Search Results

Creator:

De Rivera, José Ruiz, 1904-1985  Search this

Names:

American Iron and Steel Institute  Search this

Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this

New York World's Fair (1964-1965)  Search this

Smithsonian Institution  Search this

Ashton, Dore  Search this

Goldsmith, Howard  Search this

Marter, Joan M.  Search this

Extent:

5.6 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Collages

Sketchbooks

Interviews

Transcripts

Sketches

Motion pictures (visual works)

Blueprints

Photographs

Date:

1930-1991

Summary:

The papers of sculptor José de Rivera date from 1930 to 1991 and measure 5.6 linear feet. Found within the papers are biographical materials, letters, scattered personal business records, commission files, art work including four sketchbooks, printed material, and photographs. One of the commission files includes a motion picture film.

Scope and Content Note:

The papers of sculptor José de Rivera date from 1930 to 1991 and measure 5.6 linear feet. Found within the papers are biographical materials, letters, scattered personal business records, commission files, art work including four sketchbooks, printed material, and photographs. One of the commission files includes a motion picture film.

Biographical material consists of a biographical account, resumé, military service records, an interview transcript, certificates, addresses, and miscellaneous notes and writings.

Twenty-nine folders of letters are primarily from de Rivera's patron, attorney Howard Goldsmith, but also include single letters from Marcel Breuer, John Canaday, Emlen Etting, Dag Hammarskjold, and G. Vantongerloo.

Scattered personal business records include rental records, sculpture inventories, a contract, receipts, and miscellaneous records.

Commission files contain letters, contracts, receipts, clippings, blueprints, miscellaneous printed material, and photographs concerning several of de Rivera's commissions, including Brussels Construction for the Brussels Universal and International Exhibition, his sculpture for the 1964 New York World's Fair, and Infinity, commissioned for the Smithsonian. A file for Construction #73 completed for the American Iron and Steel Institute also contains a reel of 16mm motion picture film.

Art work consists of four sketchbooks, drawings, and geometric collages including detached cut out shapes.

Printed material includes primarily clippings and exhibition announcements and catalogs. There is also a copy of the book José de Rivera Constructions by Dore Ashton and Joan M. Marter. Photographs are of de Rivera, miscellaneous art-related events, his studio, his art works, and of miscellaneous exhibition installations. Commission files also contain photographs.

Arrangement:

The collection is arranged as 7 series:

Series 1: Biographical Material, 1942-1984 (Box 1; 11 folders)

Series 2: Letters, 1938-1988 (Box 1; 29 folders)

Series 3: Personal Business Records, 1947-1984 (Box 1; 11 folders)

Series 4: Commission Files, 1955-1977 (Box 1-2, 6-7, OVs 10-11, FC 13; 1.1 linear feet)

Series 5: Art Work, 1960-1984 (Box 2, 6, OV 8; 0.9 linear feet)

Series 6: Printed Material, 1931-1991 (Box 2-4, 6; 1.5 linear feet)

Series 7: Photographs, 1930-1985 (Box 4-7, OV 9-OV 10, 12; 1.7 linear feet)

Biographical Note:

José de Rivera (1904-1985) worked primarily in New York as an abstract expressionist sculptor known for twisting steel or bronze bands into space-defining three-dimensional shapes.

José A. Ruiz was born on September 18, 1904 in West Baton Rouge, Louisiana, the son of Joseph and Honorine Montamat Ruiz. He would later take the surname of his maternal grandmother, de Rivera. Early in his life his family moved to New Orleans where his father was a sugar mill engineer on a plantation. De Rivera became adept at repairing machinery and doing blacksmith work with his father. Shortly after completing high school in 1922, de Rivera moved to Chicago where he was employed in foundries and machine shops as a pipe fitter and tool and die maker. His 1926 marriage to Rose Covelli ended in divorce.

Beginning in 1928 de Rivera attended night drawing classes conducted at the Studio School by painter John W. Norton. De Rivera was impressed by the Egyptian collections at the Field Museum. The work of Mondrian, Brancusi, and Georges Vantongerloo also exerted a strong influence on him. In 1932, he traveled through southern Europe and North Africa visiting Spain, Italy, France, Greece, and Egypt. Upon his return to the United States he decided to become a sculptor.

From 1937-1938, de Rivera was employed by the Works Progress Administration-Federal Art Project and created the sculpture Flight for the Newark, New Jersey airport. During World War II, he first served in the U.S. Army Corps from 1942 to 1943. For the following three years, he designed and constructed ship models used as training aids in the U. S. Navy.

De Rivera's first solo exhibition was in 1946 in New York at the Mortimer Levitt Gallery. In 1953, de Rivera taught sculpture at Brooklyn College. For the following three years, he was a critic in sculpture at Yale University and taught at the School of Design at North Carolina State College from 1957 to 1960. De Rivera married Lita Jeronimo in 1955.

In 1961 de Rivera was given a retrospective exhibition at the Whitney Museum of American Art. One of his most notable works Infinity was commissioned by the Smithsonian Institution for the front of its newly built Museum of History and Technology in 1963.

José de Rivera died on March 19, 1985 in New York City.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-32) including biographical material, correspondence, writings, drawings, printed material, and photographs. Loaned material was returned to the lender and are not described in the collection container inventory.

