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Author:

Belkahia, Farid 1934-2014  Search this

Author:

Institut du monde arabe (France)  Search this

Physical description:

83 pages illustrations (some color) 25 cm

Type:

Exhibitions

Expositions

Exhibition catalogues

Exhibition catalogs

Date:

2005

20th century

20e siècle

Topic:

Painting, Moroccan  Search this

Painting, Modern  Search this

Sculpture, Modern  Search this

Peinture marocaine  Search this

Peinture  Search this

Sculpture  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1145897

Interviewee:

Kadish, Reuben, 1913-1992  Search this

Interviewer:

Polcari, Stephen  Search this

Names:

Pollock, Jackson, 1912-1956  Search this

Extent:

1 Sound cassette (Sound recording)

40 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1992 Apr. 15

Scope and Contents:

An interview of Reuben Kadish conducted 1992 Apr. 15, by Stephen Polcari, for the Archives of American Art. Kadish discusses designing murals for the WPA in the 1930s; working as an artist in the South Pacific for the U.S. Army during World War II; the N.Y. art scene in the 1940s; and his views on government support of the arts and on art censorship. He recalls Jackson Pollock.

Biographical / Historical:

Reuben Kadish (1913-1992) was a painter, sculptor, and mural painter from New York, N.Y.

Provenance:

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

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Mural painting and decoration, American  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Art and war  Search this

Art and state  Search this

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

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

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

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.kadish92

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw969a2210b-c5e9-4f71-b9eb-6ef0ee5547dd

EDAN-URL:

ead_collection:sova-aaa-kadish92

Creator:

Hadzi, Dimitri, 1921-2006  Search this

Names:

Harvard University -- Faculty  Search this

Foundry, Nicci  Search this

Extent:

37.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Sound recordings

Video recordings

Diaries

Motion picture film

Date:

1910s-2007

Summary:

The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material such as education records, World War II files, and some interviews; correspondence with family, artists, art historians, architects, and professional organizations; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; clippings, exhibition ephemera, invitations, and other printed material; photographs of Hadzi, events and exhibitions, installations, foundries, and studios; some artwork; and audio recordings and motion picture films.

Scope and Contents:

The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material; correspondence; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; printed material; photographs, some artwork, audio recordings, and motion picture films.

Biographical material includes files pertaining to Hadzi's education at Cooper Union (1946-1950) and Polytechnion in Athens, Greece (1950-1951) as well as his high school years at Brooklyn Technical High School (1936-1940); years enlisted in the Army Air Force (1942-1946); and his hobbies of music, mineral collecting, and geology. Also found are address books, honors and awards, interviews, and resumes. Hadzi's professional correspondents include artists, art historians, architects, and professional organizations. Also found is personal correspondence with family, friends, and acquaintances, most extensively during his years in the military.

Diaries and notebooks consist of memoranda books, travel logs, and annotated calendars. Writings include drafts, correspondence, and some printed material from Dimitri Hadzi (1996) by Peter Selz. Material gathered for his incomplete memoir, artist statements, and writings about Hadzi are also present.

Exhibition files shed light on various group and solo exhibitions of Hadzi's work. The files mostly consist of shipping records, correspondence, press releases and other printed matter, photographs, and loan documents. Gallery and museum files include loan and sale agreements, price lists, clippings, newsletters, shipping information, and some papers related to exhibitions.

Project files include sketches and blueprints, correspondence, legal documents, shipping information, and some audiovisual material regarding the installation of Hadzi's sculptures. The files also pertain to recasted sculptures, small-scale projects, and unexecuted commissions. Teaching Files include administrative correspondence, clippings, lecture and discussion notes, course descriptions, and correspondence from Hadzi's tenure as Visual and Environmental Studies professor at Harvard University. Papers related to instructor positions, employment opportunities, and lectures outside of Harvard are also present. Personal business records include sales, inventories, and other financial material; correspondence, shipping information, and price lists from foundries and material distributors; studio logs, correspondence, and notes.

Printed materials consist of exhibition invitations, announcements, post cards, and books; news clippings and articles; printed matter from special events, exhibitions of other artists, press releases, and newsletters. Photographs include portraits and snapshots of Hadzi, depicting him working in studios and foundries, at installation sites and events, and with his family. Also included are photographs of other artists, Hadzi's travel in Japan, and his artwork. Artwork found in this collection consists of six sketchbooks, several small drawings, and one woodblock.

Audiovisual material is extensive and includes documentation of the creation, installation, and exhibition of some of Hadzi's work. The majority of the footage centers on the creation and installation of the Thermopylae sculpture in front of the JFK Federal Building in Boston, Massachusetts in 1968.

Arrangement:

The collection is arranged as 13 series.

Series 1: Biographical Material, 1910s, bulk 1936-2004 (Box 1-3, 33; 2.7 linear feet)

Series 2: Correspondence, 1943-2007 (Box 3-6; 3 linear feet)

Series 3: Diaries and Notebooks, 1939-2006 (Box 6-9; 3 linear feet)

Series 4: Writing Files, 1945-2003 (Box 9; 10 folders)

Series 5: Exhibition Files, 1958-2002 (Box 9-10; 1.2 linear feet)

Series 6: Project Files, 1957-2002 (Box 11-15, 33; 4.7 linear feet)

Series 7: Teaching Files, 1955-2000 (Box 15-16; 12 folders)

Series 8: Museum and Gallery Files, 1947-2008 (Box 16-17; 1.8 linear feet)

Series 9: Personal Business Records, 1949-2007 (Box 17-20; 2.5 linear feet)

Series 10: Printed Material, 1949-2007 (Box 20-24, 33; 3.7 linear feet)

Series 11: Photographs, circa 1930s-2006 (Box 24-25, 33; 1.5 linear feet)

Series 12: Artwork, circa 1939-1998 (Box 25; 11 folders)

Series 13: Audiovisual Material (Box 26-40; 11.1 linear feet)

Biographical / Historical:

