researcher Cheryl Nance." View of north side of garden.
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.
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.
The Marie Romero Cash papers measure 0.7 linear feet and date from circa 1981 to 2021. The papers document Cash's career as an artist through sketches (some annotated), a sketchbook, photographs, and printed material documenting Cash's sculptures and paintings in the Santera tradition. This also includes the originial illustrations for Santera-based book projects and one fully realized, hand-painted artist book, 'The Book of Tobit.' The book comes in a tin container, with designs in relief created by the artist. Also included is 1 CD containing an episode of 'The Muse,' an arts-based interview program produced by Boss Productions; 1 CD documenting Cash's wooden sculpture 'The Chicken Bus'; and 1 CD labeled "photos: David Alfaya for Marie Cash".
Scope and Contents:
The Marie Romero Cash papers measure 0.7 linear feet and date from circa 1981 to 2021. The papers document Cash's career as an artist through sketches (some annotated), a sketchbook, photographs, and printed material documenting Cash's sculptures and paintings in the Santera tradition. This also includes the originial illustrations for Santera-based book projects and one fully realized, hand-painted artist book, 'The Book of Tobit.' The book comes in a tin container, with designs in relief created by the artist. Also included is 1 CD containing an episode of 'The Muse,' an arts-based interview program produced by Boss Productions; 1 CD documenting Cash's wooden sculpture 'The Chicken Bus'; and 1 CD labeled "photos: David Alfaya for Marie Cash".
Arrangement:
The collection is arranged into one series
Series 1: Marie Romero Cash papers, 1981-2021 (0.7 linear feet; Box 1, OV 2-3, Artifact 4)
Biographical / Historical:
Marie Romero Cash (1942- ) is an artist and Santera (saint artist) living in Santa Fe, New Mexico. Cash has completed commissions for St. Francis Cathedral in Santa Fe, New Mexico, the Cathedral Church of St. John in Albuquerque, and for various other churches in New Mexico.
Provenance:
Donated 2017 and 2022 by Marie Romero Cash.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.
Scope and Contents:
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.
Artschwager's correspondence is with museums, galleries, artists, art historians, academic institutions, and publishers and concerns exhibitions, speaking engagements, and teaching. Frequent correspondents include Lawrence Alloway, Leo Castelli Gallery, Gagosian Gallery, Galerie Franck + Schulte, Herbert F. Johnson Museum, Ivan Karp, Museum Ludwig, Museum of Contemporary Art, Los Angeles, Ingrid Schaffner, and the Whitney Museum of American Art. Also found are letters from fellow artists, including William Copley, Eric Fischl, Ray Johnson, Louise Lawler, Sol Lewitt, Ed Ruscha, John Waters, and Betty Woodman. Some letters are annotated or illustrated with sketches by Artschwager.
The collection includes a lecture and recorded talks by Richard Artschwager held at the University of Wisconsin, Madison, Skowhegan School of Painting & Sculpture, and the Carpenter Center of the Visual Arts, Harvard University, and other venues. One of the recordings is from the "Conversations with Contemporary Artists" series of the Museum of Modern Art. Also included in this series is a recorded discussion with artists Alex Katz and Elizabeth Murray and art critics Michael Kimmelman and Peter Schjeldahl.
Exhibition files are found for exhibitions held at Adair Margo Gallery, Lorence Monk Gallery, Museum of Fine Arts, Boston, Cornell University, and numerous others, including many in Europe. Files typically contain correspondence, price lists, announcements, printed material, photographs, and a few sound and video recordings.
Printed material includes invitations and announcements as well as posters, reproductions, and brochures, mostly related to Richard Artschwager's exhibitions. Newspaper and magazine clippings document exhibition openings and the critical reception of his work.
There are also a few photographs including images of Leo Castelli by Hans Namuth used by Artschwager in preparing for his portrait of Castelli.
Arrangement:
The collection is arranged as 5 series.
Missing Title
Series 1: Correspondence, circa 1970-2013 (Boxes 1-3; 3.0 linear feet, ER01-ER02; 0.555 GB)
Series 2: Talks and Lecture, 1985-2009 (Box 4; 0.8 linear feet, ER03-ER10; 8.77 GB)
Series 3: Exhibition Files, 1973-2007 (Boxes 4-5; 1.0 linear feet)
Series 4: Printed Material, 1959-2012 (Boxes 5-6, OV 7; 0.6 linear feet)
Series 5: Photographs, circa 1973, 2007 (Box 6, OV 8; 0.1 linear feet)
Biographical / Historical:
Richard Artschwager (1923-2013) lived and worked in New York City and Hudson, New York and was known primarily for his paintings and sculptures. Artschwager was born in Washington, D.C. and grew up in New Mexico. As a youth, Artschwager showed a talent for drawing. He studied chemistry and mathematics at Cornell University. In 1944, Artschwager interrupted his studies to enlist in the U.S. Army. After the war, he returned to Cornell to complete his Bachelor of Arts degree in 1948. Encouraged by his first wife, Elfriede Wejmelka to develop his interest in art, Artschwager moved to New York to study at the Studio School of Amédée Ozenfant. His paintings and drawings from this period were featured in two group shows at the Terrain Gallery in 1957 and at the Art Directions Gallery on Madison Avenue in 1959, where they were recognized by Donald Judd.
In the 1950s, in order to support his family, Artschwager turned to designing and manufacturing modern furniture. His woodworking skills inspired him to create sculptures from utilitarian objects such as tables, chairs, and mirrors. He is best known for the use of building materials Celotex and Formica in his work and for inventing an abstract form he called "blps" reliefs, stencils or decals that were installed randomly in museum, gallery and public spaces. From the mid-1980s to late 1990s, Artschwager designed large scale projects, though he continued to incorporate everyday domestic objects in his sculptures and paintings.
