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Oral history interview with George Biddle, 1963

Interviewee:
Biddle, George, 1885-  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Bacon, Peggy  Search this
Benton, Thomas Hart  Search this
Billings, Henry  Search this
Bruce, Edward  Search this
Cahill, Holger  Search this
Demuth, Charles  Search this
Evergood, Philip  Search this
Grosz, George  Search this
Halpert, Edith Gregor  Search this
Hartley, Marsden  Search this
Marsh, Reginald  Search this
Miller, Kenneth Hayes  Search this
Orozco, José Clemente  Search this
Rivera, Diego  Search this
Robinson, Boardman  Search this
Siqueiros, David Alfaro  Search this
Sterne, Maurice  Search this
Stieglitz, Alfred  Search this
Tamayo, Rufino  Search this
Weber, Max  Search this
Zorach, William  Search this
Cassatt, Mary  Search this
Pascin, Jules  Search this
Poor, Henry Varnum  Search this
Curry, John Steuart  Search this
Bouché, Louis  Search this
Kroll, Leon  Search this
Zorach, William  Search this
Public Works of Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with George Biddle, 1963. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Censorship  Search this
Federal aid to the arts  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12696
(DSI-AAA_SIRISBib)213269
AAA_collcode_biddle63
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213269
Online Media:

Emily Nathan papers, circa 1943-1985

Creator:
Nathan, Emily S., 1907-1999  Search this
De Creeft, José, 1884-1982  Search this
Subject:
Lerner, Abram  Search this
Goldberg, Rube, 1883-1970  Search this
Spyropoulous, Jannis  Search this
Johns, Jasper  Search this
Rothko, Mark  Search this
Smith, Tony  Search this
Namuth, Hans  Search this
McLanathan, Richard B. K.  Search this
Woolfenden, William E. (William Edward)  Search this
De Creeft, José  Search this
Hirshhorn, Joseph H.  Search this
Towle Mfg. Company  Search this
Smithsonian Institution  Search this
Archives of American Art  Search this
Type:
Sound recordings
Interviews
Citation:
Emily Nathan papers, circa 1943-1985. Archives of American Art, Smithsonian Institution.
Topic:
Roosters -- Pictorial works  Search this
Roosters -- Anecdotes  Search this
Caricatures and cartoons  Search this
Art, American  Search this
Inventors -- Interviews  Search this
Archives -- Public relations  Search this
Museums -- Public relations  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Art and industry  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8071
(DSI-AAA_SIRISBib)210242
AAA_collcode_nathemil2
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210242

Lily Harmon papers

Creator:
Harmon, Lily, 1912-  Search this
Names:
Algren, Nelson, 1909-1981  Search this
Neumann, J. B. (Jsrael Ber)  Search this
Nierendorf, Karl  Search this
Odets, Clifford, 1906-1963  Search this
Schmid, Elsa, 1897-  Search this
Stieglitz, Alfred, 1864-1946  Search this
Warburg, Edward M. M.  Search this
Interviewee:
Ashton, Dore  Search this
Avery, Sally  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Bruno, Phillip A.  Search this
Copley, Alfred L.  Search this
Dehner, Dorothy, 1901-1994  Search this
Drew, Bettina, 1956-  Search this
Driggs, Elsie, 1898-1992  Search this
Hertzberg, Benjamin  Search this
Hutton, Leonard, Sir  Search this
Isaacs, Lewis  Search this
Kahn, Max, 1903-2005  Search this
Knotts, Howard  Search this
Kuh, Katharine  Search this
Lamm, Johanna Neumann  Search this
Manacher, Frances  Search this
Neumann, Albrecht  Search this
Neumann, Peter, 1928-  Search this
Rothbaum, Nolbert  Search this
Sapanel, Margarete  Search this
Schultz, Margarete  Search this
Solman, Joseph, 1909-2008  Search this
Stix, Hugh  Search this
Vogel, Ilse Margret  Search this
Extent:
6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Video recordings
Date:
1930-1996
Scope and Contents:
Primarily research files and notes, subject files, interview tapes and transcripts, correspondence, writings, and other materials compiled by Harmon for a never-published biography of art dealer J.B. Neumann, titled The Art Lover. Found are photocopies of J.B. Neuman's correspondence with Karl Nierendorf, Clifford Odets, Elsa Schmid, and Alfred Stieglitz; photocopies and other materials from the J.B. Neumann Collection at the University of Texas at Austin, Harry Ransom Humanities Center, including photocopies of the magazine published by Neumann titled Art Lover Library, 1930-1957 (volume 1, 1930 is original bound volume), copyprints and photocopies of photographs of Neumann, his family, and of other subjects; interview transcripts and audio tapes with numerous artists conducted in the mid-1980s; research notes and files; and subject files on numerous artists (all photocopies).
Harmon's personal papers include resumes; copies of letters from friends, family, dealers and others; photographs of Harmon's paintings; writings, including poems, excerpts from diaries, autobiographical essays, and her autobiography FREEHAND; photocopies of various mss. drafts of Harmon's biography of Neumann, The Art Lover, and related writings by Harmon, including The Art Dealer and the Playwright, and Synopsis of Art Lover, ca. 1987-1990 ; a transcript of an interview of Harmon conducted by Karl Fortress, 1967; magazine and newspaper clippings; exhibition announcements and catalogs; and miscellany.
Interviewees include: Dore Ashton, Sally Avery, Alfred Barr, Phillip Bruno, Al Copley, Dorothy Dehner, Bettina Drew (about Nelson Algren), Elsie Driggs (also found is a video interview and transcript of Driggs by Merryman Gatch, n.d.), Ben Hertzberg, Leonard Hutton, Lewis Isaacs, Max Kahn, Katharine Kuh, Johanna Neumann Lamm, Frances Manacher, Peter Neumann, Albrecht Neumann, Nolbert Rothbaum, Margarete Schultz, Joseph Solman, Margarete Sapanel, Hugh Stix, Ilse Vogel with Howard Knotts, and Edward M.M. Warburg.
Biographical / Historical:
Painter and sculptor; New York City. Harmon worked for the influential art dealer J.B. Neumann, and spent several years preparing a biography of him which was never published. As an artist, she lived in Europe in the early part of the century, and worked on WPA art projects in the 1930s.
Provenance:
Donated 1983 and 1998 by Lily Harmon.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Sound recordings
Video recordings
Identifier:
AAA.harmlily
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f94dc6db-1401-409d-b617-4439c4f8fb03
EDAN-URL:
ead_collection:sova-aaa-harmlily