Dimitri Hadzi (1921-2006) was an Greek American sculptor who lived and worked in Rome from the 1950s to 1975, and then in Cambridge, Massachusetts from 1975 to 2006. Born to Greek immigrants, Hadzi attended Brooklyn Technical High School before enlisting in the Army Air Force in 1942. After the World War II, Hadzi studied painting and sculpture at Cooper Union and graduated with honors in 1950. He was awarded a Fulbright fellowship to study at the Polytechnion, Athens, Greece, and subsequently moved to Rome where he remained until the mid-1970s. Hadzi worked mostly with stone and bronze, from which he created semi-abstract shapes and structures drawn from his Greek heritage. His work was selected for the Venice Biennale in 1956, and and his first solo-exhibition came two years later at the Galeria Schneider, Rome, Italy. Throughout his career, Hadzi held solo exhibitions at the Massachusetts Institute of Technology, The Philips Collection, Athens Gallery in Greece, Rikugie Gallery in Japan, and many others. His group exhibitions include Recent Sculptor USA (1959), Museum of Modern Art, New York; Annual Exhibition, The Whitney Museum (1961); Seven Sculptors at Harvard, Harvard University (1983); and American Academy of Arts & Letters Centennial Portfolio, Pace Prints, New York (1998). Hadzi's public commissions include those at the Massachusetts Institute of Technology (1963), St. Paul's Church, Rome, Italy (1966-1976), Dallas Center, Texas (1980). His artwork is held in permanent collections of the Hirshhorn Museum and Scultpure Garden, Solomon R. Guggenheim Museum, Hakone Museum of Sculpture in Japan, and the Montreal Museum of Art, among others. Hadzi was professor of Visual and Environmental Studies at Harvard University from 1975-1989, and was named Professor Emeritus in 1989.

Provenance:

Donated 1989 and 1998 by Dimitri Hadzi and in 2008 and 2011 by Cynthia Hadzi, Dimitri Hadzi's widow.

Restrictions:

The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. 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:

Educators -- Massachusetts -- Cambridge  Search this

Sculptors -- Italy -- Rome  Search this

Sculptors -- Massachusetts -- Cambridge  Search this

Topic:

Sculpture, Modern -- 20th century  Search this

World War, 1939-1945  Search this

Genre/Form:

Drawings

Interviews

Sound recordings

Video recordings

Diaries

Motion picture film

Citation:

Dimitri Hadzi papers, 1910s-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.hadzdimi

See more items in:

Dimitri Hadzi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cee20746-bba7-4f55-9b4d-68aa26f19cc0

EDAN-URL:

ead_collection:sova-aaa-hadzdimi

Creator:

Teller, Jane  Search this

Names:

Albright-Knox Art Gallery  Search this

Montclair Art Museum  Search this

Museum of Modern Art (New York, N.Y.)  Search this

National Council on the Aging  Search this

Newark Museum  Search this

Noyes Museum  Search this

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

Princeton Gallery of Fine Art  Search this

Squibb Gallery (Princeton, N.J.)  Search this

Whitney Museum of American Art  Search this

Brodsky, Judith K.  Search this

Caparn, Rhys, 1909-1997  Search this

Dehner, Dorothy, 1901-1994  Search this

Fuller, Sue, 1914-  Search this

Gatch, Lee, 1902-1968  Search this

Johnson, Margaret K. (Margaret Kennard)  Search this

Kadish, Reuben, 1913-1992  Search this

Lamis, Leroy, 1925-  Search this

Lassaw, Ibram, 1913-2003  Search this

Siskind, Aaron  Search this

Extent:

8.6 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Interviews

Prints

Sketchbooks

Slides (photographs)

Motion pictures (visual works)

Sketches

Scrapbooks

Photographs

Sound recordings

Date:

1911-1991

Summary:

The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.

Scope and Content Note:

The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.

Biographical material includes a birth certificate, school work, and passports. General correspondence includes letters from several artists including Rhys Caparn, Sue Fuller and Lee Gatch, and from art galleries, including the Museum of Modern Art, Albright-Knox Art Gallery and the Whitney Museum of American Art. Additional correspondence is found in the Subject Files.

Business records include an account book, lists of expenses and prices of art works, and sales records. Notes and writings include Teller's notes about art and travel, artists' statements, autobiographical writings, and a compilation of many artists' statements regarding "The Nine Bean Question."

Artwork includes three sketchbooks, 30 sketches and three prints primarily depicting nature and sculpture designs.

Five scrapbooks contain clippings, exbition announcements and catalogs. Additional printed material includes magazines, exhibition announcements and catalogs, a booklet by Teller entitled Art, Age and the River, published posthumously by her husband, and a manuscript of Poems or Poetic Expressions of Sculptors, collected by L. Lamis.

Subject files are arranged by name or subject and may contain letters, photographs, and printed material. Many of the files focus on galleries and museums, including the Montclair Art Museum, the Newark Museum, Noyes Museum, Parma Gallery, the Princeton Gallery of Fine Art and the Squibb Gallery. There are also subject files for associations, travel, projects, and colleagues including Margaret K. Johnson, Reuben Kadish, Ibram Lassaw, Aaron Siskind and Dorothy Dehner.

Photographs and slides depict Teller, her friends, works, gallery installations, and travels. Also included are photographs of trees, bark, and other natural formations used by Teller in her work.

The audio-visual materials include several sound recordings, videocassettes and 16 mm motion picture films. The videocassettes include television programs in which Teller, printmaker Judith Brodsky and actor Harry Hamlin are interviewed, a retrospective at Skidmore College and a film featuring Teller speaking for the National Council on Aging. Sound recordings include two interviews and a "Talk on Malta" by Teller and Joan Needham. The 16 mm films are black and white footage of Teller's first Parma Gallery show.

Arrangement:

The collection is arranged as 11 series. Records are generally arranged by material type and chronologically thereafter.

Missing Title

Series 1: Biographical Material, 1911-1985 (Box 1; 4 folders)

Series 2: Correspondence, 1956-1991 (Box 1; 0.3 linear feet)

Series 3: Business Records, 1961-1990 (Box 1; 5 folders)

Series 4: Notes, 1960-1987 (Box 1; 13 folders)

Series 5: Writings, 1960-1989 (Boxes 1 and 9; 5 folders)

Series 6: Artwork, circa 1950s (Boxes 1 and 9; 6 folders)

Series 7: Scrapbooks, 1948-1990 (Boxes 1-2; 0.7 linear feet)

Series 8: Printed Material, 1957-1991 (Boxes 2-3 and 9; 0.6 linear feet)

Series 9: Subject Files, 1951-1990 (Boxes 3-5; 2.5 linear feet)

Series 10: Photographs, 1934-1985 (Boxes 5-9; 2.5 linear feet)

Series 11: Audio-Visual Materials, 1961-1989 (Box 8, FC 10-12; 0.6 linear feet)

Biographical Note:

Jane Teller (1911-1990) worked as a printmaker and sculptor primarily in New Jersey. She specialized in working with wood and studied at the Rochester Institute of Technology, Skidmore College, and Barnard College. She also attended Federal Works Progress Administration (W.P.A.) classes in New York City, studying sculpture with Aaron J. Goodelman and wood carving with Karl Nielson. She later studied welding in the studio of Ibram Lassaw. She was also a lifelong friend of photographer Aaron Siskind. In 1960, she was awarded the Mary and Gustave Kellner Prize at the National Association of Women Artists Annual Exhibition at the National Academy of Design in New York, and in 1966 the Sculpture Prize at the Fiftieth Anniversary Exhibition, Philadelphia Art Alliance in Philadelphia. She exhibited mainly in New York and New Jersey and was married to author and editor Walter Teller.