Provenance:

In 1970, José de Rivera loaned the Archives of Amrican Art material for microfilming. The artist and the Grace Borgenicht Gallery donated additional papers in 1982 and De Rivera's son, Joseph A. Ruiz II, gave more material in 1998.

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.

Topic:

Hispanic American artists  Search this

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

Sculpture, American -- New York (State) -- New York  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Drawings

Collages

Sketchbooks

Interviews

Transcripts

Sketches

Motion pictures (visual works)

Blueprints

Photographs

Citation:

José de Rivera papers, 1930-1991. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.derijose

See more items in:

José de Rivera papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-derijose

Creator:

Ramsburg, Charles  Search this

Extent:

0.8 Linear feet

6.04 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Video recordings

Date:

1959-2020

Summary:

The papers of artist Charles Ramsburg (1942- ) measure 0.8 linear feet and 6.04 GB, and date from 1959-2020. The collection documents Ramsburg's career and art practice through biographical material, correspondence, exhibition files, printed material, and photographic material. Some email correspondence, three video recordings and the bulk of the photographs are in digital form.

Scope and Contents:

The papers of artist Charles Ramsburg (1942- ) measure 0.8 linear feet and 6.04 GB, and date from 1959-2020. The collection documents Ramsburg's career and art practice through biographical material, correspondence, exhibition files, printed material, and photographic material. Some email correspondence, three video recordings and the bulk of the photographs are in digital form.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Material, 1959-circa 1993 (Box 1, 1 folder; ER06, ER09, 0.162 GB)

Series 2: Correspondence, 1961-2019 (Box 1, 2 folders; ER07-ER08, 0.054 GB)

Series 3: Exhibition Files, 1989-2005 (Box 1, 0.3 linear feet; ER01, 3.86 GB)

Series 4: Printed Material, circa 1980-2018 (Box 2; 0.2 linear feet)

Series 5: Photographic Material, 1990-2017 (Box 2, 0.2 linear feet; ER02-ER05, 1.94 GB)

Biographical / Historical:

Charles Ramsburg (1942- ) is an artist in New York City who creates sculptures and drawings related to the minutiae of nature. Originally from Pittsburgh, Pennsylvania, Ramsburg studied at the San Francisco Art Institute, University of Arizona, and University of California at Santa Barbara. He moved to New Mexico in 1970, and after several decades returned to the east coast. Ramsburg's work has been featured in exhibitions internationally, and he has been represented by Carter Burden Gallery in New York and Horwitch LewAllen Gallery in New Mexico.

Provenance:

Donated to the Archives of American Art by Charles Ramsburg in 2017, 2019 and 2020.

Restrictions:

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

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

Rights:

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

Occupation:

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

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

Genre/Form:

Video recordings

Citation:

Charles Ramsburg papers, 1959-2020. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ramschar

See more items in:

Charles Ramsburg papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-ramschar

Creator:

Zarina  Search this

Extent:

4.28 Gigabytes

1.1 Linear feet

Type:

Collection descriptions

Archival materials

Gigabytes

Diaries

Sketches

Video recordings

Date:

1950-2015

Summary:

The papers of New York artist Zarina Hashmi date from 1950-2015. The extent measures 1.1 linear feet and 4.28 gigabytes. This small collection documents Hashmi's life and career through biographical material; correspondence with friends, dealers, and curators; writings, including diary pages, a digital video recording of a lecture, and notebooks; project files containing sketches, studies, and reference material; printed material; and over 100 photographs from various stages in the artist's life.

Scope and Contents:

The papers of New York artist Zarina Hashmi date from 1950-2015. The extent measures 1.1 linear feet and 4.28 gigabytes. This small collection documents Hashmi's life and career through biographical material; correspondence with friends, dealers, and curators; writings, including diary pages, a digital video recording of a lecture, and notebooks; project files containing sketches, studies, and reference material; printed material; and over 100 photographs from various stages in the artist's life.

Arrangement:

The collection is arranged as six series.

Series 1: Biographical Material, 1974-2015 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1991-2014 (2 folders; Box 1)

Series 3: Writings, 2000s-2012 (3 folders, 4.28 gigabytes; Box 1, ER01)

Series 4: Project Files, 1970s-2010 (0.2 linear feet; Box 1, OV 2)

Series 5: Printed Material, 1970s-2013 (0.4 linear feet; Box 1)

Series 6: Photographs, 1950-2000s (0.2 linear feet; Box 1)

Biographical / Historical:

Zarina Hashmi (1937- ) is an artist living and working in New York City. Born in Aligarh, India, Hashmi studied mathematics before discovering printmaking and papermaking in the 1960s. She studied intaglio with Stanley William Hayter at Atelier 17 in Paris, and woodblock printing at Toshi Yoshida Studio in Tokyo. Through printmaking, drawing, and sculpture, Hashmi explores themes of geographical and social borders, migration, and home, often incorporating text in her native Urdu.

Provenance:

Donated to the Archives of American Art in 2015 by Zarina Hashmi.

Restrictions:

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

Use of electronic records requires advance notice.