Emily Nathan papers

Creator:
Nathan, Emily  Search this
De Creeft, José, 1884-1982  Search this
Lerner, Abram  Search this
Goldberg, Rube, 1883-1970  Search this
Names:
Archives of American Art  Search this
Smithsonian Institution -- Public relations.  Search this
Towle Mfg. Company -- Public relations  Search this
De Creeft, José, 1884-1982  Search this
Hirshhorn, Joseph H.  Search this
Johns, Jasper, 1930-  Search this
McLanathan, Richard B. K.  Search this
Rothko, Mark, 1903-1970  Search this
Smith, Tony, 1912-1980  Search this
Spyropoulous, Jannis, 1912-  Search this
Woolfenden, William E. (William Edward), 1918-1995  Search this
Photographer:
Namuth, Hans  Search this
Extent:
6 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
circa 1943-1985
Scope and Contents:
The papers of public relations consultant and journalist Emily Nathan measure 5.0 linear feet and date from circa 1943-1985. Included are files on clients, among them Towle Manufacturing and its gallery; the Smithsonian Institution, including the Archives of American Art, Radio Smithsonian and the National Portrait Gallery.
Interviews conducted by Nathan for Radio Smithsonian include New York, N.Y. cartoonist and inventor Rube Goldberg (1883-1970), 1970; art historian and writer Richard B. K. McLanathan, 1970; Director of the Archives of American Art William E. Woolfenden, 1970, Abram Lerner, Director of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, and art collector Joseph Hirshhorn, 1969. Also found is an interview of William Woolfenden May 6, 1983 upon his retirement as Director of the Archives of American Art.
Among the correspondence are letters to Georgia O'Keeffe regarding a pending oral history with the sculptors Dorothy Dehner and David Smith and a letter from museum administrator and lecturer Daniel Catton Rich expressing his pleasure at having met Jannis and Zoe Spyropoulous in Athens, Greece and describes the painting by Jannis that he purchased for the Worcester Art Museum. The majority of the photographs are of personalities long associated with the Archives of American Art. There are two photographs of Jasper Johns, and one each of Mark Rothko and Tony Smith, all taken by Hans Namuth, 1960.
Also found is a folder of material assembled by Nathan regarding Jose de Creeft's story, as told to Nathan, of his pet rooster, intended by Nathan to be submitted for publication under the title "Roosty Was My Friend." Included are an introduction by Nathan, providing biographical information on de Creeft; sample text for the story (2 pages) and an outline for the remainder (3 pages), 24 drawings by de Creeft illustrating the story; and a photograph of de Creeft with a wire sculpture of Roosty, 1957, taken by Budd studio.
Biographical / Historical:
Emily Nathan (1907-1999) was a journalist and public relations consultant specializing in arts and cultural heritage institutions.
Provenance:
Donated 1973-1988 by Emily Nathan and in 2000 by the Emily Nathan estate, via Edgar S. Nathan, III, executor. The letter to Nathan from Daniel Catton Rich was donated by Rich, 1977.
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.
Occupation:
Cartoonists -- Interviews  Search this
Public relations consultants  Search this
Topic:
Roosters -- Pictorial works  Search this
Roosters -- Anecdotes  Search this
Caricatures and cartoons  Search this
Art, American  Search this
Inventors -- Interviews  Search this
Archives -- Public relations  Search this
Museums -- Public relations  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Art and industry  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.nathemil2
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9630e4aee-2164-448c-a093-eae54416f3df
EDAN-URL:
ead_collection:sova-aaa-nathemil2