Provenance:

The Jane Teller papers were donated by Jane Teller in 1990 and in 1991 by Walter Teller, widower of Jane Teller.

Restrictions:

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

Rights:

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

Occupation:

Printmakers -- New Jersey  Search this

Sculptors -- New Jersey  Search this

Topic:

Printmakers -- New Jersey  Search this

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

Women artists  Search this

Women sculptors  Search this

Women printmakers  Search this

Genre/Form:

Video recordings

Interviews

Prints

Sketchbooks

Slides (photographs)

Motion pictures (visual works)

Sketches

Scrapbooks

Photographs

Sound recordings

Citation:

Jane Teller papers, 1911-1991. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.telljane

See more items in:

Jane Teller papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95c6d3902-ef80-4ea1-ba58-b2abe402072c

EDAN-URL:

ead_collection:sova-aaa-telljane

Creator:

Warneke, Heinz (Heinrich), 1895-1983  Search this

Names:

Corcoran School of Art (Washington, D.C.) -- Faculty  Search this

United States. Work Projects Administration  Search this

Archer, Edmund, 1904-  Search this

Diederich, William Hunt, 1884-1953  Search this

Hancock, Walker Kirtland, 1901-1998  Search this

Hopper, Inslee  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

6.25 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

1928-1987

Scope and Contents:

Biographical material, financial material, correspondence, notes, writings, art work, photographs, printed material, and project files document the career of sculptor and educator, Heinz Warneke. Also included are some writings, art work, photographs, and printed material related to his wife, Jessie Warneke.

Biographical materials include autobiographical and biographical sketches about Warneke, and certificates, including his membership card to the Kunstler-Bund-Bremen, 1922-1923; personal financial materials, ca. 1931-1937, include household records for his East Haddam, Connecticut home, "The Mowings."

Correspondence, 1930-1987, with his wife, Jessie, friends, colleagues, clients, gallery owners, museum and art school administrators, various art guilds and societies, and foundries. Among the correspondents are Edmund (Ned) Archer, William Hunt Diederich, Walker Hancock, Dick and Julia Helms, Inslee A. Hopper, Rena T. Magee, Jessalee Sickman, Henry Vam Wolf, and Carl Zigrosser. The correspondence discusses exhibitions and sales of Warneke's sculptures, the Corcoran School of Art, and invitations to various White House and Embassy functions in Washington, D.C. Also included are illustrated letters from Henry Kriess and Jessie Warneke.

Notes are by Heinz Warneke, ca. 1928-1979, and others and include 5 address books, 2 notebooks, one regarding the Warneke School of Sculpture, ca. 1935-1937, scattered notes regarding Warneke's sculpture classes at the Corcoran School of Art, ca. 1950-1963, his formulas and processes for sculpting, and price lists for his art works. Notes by ohters include a guest book from the exhibition, "Heinz Warneke Looks Back," 1967 and research notes by Mary Mullen Cunningham, undated. Writings, ca. 1923-1977, by Heinz Warneke and others, include lectures, forewords to exhibition catalogs, and a statement of "Opinion regarding the Philosophy of the Corcoran School of Art and the Direction it should take."

Art works, ca. 1929-1932, include 2 sketchbooks, studies of figures, animals, and plant life, watercolors, several chalk sketches for a work possibly depiction life at "The Mowings," by Warneke, several sketches by Jessie Warneke, an etching, and three engravings by others. Photographs, ca. 1918-1983, are of Heinz, family and friends including Edmund Archer, Inslee Hopper, Roderick Seidenberg, Carl Zigrosser, his pet dogs, his homes and studios in Connecticut, New York, and Washington, D.C., students, travels, art works by Heinz and Jessie, exhibition installations, and source material.

Printed material include exhibition announcements and catalogs and clippings, and other materials for Heinz, Jessie, and others, ca. 1923-1981. There is a file regarding Warneke's participation on the jury for the Thomas Jefferson Memorial Committee, 1939-1940, and circa 136 project files for completed and proposed sculpture works for public and private commissions which include various works for the National Cathedral, Washington, D.C., an African cow elephant and calf for the Philadelphia Zoo, the Nittany Lion for Pennsylvania State University, and several Works Project Authority (WPA), and other federal projects, ca., 1911-1971.

Biographical / Historical:

Heinz Warneke (1895-1983) was a sculptor, animal sculptor and educator in East Haddam, Connecticut. Born and trained in Germany, Warneke worked on sculpture projects for WPA and was the head of the sculpture department at the Corcoran School of Art from the early 1940's to 1970.

Related Materials:

Heinz Warneke papers also at Syracuse University.

Provenance:

Donated 1977 by Warneke, and in 1983-1984, and 1994 by his stepdaughter and executrix of his estate, Priscilla Norton. The 1994 installment had been used by Micky Cunningham in her book, "Heinz Warneke, 1895-1983: A Sculptor First and Last" (University of Delaware Press, 1994). Additional photograph of Warneke by his stepson Edward Hall transferred 2013 from SAAM via George Gurney, Curator. Gurney received the photograph from Priscilla Norton.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Animal sculptors -- Connecticut -- East Haddam  Search this

Sculptors -- Connecticut -- East Haddam  Search this

Topic:

Sculpture -- Study and teaching  Search this

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

Genre/Form:

Drawings

Sketchbooks

Identifier:

AAA.warnhein

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90536c46a-164a-4b1b-9986-1477624f9337

EDAN-URL:

ead_collection:sova-aaa-warnhein

Creator:

Cascieri, Arcangelo, 1902-1997  Search this

Names:

Boston Architectural Center  Search this

Alter, John F., d. 1973  Search this

Cascieri, Arcangelo, 1902-1997  Search this

Extent:

2.6 Linear feet

2 Items (rolled docs)

Type:

Collection descriptions

Archival materials

Drawings

Date:

1902-1982

Scope and Contents:

The majority of the collection consists of project files, ca. 1932-1981, containing correspondence, sketches and printed material from Cascieri's many commissions of church sculptures. Also found are Cascieri's pencil studies as a student, ca. 1930's, sketches from his projects, and miscellaneous drawings.