Rights:

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

Topic:

Muslim artists  Search this

Printmakers -- India  Search this

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

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

Sculptors -- India  Search this

Women artists -- India  Search this

Women artists -- New York (State) -- New York  Search this

Photographs  Search this

Genre/Form:

Diaries

Sketches

Video recordings

Citation:

Zarina Hashmi papers, 1950-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.zarina

See more items in:

Zarina Hashmi papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-zarina

Creator:

Grand Central Art Galleries  Search this

Names:

Galerie Jeanne Bucher  Search this

Grand Central Moderns (Gallery)  Search this

Asher, Elise, 1914-  Search this

Barrie, Erwin S., 1886-1983  Search this

Browne, Byron, 1907-1961  Search this

Candell, Victor, 1903-1977  Search this

DeMartini, Joseph, 1896-1984  Search this

Gonzalez, Xavier, 1898-1993  Search this

Kainen, Jacob  Search this

Lam, Jennett, 1911-  Search this

Moy, Seong  Search this

Osver, Arthur, 1912-2006  Search this

Roberts, Colette, 1910-  Search this

Rowan, Herman  Search this

Salemme, Lucia A.  Search this

Watts, Robert M., 1923-1988  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1931-1968

bulk circa 1952-circa 1965

Summary:

The records of New York City's Grand Central Art Galleries measure 1.3 linear feet and date from 1931 to 1968, with the bulk of the material from circa 1952 to circa 1965. The majority of the records are related the Grand Central Moderns, the modern art division of Grand Central Art Galleries. The collection includes group exhibition files, artists' files, printed material and photographs.

Scope and Contents:

The records of New York City's Grand Central Art Galleries measure 1.3 linear feet and date from 1931 to 1968, with the bulk of the material from circa 1952 to circa 1965. The majority of the records are related the Grand Central Moderns, the modern art division of Grand Central Art Galleries. The collection includes group exhibition files, artists' files, printed material and photographs.

Group exhibition files consist of catalogs, announcements, clippings, artist biographies, correspondence and photographs. The art exchange exhibition between Grand Central Moderns and Galerie Jeanne Bucher is especially noteworthy.

Artists' files include exhibition catalogs, announcements, resumes, clippings, photographs and limited correspondence. The bulk of the material is on artists who had exhibitions at Grand Central Moderns. Notable artists include Elise Asher, Byron Browne, Victor Candell, Joseph De Martini, Xavier Gonzalez, Jacob Kainen, Jennett Lam, Seong Moy, Arthur Osver, Herman Rowan, Lucia Salemme, and Robert Watts, among others.

Printed material mostly consists of exhibition catalogs and announcements of other galleries. There are a few clippings on Grand Central Art Galleries.

There are a few photographs of artwork.

Arrangement:

The collection is arranged as 4 series.

Series 1: Group Exhibition Files, 1952-1957 (Box 1, OV 3; 0.3 linear feet)

Series 2: Artists' Files, 1940-1968 (Box 1, 0.7 linear feet)

Series 3: Printed Material, 1951-1965 (Boxes 1-2; 0.3 linear feet)

Series 4: Photographs, 1931, circa 1960-circa 1965 (Box 2; 2 folders)

Biographical / Historical:

Grand Central Art Galleries (1923-1994) was a large New York-based art gallery, which also had a modern art division called Grand Central Moderns (1947-circa 1967).

The Grand Central Art Galleries was founded in 1923 and operated as the exhibition space of the Painters and Sculptors Gallery Association in New York City. Grand Central Art Galleries was located at Grand Central Terminal for nearly 30 years before moving on to the Biltmore Hotel at 40 Vanderbilt Avenue, then relocating to 24 West 57th Street. The Galleries regularly exhibited the works of its members and sometimes boasted as many as thirty to forty exhibitions annually.

From its establishment in 1923, Edwin S. Barrie was the director of Grand Central Art Galleries and he founded Grand Central Moderns in 1947, which he also managed until the early 1950s. The gallery moved from one address to another before ultimately relocating to 130 East 56th Street. Colette Roberts was the curator and she took over as director in 1952 until roughly 1965, about two years before Grand Central Moderns closed. Byron Browne, Kenneth Campbell, Lamar Dodd, Xavier Gonzalez, George Morrison and Louise Nevelson were a few of the artists represented by the gallery.

Erwin S. Barrie retired from his position as director of Grand Central Art Galleries in 1975. The gallery closed in 1994.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reels NGCAG1-NGCAG2) including 23 yearbooks, 1928-1945, and exhibition catalogs, 1923-1929. The originals were returned to Grand Central Art Galleries after microfilming and are not described in the the container listing of this finding aid.

Provenance:

Grand Central Art Galleries loaned materials for microfilming in 1966. Addition records were donated to the Archives of American Art by Grand Central Art Galleries in 1966 and 1967.

