Search Results

Creator:

Wilson, Sol, 1896-1974  Search this

Subject:

Hopper, Edward  Search this

Bouché, Louis  Search this

Burliuk, David  Search this

Evergood, Philip  Search this

Babcock Galleries  Search this

Topic:

Painting, American  Search this

Record number:

(DSI-AAA_CollID)9380

(DSI-AAA_SIRISBib)211577

AAA_collcode_wilssol

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211577

Creator:

Kraushaar Galleries  Search this

Subject:

Wilson, Ralph L.  Search this

Fausett, Dean  Search this

Lasker, Joe  Search this

Murdock, Roland P.  Search this

Phillips, Duncan  Search this

Kuhn, Walt  Search this

Smith, Vernon  Search this

Robinson, Boardman  Search this

Lechay, James  Search this

Laurent, Robert  Search this

Hartell, John  Search this

Cantene, David  Search this

Schnakenberg, H. E. (Henry Ernest)  Search this

Kraushaar, Antoinette M.  Search this

Harrison, Preston  Search this

Heliker, John  Search this

Williams, Esther  Search this

Luks, George Benjamin  Search this

Glackens, Edith  Search this

Navas, Elizabeth S.  Search this

DeLonga, Leonard  Search this

Evett, Kenneth Warnock  Search this

Halberstadt, Ernst  Search this

Prendergast, Maurice Brazil  Search this

Morris, Carl  Search this

Ruellan, Andrée  Search this

Smalley, David  Search this

Flannery, Vaughn  Search this

Cowles, Russell  Search this

Penney, James  Search this

Beal, Gifford  Search this

Bacon, Peggy  Search this

Beal, Reynolds  Search this

Hardy, Thomas  Search this

Glackens, William J.  Search this

Prendergast, Charles  Search this

Demuth, Charles  Search this

Albrizio, Humbert  Search this

Lachaise, Gaston  Search this

Bignou, Etienne  Search this

Kirsch, Frederick D. (Frederick Dwight)  Search this

Sloan, John  Search this

Allard, J.  Search this

Bouché, Louis  Search this

Juley, Peter A.  Search this

Stanley, Alix W.  Search this

Arnest, Bernard  Search this

Brueming, Karen  Search this

Miller, Harriette  Search this

Kraushaar, John F.  Search this

Guillaume, Paul  Search this

Art Institute of Chicago  Search this

Toledo Museum of Art  Search this

Cleveland Museum of Art  Search this

Wichita Art Museum  Search this

Whitney Museum of American Art  Search this

New Britain Institute  Search this

Ernest Brown and Co.  Search this

Carnegie Institute  Search this

University of Nebraska--Lincoln  Search this

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

Type:

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Topic:

Works of art  Search this

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

Art, American  Search this

Artists -- United States  Search this

Depressions -- 1929  Search this

Record number:

(DSI-AAA_CollID)7781

(DSI-AAA_SIRISBib)209946

AAA_collcode_kraugall

Theme:

The Art Market

Art Gallery Records

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209946

Creator:

Brook, Alexander, 1898-1980  Search this

Subject:

Bacon, Peggy  Search this

Biddle, George  Search this

Brett, Catherine  Search this

Covarrubias, Miguel  Search this

Pollock, Jackson  Search this

Spencer, Niles  Search this

Knee, Gina  Search this

Bouché, Louis  Search this

Type:

Photographs

Watercolors

Sketches

Transcriptions

Scrapbooks

Sketchbooks

Interviews

Etchings

Illustrations

Topic:

Post-impressionism (Art) -- United States -- New York (State) -- New York  Search this

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

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

Record number:

(DSI-AAA_CollID)6833

(DSI-AAA_SIRISBib)208960

AAA_collcode_brooalex

Theme:

Diaries

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208960

Creator:

Shattuck, Aaron Draper, 1832-1928  Search this

Record number:

(DSI-AAA_CollID)8243

(DSI-AAA_SIRISBib)210414

AAA_collcode_shataaro

Theme:

Sketches & Sketchbooks

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210414

Creator:

Russell, Morgan, 1886-1953  Search this

Subject:

Kikoïne, Michel  Search this

Huston, Walter  Search this

Macdonald-Wright, Stanton  Search this

Stravinsky, Igor  Search this

Stein, Leo  Search this

Whitney, Gertrude Vanderbilt  Search this

Alvarez, Mabel  Search this

Henri, Robert  Search this

Topic:

Synchromism (Art)  Search this

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

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

Record number:

(DSI-AAA_CollID)10517

(DSI-AAA_SIRISBib)213947

AAA_collcode_russmorg

Theme:

Sketches & Sketchbooks

Art Movements and Schools

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213947

Creator:

Shattuck, Aaron Draper, 1832-1928  Search this

Extent:

0.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1810-1983

Summary:

The papers of Aaron Draper Shattuck measure 0.8 linear feet and date from 1810 to 1983. The papers document the activities of Aaron Draper Shattuck and his son, Walter, and include biographical material, writings, correspondence, notes, financial material, artwork, printed material, photographs, and a sample canvas stretcher.

Scope and Contents:

The papers of Aaron Draper Shattuck measure 0.8 linear feet and date from 1810 to 1983. The papers document the activities of Aaron Draper Shattuck and his son, Walter, and include biographical material, writings, correspondence, notes, financial material, artwork, printed material, photographs, and a sample canvas stretcher.

The collection includes biographical material, a birth certificate of William Shattuck and an inventory of Lincoln Family Estate. Writing consists of a diaries that were kept by Aaron Shattuck and his son Walter. Correspondence includes Aaron Shattuck's acceptance letter to the National Academy of Design in 1858, descriptions of travel along the Maine coast and in New England, and letters concerning Shattuck's paintings. Financial material consists of account books, sales receipts for paintings, and receipts from F.W. Devoe & Co. for stretcher keys. Notes are comprised of writings concerning the Shattuck family that were compiled by the donors, Katherine and Eugene Emigh. Art work contains an etching (12.3 x 14.3 cm.) of the painting "White Hills in October," and nine sketchbooks (10.6 x 21.2 cm. or smaller), containing pencil drawings of landscapes and coastal scenes of Vermont and Maine, especially in the White Mountains. One of the sketchbooks is Walter's, and one contains work by both father and son. Printed material includes clippings, exhibition announcements and catalogs, a copy of Henry Alken's 1849 book, "The Art and Practice of Etching," with an inscription to Shattuck by William Hart. The book contains four etchings, four aquatints, and one National Academy of Design menu with a watercolor drawing. Photographs show Aaron Shattuck and the Shattuck home and garden in West Granby, Connecticut. Other materials include a stretched canvas displaying an advertisement and a sample of Shattuck's Patent Stretcher Key.

Arrangement:

Due to the small size of this collecion the papers are arranged as one series.

Biographical / Historical:

Aaron Draper Shattuck (1832-1928) was a landscape painter and inventor who worked in New York City and West Granby, Connecticut. Born in Francetown, New Hampshire, Shattuck studied art in Boston under portrait painter Alexander Ransom and at the National Academy of Design in 1852, becoming an academician in 1861. The principal subjects of his works are landscapes and pastoral scenes. Shattuck was also the inventor of the "Shattuck" stretcher keys for artists' canvases. In 1860, he married Marian Colman, sister of painter Samuel Colman, and descendant of the John Lincoln family. Their children were William, Walter, Edwin, Isabel, Helen, and Bertha. Shattuck maintained a studio in New York from 1856 until circa 1870, then moved to Granby, Connecticut.

Provenance:

The Aaron Draper Shatutuck papers were donated by Katherine and Eugene Emigh, 1983-1984. Katherine Emigh is Shattuck's granddaughter.