The remainder consists of a resume, ca. 1970, general correspondence, ca. 1935-1982, legal papers, 1977, clippings, ca. 1930's-1980's,and printed material, ca. 1952-1967 and undated. Several association files containing annual reports, minutes of meetings, scattered correspondence, printed material and miscellany are found for Boston Architectural Center, 1935-1969, American Institute of Architects, ca. 1962-1969, Research and Design Institute, ca. 1966-1967, and Architectural League of New York, ca. 1966-1967. Also found are files on Cascieri's talks and lectures, ca. 1961-1981; a file on architect John F. Alter, 1955-1973; writings about Cascieri; and photographs of works of art and architecture, ca. 1920's, 1942 and undated.

Arrangement:

Project Files: arranged alphabetically by location by state, there under by city.

Biographical / Historical:

Sculptor, educator and administrator at the Boston Architectural Center (BAC); Boston, Mass. Cascieri died Jan. 14, 1997.

Provenance:

Donated 1980-1982 by Arcangelo Cascieri.

Restrictions:

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

Occupation:

Art teachers -- Massachusetts  Search this

Sculptors -- Massachusetts  Search this

Topic:

Sculpture, Modern -- 20th century  Search this

Church decoration and ornament  Search this

Artists' preparatory studies  Search this

Architecture  Search this

Genre/Form:

Drawings

Identifier:

AAA.cascarca

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed05d53e-41c5-41eb-b9bc-2f0979eb72ae

EDAN-URL:

ead_collection:sova-aaa-cascarca

Author:

Sibanda, Maxwell  Search this

Author:

Nyanhongo, Gedion 1967-  Search this

Physical description:

44 pages color illustrations 26 cm

Type:

Books

Place:

Zimbabwe

Date:

2002

20th century

20e siècle

Topic:

Sculpture, Black  Search this

Stone carving  Search this

Sculpture, Modern  Search this

Sculpture noire  Search this

Sculpture en pierre  Search this

Sculpture  Search this

Call number:

NB1096.6.R53 N93 2022

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1160695

Creator:

Aarons, George Manuel, 1896-1980  Search this

Type:

Sketchbooks

Citation:

George Manuel Aarons papers, 1927-1981. Archives of American Art, Smithsonian Institution.

Topic:

Sculpture, Modern -- 20th century  Search this

Sculpture, American  Search this

Jewish art  Search this

Jewish art and symbolism  Search this

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5600

(DSI-AAA_SIRISBib)208434

AAA_collcode_aarogeor

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208434

Creator:

Gudlman, Aharon, 1890-1978  Search this

Subject:

Goodelman, Sarah  Search this

Union of American Hebrew Congregations  Search this

American Artists' Congress  Search this

Type:

Scrapbooks

Citation:

Aaron Goodelman papers, 1909-1980. Archives of American Art, Smithsonian Institution.

Topic:

Jewish art  Search this

Jewish art and symbolism  Search this

Jewish artists  Search this

Art -- Study and teaching -- France -- Paris  Search this

Art -- Study and teaching -- Italy -- Rome  Search this

Art -- Study and teaching -- New York (State) -- New York  Search this

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

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

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8304

(DSI-AAA_SIRISBib)210475

AAA_collcode_goodaaro

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210475

Creator:

Goodelman, Aaron J., 1890-1978  Search this

Names:

American Artists' Congress  Search this

Union of American Hebrew Congregations  Search this

Goodelman, Sarah  Search this

Extent:

7.1 Linear feet ((partially microfilmed on 7 reels))

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1909-1980

Scope and Contents:

Biographical material, correspondence, writings, project files, works of art, photographs, and printed material documenting Goodelman's work as a sculptor, his participation in the Jewish community, and his interest in socialism.

Personal and professional correspondence is with artists, art associations, museums, galleries and relief organizations, documenting Goodelman's education in Rome, New York and at L'Ecole des Beaux-Arts, Paris; his teaching career in New York, particularly with the Jefferson School of Social Sciences; and his participation in art, political and Jewish organizations, such as American Artists' Congress and the Union of American Hebrew Congregations.

Writings by Goodelman, undated and 1934, include notes, notebooks, and typescripts. There is also a typescript of Elizabeth McCausland's speech "Art and the Atom," 1947. Project files contain information regarding Goodelman's sculpting of memorial gravestones, Passover art, and the Week of Jewish Culture. Works of art by Goodelman, ca. 1920-1930's, include illustrations for the children's journals "Young Israel," "Kinder Journal" and Joseph Gaer's books "the Burning Bush" and "the Unconquered," sketches, portraiture, and figure drawings.

Photographs are of Goodelman, working and teaching sculpture; his childhood in Russia; his family, friends, and students; memorial gravestones, and works of art.

Printed material includes exhibition anouncements and catalogs, entry cards, invitations, clippings, political and art organizations information, adult and art education flyers, clippings and a photocopy of Goodelman's privately microfilmed scrapbook containing letters and printed material.

Also included are files on Goodelman's wife, Sarah, on Jewish children's schools, 1949-1950.

UNMICROFILMED: Two scrapbooks compiled by Sarah Goodelman, containing newspaper clippings, exhibition catalogs and photographs regarding the career of Aaron Goodelman, as well as business cards, addresses, scattered receipts, negatives, and miscellany.

Biographical / Historical:

Sculptor, illustrator, lecturer, teacher; New York, N.Y. Another apparent name spelling is Aharon Gudlman.

Provenance:

Donated 1977 by Goodelman, and in 1984 by his heir, Connie Weinstock and microfilmed in 1994 with funds provided by the Philip Birnbaum Foundation. Additional scrapbooks were donated in 2008 by Weinstock and do not appear on microfilm.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

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

Topic:

Jewish art  Search this

Jewish art and symbolism  Search this

Jewish artists  Search this

Art -- Study and teaching -- France -- Paris  Search this

Art -- Study and teaching -- Italy -- Rome  Search this

Art -- Study and teaching -- New York (State) -- New York  Search this

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

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

Genre/Form:

Scrapbooks

Identifier:

AAA.goodaaro

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d4211113-061c-483d-a88f-3452e40dadf2

EDAN-URL:

ead_collection:sova-aaa-goodaaro

Creator:

Aarons, George Manuel, 1896-1980  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1927-1981

Scope and Contents:

A curriculum vitae; diplomas; list of commissions executed, 1919-1937; correspondence with foundries and the Naples Art Gallery, Provincetown, Mass; several personal letters; foundry bills; photographs of Aarons, his home, his studio, and his work; and printed material; copyright documents; essays on art; financial data; files on the Boston Hebrew Congregation, the National Sculpture Society, the Gloucester Anniversary Medal, and the Savin Hillel House; ten signed pencil sketches of sculpture and reliefs submitted to Temple Israel, Boston, Mass. (43 x 35 cm. or smaller) of Moses, Isaiah, a menorah, and other subjects; five sketchooks, undated, containing pen and pencil studies for Temple Israel and some portrait sketches.