Restrictions:

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

Topic:

Art galleries, Commercial -- New York (State) -- New York  Search this

Art, Modern -- United States  Search this

Genre/Form:

Photographs

Citation:

Grand Central Art Galleries, 1931-1938, bulk circa 1952-circa 1965. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.grancent

See more items in:

Grand Central Art Galleries records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-grancent

Creator:

Novros, David, 1941-  Search this

Names:

Bui, Phong, 1964-  Search this

Colpitt, Frances  Search this

Graham, Robert, 1938-  Search this

Hope, Charles  Search this

Humblet, Claudine, 1946-  Search this

Judd, Donald, 1928-  Search this

McEwen, Rory, 1932-  Search this

Pollock, Jackson, 1912-1956  Search this

Price, Kenneth, 1935-2012  Search this

Extent:

1 Linear foot

Type:

Collection descriptions

Archival materials

Poems

Transcripts

Interviews

Illustrated letters

Diaries

Date:

1963-2008

Summary:

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

Scope and Content Note:

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

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

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

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

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

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

Arrangement:

The collection is arranged as 5 series:

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

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

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

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

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

Biographical Note:

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

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

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

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

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

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

Mr. Novros lives and works in New York City.

Related Material:

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

Provenance:

Gift of David Novros, 2009

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Topic:

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

Painting -- Technique  Search this

Genre/Form:

Poems

Transcripts

Interviews

Illustrated letters

Diaries

Citation:

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

Identifier:

AAA.novrdavi

See more items in:

David Novros papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-novrdavi

Creator:

Parsons, Betty  Search this

Names:

Betty Parsons Gallery  Search this

Bess, Forrest, 1911-1977  Search this

Congdon, William, 1912-1998  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

61.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Interviews

Video recordings

Drawings

Date:

1916-1991

bulk 1946-1983

Summary:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

Scope and Content Note:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.

Arrangement:

The collection is arranged as seven series. Many of the series are further divided into subseries.

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)

Historical Note:

Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.

Related Material:

Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.

Separated Material:

Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.

Provenance:

The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.

Restrictions:

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

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Gallery owners -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

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

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

Topic:

Women art dealers  Search this

Women artists  Search this

Abstract expressionist  Search this

Genre/Form:

Sketchbooks

Interviews

Video recordings

Drawings

Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.parsbett

See more items in:

Betty Parsons Gallery records and personal papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-parsbett

Collection Creator:

Parsons, Betty  Search this

Extent:

(2 folders)

Container:

Box 22, Folder 53-54

Type:

Archival materials

Date:

1947-1978

Scope and Contents note:

St. Lawrence University

Saint Paul Gallery

Salem State College

Samuel Adams Green, Inc.

San Antonio Art League

San Bernadino Valley College

San Francisco Museum of Modern Art

Santa Rose Junior College

Schuster and Wulf

Schwarz Galleria d'Arte

The Sculptor's Gallery

Seattle Art Museum

Sidney Janis Gallery

Skidmore College

Skowhegan School of Painting and Sculpture

The Skylight Gallery

Society for the Renewal of Christian Art

The Society of the Four Arts

South Bend Art Association

Southern Vermont Art Center

Spectrum Gallery

Springfield Art Museum

Stadtisches Museum Leverkusen

Stanford University

State College of Iowa

State University College at Potsdam, New York

State University of Iowa

State University of New York, State Teachers College

Stedelijk Museum

Stedelijk van Abbemuseum Eindhoven

Stout State University

Student Book Shop

Studio Gallery

Studio International

Studio Marconi

Suffolk Museum and Carriage House

Summit Art Center

Collection Restrictions:

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

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

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

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 3: Correspondence Files / 3.1: Institutions and Dealers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-parsbett-ref900

Creator:

Snelson, Kenneth, 1927-2016  Search this

Names:

Black Mountain College (Black Mountain, N.C.)  Search this

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

Tajiri, Shinkichi, 1923-2009  Search this

Extent:

21.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1947-2016

Summary:

The papers of artist Kenneth Snelson measure 21.8 linear feet and date from 1947-2016. While primarily known for his sculptures incorporating the structural principle of tensegrity, Snelson was also a prolific photographer and forerunner of computer art. The collection document's the artist's life and work through chronological files, correspondence, project files, gallery and exhibition files, photographic material, and printed material. Chronological files detail seven decades of personal and professional activities, beginning with Snelson's summers at Black Mountain College where he studied with Buckminster Fuller. Project files comprise nearly half of the collection and extensively document his sculptures, towers, atom model, computer art, patents, and cataloging and publishing projects.

Scope and Contents:

The papers of artist Kenneth Snelson measure 21.8 linear feet and date from 1947-2016. While primarily known for his sculptures incorporating the structural principle of tensegrity, Snelson was also a prolific photographer and forerunner of computer art. The collection document's the artist's life and work through chronological files, correspondence, project files, gallery and exhibition files, photographic material, and printed material.

Chronological files detail seven decades of personal and professional activities, beginning with Snelson's summers at Black Mountain College where he studied with Buckminster Fuller. Files contain a diverse array of material including personal photographs, photographs of artwork, printed material, correspondence, life documents, resumes, exhibition records, drawings and sketches, supply receipts, and professional files.

Correspondence in Series 2 is primarily with artists and friends. Notable correspondents include artists Buckminster Fuller, Anthony Hill, Todd Siler, and Shinkichi Tajiri.

Project files comprise nearly half of the collection and extensively document Snelson's sculptures, towers, atom model, computer art, patents, and cataloging and publishing projects. Files include a great deal of photographic material of artwork, models, and installations, as well as sketches, notes regarding specifications, material samples, supply receipts, invoices, and correspondence with dealers, contractors, institutions, and companies commissioning work.