Restrictions:

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

Citation:

Aaron Draper Shattuck papers, 1810-1983. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.shataaro

See more items in:

Aaron Draper Shattuck papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-shataaro

Collection Creator:

Shattuck, Aaron Draper, 1832-1928  Search this

Extent:

0.8 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

1810-1983

Scope and Contents:

The papers of Aaron Draper Shattuck contains biographical material, a birth certificate of William Shattuck and an inventory of Lincoln Family Estate. Writing consists of diaries that were kept by Aaron Shattuck and his son Walter. Correspondence includes Aaron Shattuck's acceptance letter to the National Academy of Design in 1858, descriptions of travel along the Maine coast and in New England, and letters concerning Shattuck's paintings. Financial material consists of account books, sales receipts for paintings, and receipts from F.W. Devoe & Co. for stretcher keys. Notes are comprised of writings concerning the Shattuck family that were compiled by the donors, Katherine and Eugene Emigh. Art work contains an etching (12.3 x 14.3 cm.) of the painting "White Hills in October," and nine sketchbooks (10.6 x 21.2 cm. or smaller), containing pencil drawings of landscapes and coastal scenes of Vermont and Maine, especially in the White Mountains. One of the sketchbooks is Walter's, and one contains work by both father and son. Printed material includes clippings, exhibition announcements and catalogs, a copy of Henry Alken's 1849 book, "The Art and Practice of Etching," with an inscription to Shattuck by William Hart. The book contains four etchings, four aquatints, and one National Academy of Design menu with a watercolor drawing. Photographs show Aaron Shattuck and the Shattuck home and garden in West Granby, Connecticut. Other materials include a stretched canvas displaying an advertisement and a sample of Shattuck's Patent Stretcher Key.

Collection Restrictions:

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

Collection Citation:

Aaron Draper Shattuck papers, 1810-1983. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.shataaro, Series 1

See more items in:

Aaron Draper Shattuck papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-shataaro-ref1

Collection Creator:

Shattuck, Aaron Draper, 1832-1928  Search this

Container:

Box 1, Folder 12-15

Type:

Archival materials

Date:

1856-1858

undated

Collection Restrictions:

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

Collection Citation:

Aaron Draper Shattuck papers, 1810-1983. Archives of American Art, Smithsonian Institution.

See more items in:

Aaron Draper Shattuck papers

Aaron Draper Shattuck papers / Series 1: Aaron Draper Shattuck Papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-shataaro-ref13

Collection Creator:

Shattuck, Aaron Draper, 1832-1928  Search this

Container:

Box 2, Folder 2-3

Type:

Archival materials

Date:

1892-1893

1896

Collection Restrictions:

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

Collection Citation:

Aaron Draper Shattuck papers, 1810-1983. Archives of American Art, Smithsonian Institution.

See more items in:

Aaron Draper Shattuck papers

Aaron Draper Shattuck papers / Series 1: Aaron Draper Shattuck Papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-shataaro-ref19

Collection Creator:

Shattuck, Aaron Draper, 1832-1928  Search this

Container:

Box 2, Folder 1

Type:

Archival materials

Date:

1887

Collection Restrictions:

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

Collection Citation:

Aaron Draper Shattuck papers, 1810-1983. Archives of American Art, Smithsonian Institution.

See more items in:

Aaron Draper Shattuck papers

Aaron Draper Shattuck papers / Series 1: Aaron Draper Shattuck Papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-shataaro-ref20

Creator:

Jones, Amy, 1899-1992  Search this

Names:

United States. Dept. of the Treasury. Section of Fine Arts  Search this

Extent:

3.5 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sound recordings

Video recordings

Interviews

Date:

circa 1930-1990

Summary:

The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, several recorded interviews and talks, correspondence, subject files, printed material, photographs, artwork, and scrapbooks.

Scope and Contents:

The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, some recorded interviews and talks, correspondence, subject files, printed material, photographs, artwork, and scrapbooks.