Biographical / Historical:

George Manuel Aarons was a sculptor in Gloucester, Mass.

Provenance:

Donated 1978-1979 by Aaron's widow, Gertrude (d. 1989), and in 1991 by Gertrude's sister, Mrs. Spartaco Monello, who received the papers from her sister's estate.

Restrictions:

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

Occupation:

Sculptors -- Massachusetts  Search this

Topic:

Sculpture, Modern -- 20th century  Search this

Sculpture, American  Search this

Jewish art  Search this

Jewish art and symbolism  Search this

Genre/Form:

Sketchbooks

Identifier:

AAA.aarogeor

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96f490709-8858-4fd5-806d-32bc7e7d2c7c

EDAN-URL:

ead_collection:sova-aaa-aarogeor

Creator:

Saarinen, Lilian Swann, 1912-1995  Search this

Names:

Cambridge Art Center  Search this

Cranbrook Academy of Art -- Faculty  Search this

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

Knoll Associates, inc.  Search this

Massachusetts Institute of Technology -- Faculty  Search this

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

Otava Publishing Company  Search this

Reynal & Hitchcock  Search this

Armitage, Merle, 1893-1975  Search this

Crosby, Caresse, 1892-  Search this

Eames, Charles  Search this

Eames, Ray  Search this

Koch, Carl  Search this

Kreis, Henry, 1899-1963  Search this

Milles, Carl, 1875-1955  Search this

Moholy-Nagy, László, 1895-1946  Search this

Moholy-Nagy, Sibyl, 1905-  Search this

Saarinen, Eero, 1910-1961  Search this

Saarinen, Eliel, 1873-1950  Search this

Saarinen, Loja  Search this

Venturi, Robert  Search this

Weese, Harry, 1915-1998  Search this

Extent:

9 Linear feet

Type:

Collection descriptions

Archival materials

Blueprints

Diaries

Illustrations

Sketches

Photographs

Scrapbooks

Date:

circa 1909-1977

Summary:

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

Scope and Contents:

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

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

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

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

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

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

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

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

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

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

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

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

Arrangement:

The collection is arranged as 11 series.

Missing Title

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

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

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

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

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

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

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

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

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

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

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

Biographical / Historical:

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

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

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

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

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

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

Separated Materials:

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

Provenance:

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

Restrictions:

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

Rights:

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

Occupation:

Sculptors -- Massachusetts -- Cambridge  Search this

Topic:

Women artists  Search this

Art -- Study and teaching  Search this

Illustrated books, Children's  Search this

Gateway Arch (Saint Louis, Mo.)  Search this

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

Illustrators -- Massachusetts  Search this

Art, Municipal  Search this

Women sculptors  Search this

Women illustrators  Search this

Function:

Art commissions

Genre/Form:

Blueprints

Diaries

Illustrations

Sketches

Photographs

Scrapbooks

Citation:

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

Sponsor:

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

Identifier:

AAA.saarlili

See more items in:

Lilian Swann Saarinen papers

Archival Repository:

Archives of American Art

GUID:

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

EDAN-URL:

ead_collection:sova-aaa-saarlili

Creator:

Sabol, Audrey, 1922-  Search this

Names:

YM/YWHA. Arts Council  Search this

Di Suvero, Mark, 1933-  Search this

Extent:

0.8 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1962-1967

Scope and Contents:

Correspondence and exhibition files documenting Audrey Sabol's involvement with the Arts Council of the Young Men's/Women's Hebrew Association of Philadelphia during the 1960s.

Exhibition files for Pop Art, contemporary sculpure, and artist-designed products include: "Art 1963/A New Vocabulary" (November 1962); "Dial Y for Sculpture" (October 1964); "How the West Has Done" (March 1966); and "Museum of Merchandise" (May 1967). The files contain correspondence, financial records, photographs, clippings, catalogs, announcements and other printed miscellany. The file for "Dial Y for Sculpture" includes untranscribed cassette tapes and CDs of artists describing their work and tapes of the Steve Reich composition "Buy Art, Buy Art"

Correspondence consists primarily of letters received from Mark di Suvero (1964-1965), whom Sabol became acquainted with during planning of "Dial Y for Sculpture," describing works in progress, materials, tools, personal impressions, and physical difficulties in working after his accident. Two letters contain sketches of his sculpture as well as sketches illustrating dismantling instructions for AMERIGO V. A few miscellaneous letters from Thomas Hess to Holmes Perkins and from Holmes Perkins, Nicholas Calas, and Dieter Rot to Sabol are included.

Biographical / Historical:

Audrey Sabol (1922- ) is a curator in Philadelphia, Pennsylvania. Partner with Joan Kron in the Beautiful Bag Co.

Provenance:

Donated 1986 by Audrey Sabol.

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.

Topic:

Pop art  Search this

Sculpture, Modern -- 20th century -- Exhibitions  Search this

Wearable art -- United States  Search this

Genre/Form:

Interviews

Identifier:

AAA.saboaudr

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aeae8bf2-48fa-422b-8055-1c404be55db6

EDAN-URL:

ead_collection:sova-aaa-saboaudr

Interviewee:

Tolson, Edgar, 1904-1984  Search this

Interviewer:

Pennington, Estill Curtis  Search this

Extent:

1 Sound cassette (Sound recording)

14 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1981 July 30

Scope and Contents:

An interview of Edgar Tolson conducted 1981July 30, by Estill Curtis Pennington, with the assistance of Larry Hackley, for the Archives of American Art.

Tolson discusses his family; living in Campton, Kentucky.; wood-carving techniques and subject matter; and selling his work.

Biographical / Historical:

Edgar Tolson (1904-1984) was a wood-carver from Campton, Kentucky.

General:

Originally recorded on 1 sound cassette. Reformatted in 2010 as 1 digital wav file. Duration is 43 min.