Exhibition and gallery files document dozens of exhibitions and galleries that have represented Snelson over the years in the Unites States, Europe, and Japan. Items include correspondence, photographic material of artworks, installations, and openings, exhibitions lists, floorplans, shipping receipts, invoices, contracts, and printed material including exhibitions catalogs, announcements, and clippings.

Photographic material includes photographic prints, slides, negatives, contact sheets, and transparencies, as well as notes that Snelson kept about camera types and photographic processes. Although personal photographs are included here, the bulk of the material pertains to Snelson's fine art photography in which he experiments with panoramic photography and stereoscopic photography.

Printed material is predominantly comprised of exhibition catalogs, although a few articles and clippings are filed here as well.

Arrangement:

The collection is arranged as six series.

Series 1: Chronological Files, 1948-2015 (Boxes 1-6; 5.1 linear feet)

Series 2: Correspondence, 1948-2009 (Box 6; 0.5 linear feet)

Series 3: Project Files, 1947-2016 (Boxes 6-17; 10.8 linear feet)

Series 4: Exhibition and Gallery Files, 1963-2016 (Boxes 17-20; 1.5 linear feet)

Series 5: Photographic Material, 1951-2004 (Boxes 20-22; 1.8 linear feet)

Series 6: Printed Material, 1960-2015 (Boxes 22-23; 0.7 linear feet)

Biographical / Historical:

Kenneth Snelson (1927-2016) was a New York City based artist best known for his sculptures incorporating the structural principle of tensegrity, or tensional integrity.

Born in Pendleton, Oregon, Snelson enrolled in college in his home state, studying painting, sculpture, and engineering. In the summers of 1948 and 1949, he attended Black Mountain College and studied with Buckminster Fuller and Joseph Albers. Snelson then attended the Chicago Institute of Design from 1949-1950, and moved to New York City in 1952.

For the next decade, Snelson worked as a cameraman for documentary films, often travelling internationally. In the early 1960s, Snelson began exhibiting his sculptures, and gained representation by Dwan Gallery. Snelson completed several commissions and installations of his sculptures over the next decade, including Tower of Light, a contribution to the 1964 World's Fair, and Needle Tower, first erected in New York's Bryant Park in 1968. While continuing to work in sculpture throughout his career, Snelson began experimenting with panoramic and stereoscopic photography in the 1970s, and became a forerunner of computer art in the 1980s, using the Silicon Graphics computer to create digital sculptures.

In addition to Dwan Gallery, Snelson has shown with Sonnabend Gallery, Zabriskie Gallery, Marlborough Gallery, and the artist-run ConStruct Gallery.

Snelson has been the recipient of numerous awards and prizes including an Honorary Doctorate from the Rensselaer Polytechnic Institute, awards from the American Academy of Arts and Letters, and a prize for sculpture from the National Academy of Design.

Provenance:

The collection was donated to the Archives of American Art in 2017 by Katherine Snelson, Kenneth Snelson's widow.

Restrictions:

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

Rights:

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

Occupation:

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

Citation:

Kenneth Snelson papers, 1947-2016. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.snelkenn

See more items in:

Kenneth Snelson papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-snelkenn

Creator:

Frank, Mary, 1933-  Search this

Names:

Frank, Robert, 1924-  Search this

Gibson, Ralph, 1939-  Search this

Lockspeiser, Eleanore, 1900-1986  Search this

Meyerowitz, Joel, 1938-  Search this

Steichen, Edward, 1879-1973  Search this

Extent:

4.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

1884-2017

bulk 1957-1990

Summary:

The papers of sculptor and painter Mary Frank measure 4.2 linear feet and date from 1884-2017. Included are correspondence, writings, photographs, artwork and printed material documenting Frank's career. Correspondence is both personal and professional. Writings include dreams recounted in detail, poems, and ideas for works of art, some illustrated. Black and white photographs are of Frank, her sculptures, friends and family, and source material. Artwork includes drawings and sketches in dry point, pencil and watercolor. Printed material includes exhibition catalogs, announcements, brochures and clippings.

Scope and Contents:

The papers of sculptor and painter Mary Frank measure 4.2 linear feet and date from 1884-2017. Included are correspondence, writings, photographs, artwork and printed material documenting Frank's career. Correspondence is both personal and professional. Writings include dreams recounted in detail, poems, and ideas for works of art, some illustrated. Black and white photographs are of Frank, her sculptures, friends and family, and source material. Artwork includes drawings and sketches in dry point, pencil and watercolor. Printed material includes exhibition catalogs, announcements, brochures and clippings.

Materials in this collection document Mary Frank's career as an artist in New York through correspondence with family, friends, and artists; original drawings and watercolors; writings about ideas for her artwork; photographs of Frank in her studio and artwork; clippings reviewing her work and documenting her interest and support in the solar cooker movement; and exhibition catalogs and announcements. Also included are photographs from Frank's travels with Red Grooms and other artists in Italy in the 1960s, which was a formative experience in Frank's artistic development. The collection provides an illuminating context for Frank's artwork of the 1970s and 1980s, present in the collection as photographed sculpture but also as original drawings and watercolors.