Biographical materials include awards and certificates, audio and video recordings from interviews and talks, resumes, inventories of works, membership cards, and writings. Correspondence pertains to Jones' dealings with galleries, museums, collectors, and also includes Christmas cards illustrated by Jones. Subject files include records of the sale and exhibition of her artwork; custodial history of her archive; project files; and some papers relating to her work as an art educator. Printed materials include newspaper and magazine clippings, exhibition announcements, catalogs, and posters, and publications that reproduced Jones' work. Photographs depict Jones as well as many of her watercolor landscapes, still lifes, and portraits. Artwork consists of loose sketches and drawings as well two sketchbooks. Scrapbooks contain correspondence, photographs, notes and sketches, contracts, expenses, and printed material documenting three of Jones' mural paintings between 1937-1941 as part of the U.S. Treasury Relief Art Project.

Arrangement:

The collection is arranged as 7 series.

Series 1: Biographical Material, circa 1950s-2015 (Box 1; .5 linear feet)

Series 2: Correspondence, 1943-2000 (Box 1; 8 folders)

Series 3: Subject Files, 1941-1993 (Box 1-2; .6 linear feet)

Series 4: Printed Material, 1930s-1992 (Box 2-3; 1 linear feet)

Series 5: Photographs, 1910s, 1930s-1980s (Box 3; 9 folders)

Series 6: Artwork, circa 1930s-1980s (Box 3; 9 folders)

Series 7: Scrapbooks, 1935-1943, 1980 (Box 3-5; .6 linear feet)

Biographical / Historical:

Amy Jones (Frisbie) (1899-1992) was a painter, printmaker, sculptor, and art educator in New York.

After attending Erasmus Hall High School in Brooklyn, New York, Jones studied under Xavier Gonzalez, Ben Wolf, and Anthony di Bona at the Pratt Institute. She left school early and moved to Buffalo, New York with her new husband, Blair Jones, and they had a daughter, Lucy. Jones continued to work on her art over the next few years designing Christmas cards and painting still lifes, portraits, and landscapes. Jones completed three murals between 1937-1941 for the U.S. Treasury Relief Art Project in Winsted, Connecticut; Painted Post, New York; and Scotia, New York. Jones established herself as a watercolorist in the U.S. and internationally by the 1940s. Her solo exhibitions include those held at Mount Holyoke College, Galleria Santo Stefano in Venice, Italy, a 10-year survey at New Britain Museum of American Art, and Katonah Gallery; and group exhibitions at National Gallery of Art, Corcoran Gallery, American Institute of Arts and Letters, and Albright-Knox Art Gallery. Her work may be found in the collections of the Ford Motor Company, Springfield College of Illinois, New Britain Museum of American Art, and the homes of many private collectors.

Provenance:

A portion of the collection was donated by Amy Jones in 1985, and the remainder was donated in 2015 by Lucy Jones Berk, Amy Jones' daughter.

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 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:

Muralists -- New York (State)  Search this

Painters -- New York (State)  Search this

Topic:

Federal aid to the arts  Search this

Women artists  Search this

Genre/Form:

Scrapbooks

Sound recordings

Video recordings

Interviews

Citation:

Amy Jones papers, 1910s-2015. 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.joneamy

See more items in:

Amy Jones papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-joneamy

Collection Creator:

Jones, Amy, 1899-1992  Search this

Extent:

9 Folders (Box 3)

Type:

Archival materials

Date:

circa 1930s-1980s

Scope and Contents:

Included are loose sketches and drawings as well two sketchbooks.

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 born-digital records or 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:

Amy Jones papers, 1910s-2015. 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.joneamy, Series 6

See more items in:

Amy Jones papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-joneamy-ref82

Collection Creator:

Jones, Amy, 1899-1992  Search this

Container:

Box 3, Folder 26

Type:

Archival materials

Date:

circa 1930s-1950s

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 born-digital records or 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:

Amy Jones papers, 1910s-2015. 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.

See more items in:

Amy Jones papers

Amy Jones papers / Series 6: Artwork

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-joneamy-ref88

Collection Creator:

Jones, Amy, 1899-1992  Search this

Container:

Box 3, Folder 27

Type:

Archival materials

Date:

circa 1970s

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 born-digital records or 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:

Amy Jones papers, 1910s-2015. 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.