Oral history interview with George Biddle

Interviewee:
Biddle, George, 1885-1973  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Public Works of Art Project  Search this
Bacon, Peggy, 1895-1987  Search this
Benton, Thomas Hart, 1889-1975  Search this
Billings, Henry, 1901-  Search this
Bouché, Louis, 1896-1969  Search this
Bruce, Edward, 1879-1943  Search this
Cahill, Holger, 1887-1960  Search this
Cassatt, Mary, 1844-1926  Search this
Curry, John Steuart, 1897-1946  Search this
Demuth, Charles, 1883-1935  Search this
Evergood, Philip, 1901-1973  Search this
Grosz, George, 1893-1959  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hartley, Marsden, 1877-1943  Search this
Kroll, Leon, 1884-1974  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Orozco, José Clemente, 1883-1949  Search this
Pascin, Jules, 1885-1930  Search this
Poor, Henry Varnum, 1887-1970  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Boardman, 1876-1952  Search this
Siqueiros, David Alfaro  Search this
Sterne, Maurice, 1878-1957  Search this
Stieglitz, Alfred, 1864-1946  Search this
Tamayo, Rufino, 1899-  Search this
Weber, Max, 1881-1961  Search this
Zorach, William, 1887-1966  Search this
Zorach, William, 1887-1966  Search this
Extent:
239 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963
Scope and Contents:
An interview of George Biddle conducted in 1963, by Harlan Phillips, for the Archives of American Art.
Biddle speaks of his background in Philadelphia; his Harvard education in preparation for a law career; literary acquaintances; travel; the beginning of his art career; his preoccupation with portraiture; his tragic and pleasant works; the importance of mood; his drawing techniques; drawing from nature; color experimentation; Stieglitz's circle; the susceptibility of artists to change during the 1930s; his involvement with the Public Works of Art Project; government censorship of his murals; his involvement with artists overseas during World War II; and his aesthetic philosophy. He recalls Max Weber, Maurice Sterne, George Grosz, William Zorach, Kenneth Hayes Miller, Peggy Bacon, Marsden Hartley, Charles Demuth, Edith Halpert, Boardman Robinson, Reginald Marsh, Thomas Hart Benton, Henry Billings, Ned Bruce, Holger Cahill, Philip Evergood, Diego Rivera, Jose Clemente Orozco, David Siqueiros, and Rufino Tamayo.
Biographical / Historical:
George Biddle (1885-1973) was a painter and sculptor, in Croton-on-Hudson, New York.
General:
Originally recorded 3 sound tape reels. Reformatted in 2010 as 9 digital wav files. Duration is 13 hr., 56 min.
Provenance:
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.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Topic:
Art -- Censorship  Search this
Federal aid to the arts  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.biddle63
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bb4fdb2d-29ab-4c56-bcef-655c27a0afb8
EDAN-URL:
ead_collection:sova-aaa-biddle63
Online Media:

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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 -- New York (State) -- New York  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
World War, 1914-1918  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

Oral history interview with Dorothy C. Miller

Interviewee:
Miller, Dorothy Canning, 1904-2003  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
Mark Rothko and His Times Oral History Project  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Cahill, Holger, 1887-1960  Search this
De Kooning, Willem, 1904-1997  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Panicali, Carla  Search this
Putzel, Howard, 1898-1945  Search this
Rothko, Mark, 1903-1970  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
30 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 May 14
Scope and Contents:
An interview of Dorothy Canning Miller conducted 1981 May 14, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Miller talks about the first time she, with Alfred Barr, saw Mark Rothko's work in Federation of Modern Painters and Sculptors exhibitions. She remembers her first visit to Rothko's studio and frequent conversations at an Italian restaurant near the studio. Miller recounts incidents involving Rothko and Clyfford Still while she was organizing the show "15 Americans" and others at the Museum of Modern Art. She recalls the relationship between Rothko and Still, their split, her own split with Still, and the psychological changes she noted in Rothko. She recalls Holger Cahill, Alfred Barr, Barnett Newma, Robert Motherwell, Clyfford Still, Howard Putzel, Carla Panicali, de Kooning, and others.
Biographical / Historical:
Dorothy Miller (1904-2003) was an art museum curator and art consultant from New York, N.Y.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 24 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Abstract expressionism  Search this
Art museum curators -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.miller81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9848553d6-3075-427e-b4a6-97d47bce0334
EDAN-URL:
ead_collection:sova-aaa-miller81
Online Media:

Oral history interview with Jim Dine

Interviewee:
Dine, Jim, 1935-  Search this
Interviewer:
Berman, Avis  Search this
Extent:
9 Sound recordings ((15 hrs., 11 min), digital, WMA)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
2020 February 24-2022 January 12
Scope and Contents:
An interview with Jim Dine conducted 2020 February 24-2022 January 12 by Avis Berman for the Archives of American Art, at Dine's home and studio in Paris, France, and the Mark Hotel in New York, New York.
Biographical / Historical:
Jim Dine (1935- ) is an American pop artist in New York, New York, and Paris, France. His work includes Happenings, painting, and sculpture. Avis Berman (1949- ) is an art historian, writer, and curator from New York, N.Y.
Related Materials:
The Archives of American Art also holds an interview with Jim Dine conducted 1965 February 26 by Bruce Hooten.
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:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Painters -- France -- Paris  Search this
Sculptors -- France -- Paris  Search this
Topic:
Pop art  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.dine20
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9add394c3-a32b-4c75-98cf-1deb2af3787c
EDAN-URL:
ead_collection:sova-aaa-dine20