The collection also offers a glimpse of her family life and early childhood documented through photographs of Robert Frank, and their children; photographs taken by Robert Frank and other known photographers; photographs that belonged to her parents and aunt; drawings by her son, Pablo, and aunt, Sylvia Weinstein; writings by her maternal grandfather; and writings that document personal struggles she experienced throughout her life. The collection provides a penetrating glimpse into the emotional turmoil of the years before Frank's divorce from Robert Frank, and documents through letters and writings Frank's struggles with her daughter's early death in 1974 and her son's illness that began in 1975 and ended in his death in 1994.

Arrangement:

The collection is arranged in five series.

Series 1: Correspondence, 1943-2001 (0.4 linear feet; Box 1)

Series 2: Writings, 1936-circa 1990 (0.2 linear feet; Box 1)

Series 3: Printed Material, circa 1960-2013 (0.6 linear feet; Box 1-2)

Series 4: Artwork, circa 1930-circa 1990s (0.6 linear feet; Box 2, 4; OV 5)

Series 5: Photographic Material, 1884-circa 2006 (2.4 linear feet; Box 2-3; OV 6-12)

Biographical / Historical:

Mary Frank (1933-) is a sculptor, ceramicist, and painter in New York, New York. She was born in London, England in 1933 to writer, Edward Lockspeiser, and artist, Eleanore Weinstein. In 1940, she and her mother moved to Brooklyn, New York and moved in with her mother's parents, Gregory and Eugenie Weinstein. Eventually Frank and her mother moved to the Village in Manhattan. Frank studied modern dance with Martha Graham and attended the High School of Music and Art, the Professional Children's School, and studied under artists Hans Hofmann and Max Beckmann. While still in high school, she met photographer, Robert Frank, whom she eventually married in 1950. They had two children, Pablo and Andrea, and divorced in 1969. Frank first exhibited her artwork at Poindexter Gallery in 1958 and traveled with Red Grooms across Italy in the 1960s, which had a significant impact on her artistic development. Her work is also influenced by her daughter's untimely death in 1974 and her son's illness that began in 1975 and ended in his death in 1994.

Mostly self-taught, Frank works across multiple disciplines including sculpture, painting, ceramics, and drawing. Reflected in her work are themes of grief, loss, love and sorrow. He career has spanned over five decades where she has exhibited works at numerous galleries and museums around the country. She has been the recipient of many awards and honors, including two Guggenheim Foundation Fellowships, and taught classes at Bard College. Mary Frank's works are included in the permanent collections at the Metropolitan Museum of Art, the Whitney Museum of American Art, Brooklyn Museum, National Museum of American Art, The Art Institute of Chicago, and many others. She has also been a longtime advocate of solar cooking.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Mary Frank conducted by Judith Olch Richards on January 10, 11, and February 3, 2010.

Provenance:

Donated in 2014 and 2019 by Mary Frank.

Restrictions:

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

Rights:

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

Occupation:

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

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

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

Topic:

Women artists  Search this

Genre/Form:

Drawings

Sketchbooks

Citation:

Mary Frank Papers, 1884-2017. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.franmary

See more items in:

Mary Frank papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-franmary

Creator:

Hassinger, Maren  Search this

Names:

Maryland Institute, College of Art  Search this

Nengudi, Senga, 1943-  Search this

Extent:

11.3 Linear feet

4.55 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Video recordings

Diaries

Date:

1955-2018

Summary:

The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material; personal and professional correspondence; and writings; as well as project and exhibition files; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including teaching files; photographic material; and artwork and artifacts.

Scope and Contents:

The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material including appointment and address books, education records, family and other home movie recordings, interview transcripts, and resumes; personal and professional correspondence; and writings including diaries, notebooks, notes, and writings by others. Also included are project and exhibition files, including accompanying audiovisual material and performance recordings; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including other teaching files, panels, and grants; printed material; photographic material depicting Maren Hassinger, other individuals, and works of art, including student work; and artwork and artifacts.

Arrangement:

This collection is arranged as nine series.

Series 1: Biographical Material, 1959-2001, 2013-circa 2015 (Box 1; 0.5 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1961-2018 (Boxes 1-2; 1 linear foot, ER02; 3.01 GB)

Series 3: Writings, 1955-2017 (Boxes 2-3; 0.7 linear feet)

Series 4: Project and Exhibition Files, 1966, 1982-2015 (Boxes 3-4, OV 12; 1.5 linear feet, ER03-ER04; 1.31 GB)

Series 5: Rinehart School of Graduate Sculpture/MICA Files, circa 1960s-2018 (Boxes 4-5; 1.4 linear feet)

Series 6: Professional Activities, circa 1969-2017 (Boxes 5-6; 0.8 linear feet, ER05; 0.006 GB)

Series 7: Printed Material, 1960-2018 (Boxes 6-9, OVs 12-15; 2.9 linear feet)

Series 8: Photographic Material, 1969-2010s (Boxes 9-10, OV 12, Box 16; 2.2 linear feet, ER06; 0.224 GB)

Series 9: Artwork and Artifacts, circa 1960s-2010s (Box 11; 0.3 linear feet)

Biographical / Historical:

Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art in which she uses natural and industrial materials. She was also an educator and is the director emeritus of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, MD.