Provenance:

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

Occupation:

Wood-carvers -- Kentucky -- Interviews  Search this

Topic:

Sculpture, Modern -- 20th century -- Kentucky  Search this

Folk art  Search this

Wood-carving -- Kentucky  Search this

Artisans -- Kentucky -- Interviews  Search this

Decorative arts  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.tolson81

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f7731bde-2e96-4061-b5ba-01473c238b31

EDAN-URL:

ead_collection:sova-aaa-tolson81

Creator:

Archives of American Art  Search this

Names:

Archives of American Art  Search this

Abramsky, Linda  Search this

Barr, David, 1939-  Search this

Cirgenski, Charles F.  Search this

Extent:

1 film reel (25 min.) : sd., col. ; 16 mm. + transcript (47 p.), 1 sound cassette, 1 summary (8 p.)

1 Film reel (Duplicate (25 min.), sd., col., 16 mm.)

Type:

Collection descriptions

Archival materials

Film reels

Video recordings

Date:

1985

Scope and Contents:

Motion picture made in cooperation with the Michigan Foundation for the Arts and the support of the Michigan Council for the Arts. The film documents the sculpture project undertaken by David Barr, an invisible tetrahedron spanning the inside of the Earth with the outer four corners just protruding from the crust of the Earth. The visible corners are located in Easter Island, South Africa, New Guinea, and Greenland. Barr chose the locations as areas untouched by Western technology and in remote areas in order to bridge diverse cultures. Also included is a cassette and transcript of a portion of the sound portion of the film, and a summary of the project by Barr.

Publication, Distribution, Etc. (Imprint):

s.l. : Crescent Films, 1985.

Topic:

Sculpture, Modern -- 20th century  Search this

Genre/Form:

Video recordings

Identifier:

AAA.archiv101

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9de2d2099-c06e-4fc7-afa5-bc472144ed47

EDAN-URL:

ead_collection:sova-aaa-archiv101

Creator:

Hancock, Walker Kirtland, 1901-1998  Search this

Names:

Stone Mountain Confederate Monumental Association  Search this

Beaux, Cecilia, 1855-1942  Search this

Crouse, Timothy  Search this

Jennewein, Carl Paul, 1890-  Search this

Kreis, Henry, 1899-1963  Search this

Manship, Paul, 1885-1966  Search this

Tarkington, Booth, 1869-1946  Search this

Zorach, William, 1887-1966  Search this

Extent:

21.1 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1911-1995

Scope and Contents:

Correspondence with artists including Cecilia Beaux, Timothy Crouse, Carl Paul Jennewein, Henry Kreis, Paul Manship, Booth Tarkington, William Zorach, and others; project and commission files including the Stone Mountain Confederate Memorial in Georgia among others; committee files; personal business records; writings; sketches; photographs and negatives of Hancock, works of art, and political figures taken in preparation of portrait busts; printed material; and an interview transcript relating to Hancock's career as a sculptor.

Biographical / Historical:

Walker Hancock (1901-1998) was a sculptor from Gloucester, Massachusetts. Hancock was born in 1901 in St. Louis, Missouri. He studied at Washington University for one year before moving on to the Pennsylvania Academy of the Fine Arts, where he studied under Charles Grafly. He taught at PAFA from 1929 to 1967. During his career, he produced hundreds of realistic works, ranging from a 39 foot bronze angel in the 30th St. Station in Philadelphia, to a bust of former President Geroge H.W. Bush in the Capitol, to a monumental statue of James Madison in the Library of Congress, to a Christ figure in the central altar in the National Cathedral in Washington. Hancock first visited Gloucester in 1921, built a studio there, and later moved there permanently. He died at home at age 97.

Provenance:

Donated 1974-1996 by Walker Hancock and in 2017 by Deane French Hancock, Hancock's daughter and executor.

Restrictions:

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

Occupation:

Sculptors -- Massachusetts -- Gloucester  Search this

Topic:

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

Stone Mountain Memorial (Ga.)  Search this

Genre/Form:

Interviews

Identifier:

AAA.hancwalk

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw977edd2d5-9a38-46a1-8f94-9ddee5cd4c38

EDAN-URL:

ead_collection:sova-aaa-hancwalk

Creator:

Goulet, Lorrie, 1925-  Search this

Names:

Art Students League (New York, N.Y.) -- Faculty  Search this

Carolyn Hill Gallery  Search this

Contemporaries (Gallery: New York, N.Y.)  Search this

David Findlay Galleries (New York, N.Y.)  Search this

Inwood Pottery School  Search this

Kennedy Galleries  Search this

Museum of Modern Art (New York, N.Y.)  Search this

National Museum of Women in the Arts (U.S.)  Search this

New School for Social Research (New York, N.Y.)  Search this

New York Artists Equity Association  Search this

Scarsdale Studio Workshop  Search this

Anuszkiewicz, Richard  Search this

De Creeft, José, 1884-1982  Search this

Gross, Chaim, 1904-1991  Search this

Nalle, Anna Beck  Search this

Vogel, Dorothy  Search this

Vogel, Herbert  Search this

Vorhees, Aimee  Search this

Extent:

10 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Photographs

Interviews

Sound recordings

Video recordings

Scrapbooks

Sketches

Date:

1931-2009

Summary:

The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.

Scope and Contents:

The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.

Biographical materials include awards, resumes, membership documents for the New York Artists Equity Association, and a scrapbook and photograph portfolio for Jose de Creeft's birthday in 1969. Scattered school records include a photocopy of a letter from Aimee Vorhees at the Inwood Pottery School.

Goulet's correspondence is mostly professional in nature but includes some letters from friends and family, including Jose de Creeft. Other notable correspondents include Chaim Gross, Herbert and Dorothy Vogel, and Richard Anuszkiewicz.

Writings and notes by Lorrie Goulet include artists' statements; notes and essays on sculpture, including a disbound binder entitled "Quadrations"; three journals about the creation of Enigma; a statement on Green Serpentine; lectures and talks, including a memorial tribute to Jose de Creeft; and poems. There are also a few writings by others about Goulet.

There are five transcripts of interviews with Lorrie Goulet and with Lorrie Goulet and Jose de Creeft. One of the interviews includes the original sound recordings on cassette tape and one includes a version of the transcript on floppy disc.

Extensive exhibition files document fifty years of Goulet's solo and group exhibitions held at galleries, museums, and institutions throughout the United States. Many of the files are from shows at Carolyn Hill Gallery, The Contemporaries, David Findlay Jr. Gallery, and Kennedy Galleries. Also found is extensive material on Goulet's exhibition at the National Museum of Women in the Arts, Lorrie Goulet: Fifty Years of Making Sculpture (1998). File contents vary, but often contain photographs of openings and of works of art, correspondence, printed material, and price lists.