In 1965, Artschwager was given his first one-man exhibition at the Castelli Gallery and he remained with the Gallery for thirty years. He was also represented by Mary Boone, David Nolan, and the Gagosian Gallery. In the 1980s, Artschwager served on the Visual Arts Policy Committee at the National Endowment of the Arts. He was elected to the American Academy of Arts in 1992. He was a visiting artist at New Mexico State University, Soka University, Skowhegan School of Painting and Sculpture, and the University of Arizona. Artschwager's work was the subject of a major surveys, including the Kunstmuseum Winterthur, Neues Museum, and Serpentine Gallery. He participated in numerous international group shows including the Venice Biennale and Documenta in Kassel, Germany. The Whitney Museum of American Art honored Artschwager with two travelling retrospective exhibitions in 1988 and 2012. In late 2012, Artschwager had one-man shows at the Gagosian Gallery and David Nolan Gallery.
Richard Artschwager died at the age of 89 years in 2013. He is survived by his wife, Ann Sebring Artschwager and three children from previous marriages.
Related Materials:
Also found among the resources at the Archives of American Art is an oral history interview with Artschwager, March 3-28, 1972, conducted by Paul Cummings.
Provenance:
The collection was donated by Richard Artschwager and his wife Ann Artschwager in 2013.
Restrictions:
Use of original material 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.
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Scope and Content Note:
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Biographical materials include articles on the Rönnebecks by Betsy Fahlman, curriculum vitae, and documentation on the Emerson family. Correspondence is primarily between Arnold Rönnebeck to Louise, and also includes letters in German to Arnold's sister Irmgard Rönnebeck. Among the professional and personal correspondence from friends and family to both of the Rönnebecks are letters from Kenneth Hayes Miller to Louise Ronnebeck.
Writings include essay drafts, notes, and poetry by the Rönnebecks, including Arnold Rönnebeck's "Paint-As-You-Go Plan." There is a scrapbook of clippings covering Louise Ronnebeck's work. Additional printed material includes Christmas cards, clippings, and exhibition announcements and catalogs of both the Rönnebecks' work. Artwork consists of drawings and sketches by Arnold Rönnebeck.
Photographic materials include photographs of the Rönnebecks and their travels to Arizona, Colorado, New Mexico, New York, and Europe. The series also contains photos, copy prints, negatives, and 7 glass plate negatives of artist friends, and formal and informal documentation of their works of art and public and private art commissions.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1926-2002 (9 folders; Box 1, OV 7)
Series 2: Correspondence, 1909-1998 (0.6 linear feet; Box 1, 5)
Series 3: Writings, 1920-1944 (6 folders; Box 1, 5)
Series 4: Scrapbook, 1926-1966 (1 folder; Box 1)
Series 5: Printed Material, 1923-1999 (0.5 linear feet; Box 1-2)
Series 6: Artwork, 1915-1950 (2 folders; Box 2, 5)
Series 7: Photographic Materials, 1884-1976 (2.6 linear feet; Box 2-6)
Biographical Note:
Sculptor Arnold Rönnebeck (1885-1947) was part of the "Stieglitz circle" and settled in Denver where he served as director of the Denver Art Museum from 1926-1931. Rönnebeck married Louise Emerson (1901-1980) in 1926. Emerson was a painter and muralist who worked on New Deal mural commissions in Colorado and Wyoming.
Arnold Rönnebeck was born in Nassau, Germany and was a noted sculptor and lithographer. From 1905 to 1907, Rönnebeck studied architecture at the Royal Art School in Berlin and spent a year studying sculpture in Munich. In 1908, he moved to Paris where he furthered his studies in sculpture under Aristede Maillol and Emile Bourdelle. From 1914 to 1918, Rönnebeck served as an officer in the German Imperial Army during World War I. In 1923, he emigrated to the United States where he became part of the Stieglitz circle.
In 1925, Rönnebeck visited Mabel Dodge Luhan at her ranch in Taos, New Mexico, where he met his future wife, the painter Louise Emerson, born Mary Louise Harrington Emerson in 1901. After their marriage, the Rönnebecks lived in Denver where Arnold Rönnebeck worked as director of the Denver Art Museum and continued to execute commissioned works, including bas reliefs, portrait busts, and sculptures. He died in Denver, Colorado in 1947. Throughout the 1950s and 1960s, Louise Emerson Ronnebeck continued to receive commissions for frescoes and murals in Colorado and Bermuda and died in Denver, Colorado in 1980.
Related Material:
Correspondence between Arnold Rönnebeck and Alfred Stieglitz and Marsden Hartley is located at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
The papers were donated in 2001 by Ursula Moore Works and Arnold Rönnebeck, the artists' daughter and son.
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.
Arnold Rönnebeck and Louise Emerson Ronnebeck papers, 1884-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 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.
New York Workers under medical supervision making uniforms. Company's Social Service Department helps workers find permanent jobs after they recover. Altro Workshop, Inc., New York, NY.
Illinois Repairing, evaluating and assembling car engines with scientific testing equipment. Garage employees go to school. Sun Electric, Chicago, IL.
New Mexico Company builds roads; environment. Many tons of earth removed before opening new mine. Isbell Construction Co., Albuquerque, NM.
Pennsylvania Two women sculptors first make stainless steel and slate models. Slate plaque for churches and schools. Gibsonia, PA.
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