Born Maren Jenkins in Los Angeles, California in 1947, Hassinger studied dance and sculpture at Bennington College, earning a Bachelor of Arts in sculpture in 1969. In 1973 she completed a Master of Fine Arts in fiber structure at UCLA.

During her time in Los Angeles, Hassinger began to collaborate with Senga Nengudi — a collaborative relationship that has continued throughout their careers. She also participated in the Studio Z collective with Nengudi, Ulysses Jenkins, David Hammons, and Houston Conwill.

Hassinger taught at the State University of New York, Stony Brook from 1992 to 1997 and was the director of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art from 1997 to 2018. Throughout her career, she has been awarded numerous residencies, awards, and grants. Her work is held in many collections including the Baltimore Museum of Art, the California African American Museum, the Hammer Museum, and the Studio Museum in Harlem.

Provenance:

The Maren Hassinger papers were donated to the Archives of American Art in 2018 by Maren Hassinger.

Restrictions:

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

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. 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

Educators -- Maryland -- Baltimore  Search this

Performance artists -- New York (State) -- New York  Search this

Topic:

African American artists  Search this

Women artists  Search this

Genre/Form:

Sound recordings

Video recordings

Diaries

Citation:

Maren Hassinger papers, 1955-2018. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.hassmare

See more items in:

Maren Hassinger papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-hassmare

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

Bruce, Edward, 1879-1943  Search this

Cahill, Holger, 1887-1960  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

Marsh, Reginald, 1898-1954  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Orozco, José Clemente, 1883-1949  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

Extent:

261 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.

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

EDAN-URL:

ead_collection:sova-aaa-biddle63

Owner:

Guggenheim, Isaac  Search this

Landscape architect:

Vitale, Ferrucio, 1875-1933  Search this

Vitale, Brinckerhoff & Geiffert  Search this

Architect:

H. Van Buren Magonigle  Search this

Sculptor:

Aiker, Robert  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

New York (State) -- Port Washington

United States of America -- New York -- Nassau County -- North Hempstead -- Port Washington

General:

From Architectural League of New York Yearbook - 1920.

Related Materials:

Villa Carola related holdings consist of 1 slide (b/w)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Entrances  Search this

Garden ornaments and furniture  Search this

Allées  Search this

Sculpture  Search this

Fountains  Search this

Houses  Search this

Collection Citation:

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

Identifier:

AAG.GCA, File NY605

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref26955

Creator:

Hewitt, Mattie Edwards, 1869-1956  Search this

Rogers, Hubert  Search this

New York State Historical Association  Search this

Sculptor:

Sahler, Helen  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Rogers Garden (Scarborough, New York)

United States of America -- New York -- Westchester County -- Scarborough

Date:

06/01/1925

Local Call Number(s):

NY617001, 11361

General:

Image property of New York State Historical Association.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Spring  Search this

Ponds  Search this

Sculpture  Search this

Garden borders  Search this

Water jets  Search this

Trees  Search this

Shrubs  Search this

Collection Citation:

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

Identifier:

AAG.GCA, Item NY617001

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY617: Scarborough -- Rogers Garden

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref30006

Landscape architect:

Page, Russell  Search this

Stone, E. D. Jr.  Search this

Goffinet, Francois  Search this

Architect:

Stone, Edward Durell  Search this

Sculptor:

Wynn, David  Search this

Calder, Alexander, 1898-1976  Search this

Moore, Henry, 1898-1986  Search this

Marini, Marino, 1901-1980  Search this

Owner:

PepsiCo, Inc.  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Maps

Place:

New York (State) -- Purchase

United States of America -- New York -- Westchester County -- Harrison -- Purchase

General:

Further sources of information include: 1. brochures. 2. Horticulture Magazine; July, 1986. 3. House and Garden; Nov, 1985.

Other sculptors whose work is in the garden: George Rickey, Arnaldo Pomodoro, Joan Miro, Gideon Gratz, Judith Brown, Richard Erdman, William Crovello, Isamu Noguchi, Alberto Giacometti.

Related Materials:

Donald M. Kendall Sculpture Gardens at PepsiCo related holdings consist of 1 slide (col.)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Flower beds  Search this

Ponds  Search this

Sculpture  Search this

Genre/Form:

Maps

Collection Citation:

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

Identifier:

AAG.GCA, File NY437

See more items in:

The Garden Club of America collection

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

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref26800

Creator:

Mccall, Edward E.  Search this

Bedford Garden Club  Search this

Landscape architect:

Allen, Nellie B.  Search this

Sculptor:

Scuddles, Janet  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

Gardens -- New York (State) -- East Hampton

United States of America -- New York -- Suffolk County -- East Hampton

Date:

1983

General:

Long Island Estate Gardens. May 22 - June 21, 1985, page 29.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Summer  Search this

Walled gardens  Search this

Arches  Search this

Terraces (land forms)  Search this

Ponds  Search this

Fountains  Search this

Climbing fern  Search this

Garden borders  Search this

Flower beds  Search this

Houses  Search this

Sculpture  Search this

Collection Citation:

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

Identifier:

AAG.GCA, Item NY349001

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY349: East Hampton -- Evesdune

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref27548

Creator:

Weller, Eleanor C.  Search this

Landscape architect:

Page, Russell  Search this

Stone, E. D. Jr.  Search this

Goffinet, Francois  Search this

Architect:

Stone, Edward Durell  Search this

Sculptor:

Wynn, David  Search this

Calder, Alexander, 1898-1976  Search this

Moore, Henry, 1898-1986  Search this

Marini, Marino, 1901-1980  Search this

Owner:

PepsiCo, Inc.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

New York (State) -- Purchase

United States of America -- New York -- Westchester County -- Harrison -- Purchase

Date:

01/05/1990

General:

Pollard trees form a canopy for terrace cafe.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Restaurants  Search this

Tables  Search this

Chairs  Search this

Outdoor furniture  Search this

Trees  Search this

Walkways  Search this

Lawns  Search this

Terraces  Search this

Sculpture  Search this

Collection Citation:

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

Identifier:

AAG.GCA, Item NY437001

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY437: Harrison -- Donald M. Kendall Sculpture Gardens at PepsiCo

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref27697

Creator:

Weller, Eleanor C.  Search this

Landscape architect:

Page, Russell  Search this

Stone, E. D. Jr.  Search this

Goffinet, Francois  Search this

Architect:

Stone, Edward Durell  Search this

Sculptor:

Wynn, David  Search this

Calder, Alexander, 1898-1976  Search this

Moore, Henry, 1898-1986  Search this

Marini, Marino, 1901-1980  Search this

Owner:

PepsiCo, Inc.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

New York (State) -- Purchase

United States of America -- New York -- Westchester County -- Harrison -- Purchase

Date:

01/05/1990

General:

Sculpture by Henry Moore.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Lakes  Search this

Walkways  Search this

Lawns  Search this

Trees  Search this

Weeping trees  Search this

Sculpture  Search this

Collection Citation:

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

Identifier:

AAG.GCA, Item NY437003

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY437: Harrison -- Donald M. Kendall Sculpture Gardens at PepsiCo

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref27698

Creator:

Weller, Eleanor C.  Search this

Landscape architect:

Page, Russell  Search this

Stone, E. D. Jr.  Search this

Goffinet, Francois  Search this

Architect:

Stone, Edward Durell  Search this

Sculptor:

Wynn, David  Search this

Calder, Alexander, 1898-1976  Search this

Moore, Henry, 1898-1986  Search this

Marini, Marino, 1901-1980  Search this

Owner:

PepsiCo, Inc.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

New York (State) -- Purchase

United States of America -- New York -- Westchester County -- Harrison -- Purchase

Date:

01/05/1990

General:

Sculpture by Marino Marini.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Restaurants  Search this

Tables  Search this

Chairs  Search this

Outdoor furniture  Search this

Stairs  Search this

Flagstone  Search this

Trees  Search this

Espaliers  Search this

Terraces  Search this

Sculpture  Search this

Collection Citation:

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

Identifier:

AAG.GCA, Item NY437004

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY437: Harrison -- Donald M. Kendall Sculpture Gardens at PepsiCo

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref27699

Creator:

Weller, Eleanor C.  Search this

Landscape architect:

Page, Russell  Search this

Stone, E. D. Jr.  Search this

Goffinet, Francois  Search this

Architect:

Stone, Edward Durell  Search this

Sculptor:

Wynn, David  Search this

Calder, Alexander, 1898-1976  Search this

Moore, Henry, 1898-1986  Search this

Marini, Marino, 1901-1980  Search this

Owner:

PepsiCo, Inc.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

New York (State) -- Purchase

United States of America -- New York -- Westchester County -- Harrison -- Purchase

Date:

01/05/1990

General:

Ponds get flush with grass; resembles water parterre.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Lily ponds  Search this

Bridges -- stone  Search this

Columns  Search this

Garden borders  Search this

Trees  Search this

Plant supports  Search this

Walkways  Search this

Stairs  Search this

Hand-railing  Search this

Ground cover plants  Search this

Commercial buildings  Search this

Terraces  Search this

Collection Citation:

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

Identifier:

AAG.GCA, Item NY437005

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY437: Harrison -- Donald M. Kendall Sculpture Gardens at PepsiCo

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref27700

Creator:

Weller, Eleanor C.  Search this

Landscape architect:

Page, Russell  Search this

Stone, E. D. Jr.  Search this

Goffinet, Francois  Search this

Architect:

Stone, Edward Durell  Search this

Sculptor:

Wynn, David  Search this

Calder, Alexander, 1898-1976  Search this

Moore, Henry, 1898-1986  Search this

Marini, Marino, 1901-1980  Search this

Owner:

PepsiCo, Inc.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slide (col.)

Type:

Archival materials

Slides

Place:

New York (State) -- Purchase

United States of America -- New York -- Westchester County -- Harrison -- Purchase

Date:

01/05/1990

General:

Sculpture by Alexander Calder.

Collection Restrictions:

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

Collection Rights:

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

Topic:

Lawns  Search this

Walkways  Search this

Sculpture  Search this

Collection Citation:

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

Identifier:

AAG.GCA, Item NY437006

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York / NY437: Harrison -- Donald M. Kendall Sculpture Gardens at PepsiCo

Archival Repository:

Archives of American Gardens

EDAN-URL:

ead_component:sova-aag-gca-ref27701