Project and commission files document Goulet's public commissioned works in the New York Public Library, 173 St. Branch, the Nurse's Residence and School at the Bronx Municipal Hospital, the New York City 48th Precinct Station House and Fire House, and the bust of King Juan Carlos I of Spain. There are also files concerning Goulet's television show Around the Corner, an educational children's show that aired from 1964-1968.

Teaching files are from Goulet's positions at the Art Students League, the school at the Museum of Modern Art, the New School for Social Research, and Scarsdale Studio Workshop. Personal business records include scattered bills and receipts for works of art by Goulet and Jose de Creeft and a file regarding Goulet's affiliation with art agent Anna Beck Nalle.

Among the printed materials are clippings, exhibition announcements and catalogs, and issues of magazines and periodicals, many of which include articles about Goulet or her exhibitions. Also found is a videocassette tape concerning Jose de Creeft's Alice in Wonderland narrated by Goulet.

Photographs and eleven photo albums depict Goulet, her family life with Jose de Creeft, celebrations with friends, her artwork and studio, and travel. Also found are photos, slides, and transparencies of works of art. Pencil sketches are by Goulet of her studio. There is also a sketch of Lorrie Goulet by Zorach.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1931-2009 (0.5 linear feet; Box 1, 11)

Series 2: Correspondence, 1940s-2006 (0.7 linear feet; Box 1)

Series 3: Writings and Notes, 1949-2002 (0.6 linear feet; Box 1-2)

Series 4: Interviews, 1967-2002 (0.3 linear feet; Box 2)

Series 5: Exhibition Files, 1948-2008 (3.1 linear feet; Box 2-5)

Series 6: Project Files, 1950s-2007 (0.8 linear feet; Box 6, 12)

Series 7: Teaching Files, 1958-2000 (0.2 linear feet; Box 6)

Series 8: Personal Business Records, 1969-1990s (2 folders; Box 6)

Series 9: Printed Materials, 1940s-1999 (1.1 linear feet; Box 7-8)

Series 10: Photographs, 1930s-2008 (2.3 linear feet; Box 8-11)

Series 11: Artwork, 1955-1956 (0.1 linear feet; Box 10)

Biographical / Historical:

Lorrie Goulet (1925- ) is a sculptor, painter, educator, and writer active in New York City, New York. She is well-known for direct sculpture on wood and stone.

Lorrie Goulet was born in Riverdale, NY in 1925. As early as the age of seven, Goulet attended the Inwood Pottery School in New York City where she studied under Aimee Vorhees. After the Goulet family moved to Los Angeles, Lorrie continued her studies in art and, in 1940, apprenticed under Jean Rose, a ceramicist in Southern California. In 1943, Goulet enrolled at Black Mountain College in North Carolina where she studied with Joseph and Annie Albers. This is also where she met her husband, sculptor Jose de Creeft; they married in 1944 and had one child, Donna Maria de Creeft. Goulet and de Creeft divided their time between Hoosick Falls, New York and New York City.

Goulet's first solo exhibition was held at the Clay Club Sculpture Center, New York, in 1948. She was represented by Kennedy Galleries in New York, David Findlay Jr. Gallery, and the Harmon Meek Gallery in Naples, Florida. She has exibited widely, including in a number of Annual Exhibitions at the Whitney Museum of American Art, New York, and in the fine arts pavilion of the New York World's Fair of 1965. In 1998, she was honored by the National Museum of Women in the Arts in Washington D.C. with a solo exhibition titled Fifty Years of Making Sculpture.

Goulet taught sculpture at the Museum of Modern Art's Peoples Center, New York, in 1957. From 1961 to 1975 she was on the faculty of the New School, New York, and in 1981 began teaching at the Art Students League of New York, where she taught until 2004. Between 1964-1968 Lorrie Goulet demonstrated sculpture techniques on a CBS Television children's program called "Around the Corner", sponsored by the New York City Board of Education.

Lorrie Goulet's sculpture can be found in the permanent collections of museums across the country. She also completed a number of public sculptures commissioned by the City of New York for several of its public buildings in the Bronx including the Branch Public Library at 173rd Street and Grand Concourse (1958), the Nurses School and Residence, Bronx Municipal Hospital (1961), and the 48th Precinct Police and Fire Station Headquarters (1971) - all in varying materials. A bronx bust of King Juan Carlos I of Spain created by Goulet is displayed in the Royal Palace in Madrid.

Goulet is also a painter, philosopher and poet and continues to work in her studio in New York City.

Related Materials:

Also found in the Archives of American Art are the papers of Lorrie Goulet's husband, sculptor Jose de Creeft.

Provenance:

Lorrie Goulet lent a portion of her papers in 1972 for microfilming and later donated those papers along with additional materials to the Archives of American Art in 2010.

Restrictions:

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

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

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

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

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

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

Topic:

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Women educators  Search this

Women authors  Search this

Genre/Form:

Diaries

Photographs

Interviews

Sound recordings

Video recordings

Scrapbooks

Sketches

Citation:

Lorrie Goulet papers, 1931-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.goullorr

See more items in:

Lorrie Goulet papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw902b5ece8-1adc-4620-a5f5-f3520a094ffd

EDAN-URL:

ead_collection:sova-aaa-goullorr

Creator:

Westermann, H. C. (Horace Clifford), 1922-  Search this

Extent:

1 Item ((on 1 microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1977

Scope and Contents:

A picture postcard, April 12, 1977, to Lloyd E. Herman, Director of the Renwick Gallery, thanking him for a catalog and for including him in "The Object as a Poet" show.

Biographical / Historical:

Sculptor; Brookfield, Connecticut. Died 1981.

Provenance:

Donated 1977 by Lloyd E. Herman, Director of the Renwick Gallery.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Sculptors  Search this

Topic:

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

Identifier:

AAA.westhcpa

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9dd96f911-0ca6-4732-902d-f774208eb1c3

EDAN-URL:

ead_collection:sova-aaa-westhcpa

Creator:

Konti, Isidore, 1862-1938  Search this

Names:

Bitter, Karl Theodore Francis, 1867-1915  Search this

Daingerfield, Elliott, 1859-1932  Search this

Eickemeyer, Rudolf, 1862-1932  Search this

French, Daniel Chester, 1850-1931  Search this

Keck, Charles, 1875-1951  Search this

MacNeil, Hermon Atkins, 1866-1947  Search this

Manship, Paul, 1885-1966  Search this

Roth, Frederick George Richard, 1872-1944  Search this

Weinman, Adolph A. (Adolph Alexander), 1870-1952  Search this

Extent:

1.8 Linear feet ((on 3 microfilm reels))

1.3 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

1879-1956

Scope and Contents:

Letters, award certificates, contracts, drawings, clippings, printed material, 2 scrapbooks, and photographs document Konti's sculpture projects.