Lillian and Frederick Kiesler papers

Creator:
Kiesler, Lillian, 1910?-2001  Search this
Names:
Anthology Film Archives  Search this
Hans Hofmann School of Fine Arts  Search this
John Simon Guggenheim Memorial Foundation  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
University of Iowa, Museum of Art  Search this
Whitney Museum of American Art  Search this
Adnan, Etel  Search this
Andres, Jo  Search this
Arnaud, Leopold, 1895-1984  Search this
Bartos, Armand P., 1910-  Search this
Bultman, Fritz, 1919-1985  Search this
Buscemi, Steve, 1958-  Search this
Castelli, Leo  Search this
Copley, Alfred L.  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Hawkins, Erick  Search this
Hodges, Alice  Search this
Hofmann, Hans, 1880-1966  Search this
Holtzman, Harry  Search this
Howe, George, 1886-1955  Search this
Kamler, Richard  Search this
Kiesler, Frederick  Search this
MacIver, Loren, 1909-  Search this
Meredith, Burgess, 1907-1997  Search this
Milius, Tom  Search this
Miller, Henry, 1891-  Search this
Mondrian, Piet, 1872-1944  Search this
Montgomery, Chandler  Search this
Owen, Jane Blaffer, 1915-2010  Search this
Purdy, James  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
49.1 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Date:
circa 1910s-2003
bulk 1958-2000
Summary:
The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.
Scope and Content Note:
The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.
Arrangement:
The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-57; 41.1 linear feet, ER01; 0.001 GB)

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)
Biographical Note:
Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.
Related Material:
The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.
Separated Material:
Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.
Provenance:
The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.
Restrictions:
Use of original papers requires an appointment. 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 -- New York (State) -- New York  Search this
Set designers -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Performance artists -- New York (State) -- New York  Search this
Art patrons -- New York (State) -- New York  Search this
Topic:
Architects -- New York (State) -- New York  Search this
Exhibition designers  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Women performance artists  Search this
Function:
Art schools -- Massachusetts
Art Schools -- New York (State)
Genre/Form:
Scrapbooks
Sound recordings
Diaries
Interviews
Scripts (documents)
Motion pictures (visual works)
Citation:
Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kieslill
See more items in:
Lillian and Frederick Kiesler papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915
EDAN-URL:
ead_collection:sova-aaa-kieslill
Online Media:

Oral history interview with Jackie Ferrara

Interviewee:
Ferrara, Jackie  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
Michigan State University -- Students  Search this
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Wayne State University -- Students  Search this
Addams, Charles, 1912-1988  Search this
Andre, Carl, 1935-  Search this
Beauchamp, Robert, 1923-  Search this
Bellamy, Richard  Search this
DeLap, Tony, 1927-2019  Search this
Eisenhauer, Lette  Search this
Ferrara, Don  Search this
Forst, Miles, 1923-  Search this
Frank, Mary, 1933-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gallo, Frank, 1933-  Search this
Graves, Nancy Stevenson, 1940-1995  Search this
Gross, Sally  Search this
Hesse, Eva, 1936-1970  Search this
Hofmann, Hans, 1880-1966  Search this
Judd, Donald, 1928-1994  Search this
LeWitt, Sol, 1928-2007  Search this
Marcus, Marcia, 1928-  Search this
Motherwell, Robert  Search this
Oldenburg, Claes, 1929-  Search this
Protetch, Max  Search this
Rockburne, Dorothea  Search this
Rosenquist, James, 1933-  Search this
Samaras, Lucas, 1936-  Search this
Smithson, Robert  Search this
Extent:
3 Items (Sound recording: 3 sound files (5 hr., 12 min.), digital, WMA files)
115 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 January 16-February 13
Scope and Contents:
An interview of Jackie Ferrara conducted 2009 January 16-February 13, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at the Ferrara's home, in New York, New York.
Ferrara speaks of growing up in Detroit, Michigan; her early interest in mathematics and its ever present role in her work; attending Michigan State University for one year; taking fashion drawing classes at Wayne State University and her supposed lack of drawing skills; an early interest in pottery and leather making; moving to New York City in 1951 on a night train from Detroit; working at the Henry Street Playhouse and its influential role on her art; her relationship with Robert Beauchamp and her friendship with many artists in Provincetown, Massachusetts; early works, including the cotton batting works and the rope works, most of which were destroyed; her dislike of traveling and her use of imagination for inspiration; participating in the performances and happenings of Claes Oldenburg; her friendship with Robert Smithson and his influence on her later works; working with Max Protetch; never teaching art because she herself did not attend art school; her creation process of her wood and stone pieces, including their conception in early drawings; having a positive attitude towards her pieces being rebuilt because of decay; quickly moving into public art in the late 1970s, early 1980s; living and working in the same loft in New York for over 40 years; the helpful role the women's movement played in her successful career though she did not participate; receiving art grants to enable her to work for a year or two without having to find an odd job to support herself; various public art projects around the country, how they came to be, creating the works and their significance to her. Ferrara also recalls Charlotte Tokayer, Don Ferrara, Alvin Nikolai, Richard Bellamy, Mary and Paul Frank, Miles and Barbara Forst, Sally Gross, Hans Hofmann, Robert Motherwell, Helen Frankenthaler, Nat Halprin, Lucas Samara, Letty Lou Eisenhauer, James Rosenquist, Marcia Marcus, Charles Addams, Eva Hesse, Frank Gallo, Tony DeLap, Dorothea Rockburne, Time Doyle, Sol LeWitt, Donald Judd, Carl Andre, Nancy Graves, Marty Greenbaum, Abe Sachs, Mel Bochner, Jan Groover, Alice Aycock, Alice Adams, Jackie Windsor, Scott Burton, Siah Armajani, Michelle Stuart, Lucy Lippard, Zaha Hadid, Max Hutcinson, Andrea Blum, and others.
Biographical / Historical:
Jackie Ferrara (1929- ) is a sculptor. Ferrara works with the built environment in her designs for courtyards and architectural structures.
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:
Audio: ACCESS RESTRICTED; Use requires written permission.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Draftsmen (artists) -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ferrar09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9efd0b315-7933-452d-945c-e6f5dc917f90
EDAN-URL:
ead_collection:sova-aaa-ferrar09
Online Media:

Oral history interview with Keith Sonnier

Interviewee:
Sonnier, Keith, 1941-2020  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 September 22- October 20
Scope and Contents:
An interview of Keith Sonnier conducted 2009 September 22 and October 20, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Sonnier's studio, in New York, N.Y.
Biographical / Historical:
Keith Sonnier (1941-2020) was a sculptor and painter in New York, N.Y.
General:
Originally recorded 1 sound disc. Reformatted in 2010 as 3 digital wav files. Duration is 4 hr., 23 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:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.sonnie09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93756aeed-1da3-4919-8f88-d4b91f3bb898
EDAN-URL:
ead_collection:sova-aaa-sonnie09
Online Media:

George Constant papers

Creator:
Constant, George  Search this
Names:
Art Institute of Chicago  Search this
Audubon Artists (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Carnegie Institute  Search this
Dayton Art Institute  Search this
Federation of Modern Painters and Sculptors  Search this
Ferargil Galleries  Search this
Heckscher Museum  Search this
Lyman Allyn Art Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Parrish Art Museum  Search this
Spanish Refugee Aid (Organization)  Search this
United States. Works Progress Administration  Search this
Whitney Museum of American Art  Search this
Avery, Milton, 1885-1965  Search this
Avery, Sally  Search this
Burliuk, David, 1882-1967  Search this
Caparn, Rhys, 1909-1997  Search this
Carnell, Julia Shaw Patterson, 1863-1944  Search this
Davidson, Morris, 1898-1979  Search this
Eaton, Charles Warren, 1857-1937  Search this
Gecan, Vilko, 1894-1973  Search this
Kanaga, Consuelo, 1894-  Search this
Landgren, Marchal E.  Search this
Neuberger, Roy R.  Search this
Pach, Walter, 1883-1958  Search this
Perret, Nell, 1916-  Search this
Preston, Georgette  Search this
Putnam, Wallace, 1899-1989  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Christmas cards
Photographs
Video recordings
Sound recordings
Interviews
Date:
1912-2007
bulk 1932-1978
Summary:
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.
Scope and Contents note:
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.

Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.

Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.

Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.

Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.
Arrangement note:
The collection is arranged into 4 series:

Missing Title

Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)

Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)

Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)

Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)
Biographical/Historical note:
Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.

Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.

From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.
Provenance:
The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Printmakers -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Christmas cards
Photographs
Video recordings
Sound recordings
Interviews
Citation:
George Constant papers, 1912-2007, bulk 1932-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.consgeor
See more items in:
George Constant papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cec7527c-1946-423b-aab7-e7728da8a072
EDAN-URL:
ead_collection:sova-aaa-consgeor

Eugenie Gershoy papers

Creator:
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Federal Art Project (N.Y.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Yaddo (Artist's colony)  Search this
Baker, Mildred, 1905-  Search this
Blanch, Arnold, 1896-1968  Search this
Blanch, Lucile, 1895-1981  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Dehn, Virginia  Search this
Force, Juliana, 1876-1948  Search this
Fruhauf, Aline, 1909-1978  Search this
Gottlieb, Harry, 1895-  Search this
Hart, Agnes, 1912-1979  Search this
Knight, Frederic C., 1898-1979  Search this
Marantz, Irving, 1912-1972  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Nakian, Reuben, 1897-1986  Search this
Picken, George, 1898-  Search this
Pollet, Joseph C., 1897-1979  Search this
Presser, Josef, 1906-1967  Search this
Refregier, Anton, 1905-  Search this
Scaravaglione, Concetta, 1900-1975  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Thomson, Virgil, 1896-  Search this
Varda, Jean  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Christmas cards
Sketchbooks
Sketches
Photographs
Place:
Woodstock (N.Y.)
Date:
1914-1983
Summary:
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.

Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.

Missing Title

Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)

Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)

Series 3: Business Records, 1952-1978 (box 6; 5 folders)

Series 4: Notes, 1967-1970, undated (box 6; 3 folders)

Series 5: Writings, 1970, undated (box 6; 2 folders)

Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)

Series 7: Printed Material, 1932-1983, undated (boxes 7, 9; 19 folders)

Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.

With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.

Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.

In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.

Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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
Sculptors -- New York (State) -- New York  Search this
Draftsmen (artists) -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Topic:
New Deal, 1933-1939  Search this
Federal aid to the arts  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Women ceramicists  Search this
Women sculptors  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Prints
Christmas cards
Sketchbooks
Sketches
Photographs
Citation:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gerseuge
See more items in:
Eugenie Gershoy papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9140504d0-90c4-45af-91c8-9c39b74aa139
EDAN-URL:
ead_collection:sova-aaa-gerseuge

Isabel Bishop papers

Creator:
Bishop, Isabel, 1902-1988  Search this
Names:
American Society of Painters, Sculptors and Gravers  Search this
New Society of Artists (New York, N.Y.)  Search this
Arms, John Taylor, 1887-1953  Search this
Bacon, Peggy, 1895-1987  Search this
Blume, Peter, 1906-1992  Search this
Brooks, Van Wyck, 1886-1963  Search this
Canaday, John, 1907-1985  Search this
Chappell, Warren, 1904-  Search this
Ciardi, John, 1916-  Search this
Cunningham, Merce  Search this
Delevante, Sidney, 1894-  Search this
Deutsch, Babette, 1895-1982  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Evergood, Philip, 1901-1973  Search this
Ferber, Edna, 1887-1968  Search this
Folinsbee, John Fulton, 1892-1972  Search this
Force, Juliana, 1876-1948  Search this
Hoffman, Malvina, 1887-1966  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Johnson, Una E.  Search this
Kearns, James  Search this
Kitaj, R. B.  Search this
Kroll, Leon, 1884-1974  Search this
Laning, Edward, 1906-1981  Search this
Lattimore, Richmond Alexander, 1906-1984  Search this
Leighton, Clare, 1899-  Search this
Marsh, Reginald, 1898-1954  Search this
Moore, Marianne, 1887-1972  Search this
Mumford, Lewis, 1895-1990  Search this
Neel, Alice, 1900-1984  Search this
Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this
Porter, Fairfield  Search this
Rattner, Abraham  Search this
Schmidt, Katherine, 1898-1978  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Soyer, Raphael, 1899-1987  Search this
Tooker, George, 1920-2011  Search this
Van Veen, Stuyvesant  Search this
Vonnegut, Kurt  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Westcott, Glenway  Search this
Zorach, William, 1887-1966  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Prints
Sketchbooks
Illustrated letters
Date:
1914-1983
Summary:
The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. There are scattered biographical documents, correspondence with fellow artists such as Peggy Bacon, Warren Chappell, Edward Laning, and R. B. Kitaj, and with writers, curators, museums, galleries, arts organizations, and others. Also found are arts organization files, Bishop's writings about Warren Chappell and friend Reginald Marsh, notes, exhibition catalogs, news clippings, and other printed material, photographs of Bishop and her artwork, and photographs of Reginald and Felicia Marsh. Original artwork includes 8 sketchbooks, loose sketches, prints, and watercolor figure studies.
Scope and Content Note:
The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. Scattered biographical documents include awards and a file on her participation in art juries.

Bishop was friends with many artists and cultural figures and her correspondence includes letters to and from artists such as John Taylor Arms, Peggy Bacon, Peter Blume, Warren Chappell (many letters from Chappell are illustrated), Sidney Delevante, Edwin Dickinson, Philip Evergood, John Folinsbee, Malvina Hoffman, Jo Hopper, James Kearns, Leon Kroll, Clare Leighton, Jack Levine, Alice Neel, Hobson Pittman, Fairfield Porter, Abraham Rattner, Katherine Schmidt, Henry Schnakenberg, Raphael Soyer, George Tooker, Stuyvesant Van Veen, Franklin Watkins, Mahonri Young, and William Zorach. Bishop not only corresponded with artists but also many poets, authors, historians, and dancers, such as Van Wyck Brooks, John Canaday, John Ciardi, Merce Cunningham, Babette Deutsch, Edna Ferber, Richmond Lattimore, Marianne Moore, Lewis Mumford, Kurt Vonnegut, and Glenway Westcott. Also found are letters from many galleries, museums, and schools which exhibited or purchased her work, including curators Juliana Force and Una Johnson.

Bishop kept files from her affiliations with the American Society of Painters, Sculptors, and Gravers and the New Society of Artists, containing mostly membership and financial records, and a file on a UNESCO conference. Unfortunately, files documenting her membership and vice presidency of the National Institute of Arts & Letters are not found here.

A small amount of Bishop's writings and notes include essays about friends and artists Reginald Marsh and Warren Chappell. Printed material consists of exhibition catalogs and announcements, news clippings, magazines, and a design by G. Alan Chidsey for a book about Bishop. Photographs depict Bishop with her husband and in her studio, her artwork, and also include three photographs of her friend, Reginald Marsh.