Reel 1208: Photographs (1904-1936) show Konti, his family and his works of art. A scrapbook (1908-1928) contains photographs of works of art, clippings, and a letter to Konti's niece, Malvina Kaeyer, from Thomas Green requesting information about a Konti bronze he owns. Another scrapbook (1908-1956) contains a 1929 blueprint of Memorial Park, clippings, photographs of the Kelahan Memorial and the Spanish-American War Monument, and 2 exhibition catalogs (1938-1947).

Reels 1210-1211: Letters (1894-1949) concern sculpture projects and were written primarily by Konti's colleagues, including Karl Bitter, Elliott Daingerfield, Rudolf Eickemeyer, Daniel Chester French, Charles Keck, Hermon MacNeil, Paul Manship, Frederick G. R. Roth, and Adolph Weinman. Business materials include award certificates (1879-1956), contracts (1900-1929), copyright cards (1907-1911), receipts (1905-1926) from the Roman Bronze Works and records of sales (1913-1926). Art works consist of 92 drawings and a sketchbook. Printed materials include clippings (1928-1946), brochures on the Yonkers Art Association (1940) and exhibition and auction catalogs (1898-1940).

Unmicrofilmed: A 1902 letter from Karl Bitter concerns the fall exhibition. Other materials include account statements and receipts from the Gorham Company (1921-1937), the constitution and by-laws (1951) and a bulletin (1954) from the Hudson River Museum, a 1926 catalog on "Small Bronzes by Great Sculptors as Prizes" and six negatives of the Estelle Weaks Reilly Memorial.

Addition Unmicrofilmed Correspondence, certificates, photographs of works of art and people, newspaper clippings, three-dimensional sculpture of a profile 2" X 2", works of art on canvas board and photo albums, letters of condolence, biographical material [c. 1901- 1974].

Biographical / Historical:

Sculptor. Born July 9, 1862 in Vienna, Austria, emigrated to New York City in 1892, eventually settling in Yonkers, N.Y., where he lived the rest of his life. Konti had studied in Vienna, under Edmund Von Hellmer and Karl Kundmann, and in Rome. Konti worked in the Beaux Arts tradition. In New York, he became an associate of Philip Martiny, a former student of Saint-Gaudens, who sent him to work on decorative models at the World's Columbia Exposition in Chicago. In 1904, Konti created the fountains of the Atlantic and Pacific for the Louisiana Purchase Exposition in St. Louis. During the following decades, he established his reputation, befriending many of the significant sculptors of the early 20th century. Died Jan. 11, 1938, Etaples, France.

Provenance:

The papers, originally lent for filming by the Hudson River Museum, were subsequently given by Konti's grandnephew, Richard E. Kaeyer. Loan material which was not part of the gift includes 2 oversize award certificates (Reel 1208:692 and Reel 1210:1351) and a biographical account (Reel 1211:570).

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Sculptors -- United States  Search this

Topic:

Decoration and ornament, Architectural -- United States  Search this

Eclecticism in architecture -- United States  Search this

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

Genre/Form:

Drawings

Sketchbooks

Identifier:

AAA.kontisid

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9da24fe98-b9c9-4cb5-9683-76417444182d

EDAN-URL:

ead_collection:sova-aaa-kontisid

Creator:

Aschenbach, Paul, 1921-  Search this

Names:

Vermont International Sculpture Symposia (1968)  Search this

Vermont International Sculpture Symposia (1971)  Search this

Vermont Marble Company  Search this

Baumann, Herbert, 1925-  Search this

Campbell, Kenneth, 1913-  Search this

Mizui, Jasuo, 1925-  Search this

Pavia, Philip, 1915-2005  Search this

Prantl, Karl  Search this

Reischke, Erich  Search this

Sartory, Barna von  Search this

Witkin, Isaac  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1957-1976

Scope and Contents:

Correspondence, notes and writings, project files, printed material, photographs, and art work primarily concerning Aschenbach's involvement with the Vermont International Sculpture Symposia (1968, 1971), and other projects he participated in, most relating to sculpture and its role in the community.

Included are biographical material; correspondence, 1965-1975, primarily related to Aschenbach's coordination of the Vermont International Sculpture Symposia of 1968 and 1971, the Sculpture on the Highway project, ca. 1971, and to his association with the Vermont Marble Company. Correspondence with artists participating in the Symposia include Karl Prantl, Jasuo Mizui, Herbert Baumann, Erich Reischke, Barna von Sartory, Philip Pavia, Kenneth Campbell, Clement Meadmore, Isaac Witkin, Eduardo Ramirez, James Silva, and Rudolf Uher. Notes and writings include unmailed letters to Aschenbach, ca. 1973-1974, written by his wife, June.

Project files, 1968-1975, contain correspondence, notes and writings, printed material, invoices, receipts, mailing lists, reference material, biographical material on participating artists, and photographs for the Vermont International Sculpture Symposia, Danby Sculpture Works, Inc., Danby-Currier Memorial Sculpture Project and other sculpture projects. Printed material, 1957-1978, includes newspaper and magazine clippings, exhibition announcements and catalogs, newsletters, and annual reports.

Photographs consist of Aschenbach at work, his finished sculptures, and a few personal photographs. Works of art include a variety of Aschenbach's studies and sketches for sculptures, executed in watercolor, pencil, felt pen, woodblock and chalk, and an unbound booklet of anonymous wood engravings.

Biographical / Historical:

Sculptor; Vermont. b. 1921; d. 1994. Organized the Vermont International Sculpture Symposium in 1968 and 1971, which supported stone sculpture by several sculptors for installation in rest areas along the Vermont Interstate Highways 89 and 91.

Provenance:

Donated 1983 by Paul Aschenbach.

Restrictions:

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

Occupation:

Sculptors -- Vermont  Search this

Topic:

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

Public sculpture  Search this

Citation:

Paul Aschenbach papers. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.aschpaul

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93516848a-c0a5-41e4-91c9-894968da86e3

EDAN-URL:

ead_collection:sova-aaa-aschpaul