Original artwork includes eight small sketchbooks, loose pen and ink sketches, intaglio prints, watercolor figure studies, and a drawing of Bishop by Aaron Bohrod.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1943-1975 (Box 1; 4 folders)

Series 2: Correspondence, 1939-1983 (Box 1; 0.6 linear feet)

Series 3: Organization Files, 1924-1937, 1951-1952 (Box 1; 0.2 linear feet)

Series 4: Writings & Notes, 1937-1960s (Box 1; 4 folders)

Series 5: Printed Material, 1930-1979 (Box 2; 0.6 linear feet)

Series 6: Photographs, 1914, circa 1920s-1975 (Box 2, OV 5; 0.2 linear feet)

Series 7: Artwork, circa 1940s-1970s (Box 2-4, OV 5; 0.4 linear feet)
Biographical Note:
Isabel Bishop (1902-1988) was born in Cincinnati, Ohio to John Remsen Bishop and Anna Bartram Newbold Bishop. Shortly after her birth the family moved to Detroit, Michigan. As a child Bishop took art classes and had a growing interest in drawing. In 1918 at the age of 16 she left home and moved to New York City where she enrolled in the School of Applied Design for Women to be an illustrator. However, her real interest was in painting, not the graphic arts, and she enrolled in the Art Students League in 1920. There she studied with Kenneth Hayes Miller and Guy Pene du Bois and met many young artists, including Reginald Marsh and Edwin Dickinson, both of whom became close friends. She took classes until 1924 and rented a studio and living space on 14th Street in a neighborhood where many artists maintained studios at the time.

Bishop began exhibiting her work and participated in artist groups, including the Whitney Studio Club and the New Society of Artists. During the 1920s and 1930s she developed a realist style of painting, primarily depicting women in their daily routine on the streets of Manhattan. Her work was greatly influenced by Peter Paul Rubens and other Dutch and Flemish painters that she had discovered during trips to Europe. In 1932 Bishop began showing her work frequently at the newly opened Midtown Galleries, where her work would be represented throughout her career.

In 1934 she married Harold Wolff, a neurologist, and moved with him to Riverdale, New York. Bishop kept her studio in Manhattan, moving from 14th Street to Union Square. She remained in her Union Square studio for fifty years (1934-1984). From 1936 to 1937 she taught at the Art Students League and in 1940 her son Remsen was born. In 1941 she was named a member of the National Academy of Design and from 1944 to 1946 she was the Vice President of the National Institute of Arts & Letters, the first woman to hold an executive position with that organization. She wrote articles and joined other artists in speaking out in support of realist painting and against the abstract style that was dominating the New York art scene.

During her long career which lasted into the 1980s, Bishop exhibited in numerous group and solo exhibitions, traveled throughout the U. S. as an exhibition juror, and won many awards for her work, including the award for Outstanding Achievement in the Arts presented by President Jimmy Carter in 1979.
Related Material:
Also found at the Archives of American Art are three oral history interviews with Isabel Bishop, April 15, 1959, May 29, 1959, and November 12-December 11, 1987.

The Whitney Museum of American Art and Midtown Galleries loaned additional Bishop papers to the Archives for microfilming on reels NY59-4 and NY59-5. These items were returned to the lenders after microfilming and are not described in the container listing of this finding aid.
Provenance:
The collection was donated in several installments by Isabel Bishop from 1959 to 1983.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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
Sculptors -- New York (State) -- New York  Search this
Book illustrators -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Realism  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Prints
Sketchbooks
Illustrated letters
Citation:
Isabel Bishop papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bishisab
See more items in:
Isabel Bishop papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9509a0a9a-9a45-4bf3-973e-4699c03f6ed8
EDAN-URL:
ead_collection:sova-aaa-bishisab
Online Media:

Richard Artschwager papers

Creator:
Artschwager, Richard, 1923-  Search this
Names:
Adair Margo Gallery  Search this
Carpenter Center for the Visual Arts  Search this
Cornell University  Search this
Gagosian Gallery  Search this
Galerie Franck + Schulte  Search this
Harvard University  Search this
Herbert F. Johnson Museum of Art  Search this
Leo Castelli Gallery  Search this
Lorence-Monk Gallery (New York, N.Y.)  Search this
Museum Ludwig  Search this
Museum of Contemporary Art (Los Angeles, Calif.)  Search this
Museum of Fine Arts, Boston  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Skowhegan School of Painting and Sculpture  Search this
University of Wisconsin  Search this
Whitney Museum of American Art  Search this
Alloway, Lawrence, 1926-1990  Search this
Castelli, Leo  Search this
Copley, William Nelson, 1919-1996  Search this
Fischl, Eric, 1948-  Search this
Johnson, Ray, 1927-  Search this
Karp, Ivan C., 1926-2012  Search this
Katz, Alex, 1927-  Search this
Kimmelman, Michael  Search this
Lawler, Louise  Search this
LeWitt, Sol, 1928-2007  Search this
Murray, Elizabeth, 1940-  Search this
Namuth, Hans  Search this
Neuendorf, Hans  Search this
Ruscha, Edward  Search this
Schaffner, Ingrid  Search this
Schjeldahl, Peter  Search this
Waters, John, 1946-  Search this
Woodman, Betty, 1930-  Search this
Extent:
5.6 Linear feet
9.33 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Date:
1959-2013
Summary:
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.
Occupation:
Art critics  Search this
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Citation:
Richard Artschwager papers, 1959-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artsrich
See more items in:
Richard Artschwager papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b1669278-fbd8-48b5-832c-ad4b93ec08bd
EDAN-URL:
ead_collection:sova-aaa-artsrich
Online Media:

Oral history interview with Mia Westerlund Roosen

Interviewee:
Roosen, Mia Westerlund, 1942-  Search this
Interviewer:
Berman, Avis  Search this
Extent:
4 Items (Sound recording, master: 4 sound files (5 hr., 30 min.), digital, WMA)
136 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2012 June 18-July 3
Scope and Contents:
An interview of Mia Westerlund Roosen conducted 2012 June 18 and July 3, by Avis Berman, for the Archives of American Art, at Westerlund Roosen's home, in Buskirk, N.Y.
Biographical / Historical:
Mia Westerlund Roosen (1942- ) is a sculptor in Buskirk, N.Y. Avis Berman (1949- ) is an art historian and author in New York, N.Y.
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:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wester12
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw964245796-0f4c-484e-b452-facc96036598
EDAN-URL:
ead_collection:sova-aaa-wester12

Oral history interview with Tom Otterness

Interviewee:
Otterness, Tom, 1952-  Search this
Interviewer:
Berman, Avis  Search this
Extent:
7 Items (sound files (4 hours., 26 min.), digital, wav )
79 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2009 April 10 - May 13
Scope and Contents:
An interview with Tom Otterness conducted 2009 April 10 - May 13, by Avis Berman for the Archives of American Art, at Otterness' studio in Brooklyn, New York.
Biographical / Historical:
Tom Otterness (1952-) is a sculptor well-known for his public art in New York, N.Y.
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:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Public artists -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Public art  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.ottern09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96fedb59f-1d87-4cb6-9088-cddeaa55c50d
EDAN-URL:
ead_collection:sova-aaa-ottern09

Avis Berman research material on Elie Nadelman

Creator:
Berman, Avis  Search this
Names:
Nadelman, Elie, 1882-1946  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
circa 1998-2002
Summary:
Avis Berman research material on Elie Nadelman measures one linear feet and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Scope and Contents:
Avis Berman research material on Elie Nadelman measures one linear foot and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Arrangement:
Due to its small size the collection is arranged in a single series.
Biographical / Historical:
Avis Berman (1949- ) is a writer, curator, and historian of American art, architecture and culture based in New York, N.Y.. She holds a bachelor's degree from Bucknell University and an master's degree from Rutgers University, both in English literature. She is the author of numerous books including Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art; James McNeill Whistler; and Edward Hopper's New York. She was also co-author and editor of Katharine Kuh's memoir, My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. Berman has written numerous articles on subjects including painting, sculpture, photography, illustration, design, architecture, and the social history of the visual arts for a broad range of publications including The New York Times, The New York Review of Books, The Washington Post, Smithsonian, Saturday Review, The Boston Book Review, American Art, ARTnews, The San Francisco Examiner, The Boston Globe, The Philadelphia Inquirer, The Baltimore Sun, Art in America, Art & Antiques, House & Garden, and Architectural Digest. Throughout the 1980s 1990s and 2000s Avis served as a consultant for the Archives of American Art, Washington, D.C., in her capacity as interviewer for the oral history project for which she has researched and interviewed countless artists, collectors, and other figures in the art world in Europe and the United States. Since 2001, Avis Berman has overseen the Roy Lichtenstein Foundation's oral history project.
Related Materials:
Also in the Archives are the Avis Berman research material on Katharine Kuh, 1939-2006, research material on Juliana Force, circa 1930-2020, research material on art and artists, 1976-1994, and an interview of Reuben Nakian conducted by Berman for the Archives Oral History Program, June 1981.
Provenance:
Donated in 2021 by Avis Berman.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all writings by Avis Berman.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Women art historians  Search this
Folk art  Search this
Citation:
Avis Berman research material on Elie Nadelman, circa 1998-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermavis5
See more items in:
Avis Berman research material on Elie Nadelman
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6baa174-578f-490b-b9d3-8fe306c67e31
EDAN-URL:
ead_collection:sova-aaa-bermavis5

Oral history interview with Alice Aycock

Interviewee:
Aycock, Alice  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
1 Item (data compact disc (5 hr., 18 min.), digital, 4 WMA files)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
2009 February 2-March 25
Scope and Contents:
An interview of Alice Aycock conducted 2009 February 4-March 25, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Aycock's home, in New York, New York.
Biographical / Historical:
Alice Aycock (1946- ) is a sculptor in New York, New York. Aycock was educated at Hunter College and teaches at School of Visual Arts.
General:
Originally recorded on 1 data compact disc. Reformatted in 2010 as 4 digital wav files. Duration is 5 hr., 18 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.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.aycock09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9475913b8-437d-4011-9120-403f72fbd9b9
EDAN-URL:
ead_collection:sova-aaa-aycock09
Online Media:

Oral history interview with Dennis Adams

Interviewee:
Adams, Dennis  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
3 Items (sound files (5 hr., 26 min.), digital, wav file)
112 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 April 24-May 15
Scope and Contents:
An interview of Dennis Adams conducted 2009, April 24-May 15, by Avis Berman, for the Archives of American Art's U.S. General Service Administration, Design Excellence and the Arts oral history project, at Adams' home, in New York, New York.
Biographical / Historical:
Dennis Adams (1948- ) is a sculptor and educator in New York, New York. Adams teaches at Cooper Union School of Art in New York, New York.
General:
Originally recorded on 1 data compact disc. Reformatted in 2010 as 3 digital wav files. Duration is 5 hrs., 26 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:
This transcript is open for research. Access to the recording is restricted. Contact Reference Services for more information.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Educators -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.adams09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97043cd98-93cb-4827-8b73-a9606aeada43
EDAN-URL:
ead_collection:sova-aaa-adams09
Online Media:

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