See more items in:

Amy Jones papers

Amy Jones papers / Series 6: Artwork

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-joneamy-ref89

Collection Creator:

Glicksman, Hal  Search this

Extent:

1.8 Linear feet (Box 1-2, Sol 3)

Type:

Archival materials

Date:

1936-2010, bulk 1960-1974

Scope and Contents:

The bulk of this series concerns painter and sculptor Ben Talbert, who in the 1960s was part of the original circle of beat-era artists in Venice, California. Materials relating to Talbert include general papers; photographs of himself, his wife, and artwork; sketchbooks, sketches, prints, and some paintings; correspondence; exhibition material such as loan agreements, posters, and invitations; and printed material. Another artist with several folders is painter Phillip Hefferton. The folders contain many small drawings, paintings, and sketches as well as correspondence with Glicksman, who he addressed as "brother Hal," and one sound cassette. Other artist files include photographs, printed material, and correspondence.

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:

Hal Glicksman papers relating to California artists, 1936-2010. 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.glichal, Series 2

See more items in:

Hal Glicksman papers relating to California artists

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-glichal-ref18

Collection Creator:

Glicksman, Hal  Search this

Container:

Box 1, Folder 19-21

Type:

Archival materials

Date:

circa 1965-1968

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:

Hal Glicksman papers relating to California artists, 1936-2010. 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.

See more items in:

Hal Glicksman papers relating to California artists

Hal Glicksman papers relating to California artists / Series 2: Artist Files / Phillip Hefferton

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-glichal-ref23

Collection Creator:

Glicksman, Hal  Search this

Container:

Box 2, Folder 19-20

Type:

Archival materials

Date:

circa 1964-1969

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:

Hal Glicksman papers relating to California artists, 1936-2010. 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.

See more items in:

Hal Glicksman papers relating to California artists

Hal Glicksman papers relating to California artists / Series 2: Artist Files / Ben Talbert

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-glichal-ref55

Collection Creator:

Glicksman, Hal  Search this

Container:

Box 3, Folder 7-8

Type:

Archival materials

Date:

circa 1960s

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:

Hal Glicksman papers relating to California artists, 1936-2010. 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.

See more items in:

Hal Glicksman papers relating to California artists

Hal Glicksman papers relating to California artists / Series 2: Artist Files / Ben Talbert

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-glichal-ref66

Creator:

Marcus, Marcia, 1928-  Search this

Names:

Avery, Sally  Search this

Barnes, Dorothy Gill, 1927-  Search this

Benson, Elaine  Search this

De Kooning, Elaine  Search this

Hartigan, Grace  Search this

Müller, Dody  Search this

Richenburg, Robert  Search this

Stout, Myron, 1908-1987  Search this

Extent:

0.389 Gigabytes

8.42 Linear feet

Type:

Collection descriptions

Archival materials

Gigabytes

Diaries

Sketchbooks

Photographs

Interviews

Date:

1928-2016

bulk 1950-2000

Summary:

The papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork. Extensive personal and professional correspondence is with her husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings.

Scope and Contents:

The papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork.

Biographical material includes address books, diplomas, certificates, identification documents, resumes, and other material.

Extensive personal and professional correspondence is with Marcia Marcus's husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout.

Interviews include 2 sound cassettes and a few transcripts. Writings by Marcia Marcus consist of diaries, artist statements, notebooks, notes, lists and poems. There are also a few writings by others about Marcus. Project files mostly consist of grant applications, a mail art project, information on exhibitions curated by Marcus, and other material.

Personal business records include receipts, ledgers, prices lists, leases, and other documentation. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings. There are eight sketchbooks and artwork, mostly in the form of small sketches and watercolors.

Arrangement:

The collection is arranged as ten series

Series 1: Biographical Material, 1928-2000s (0.7 linear feet; Box 1, OV 9)

Series 2: Correspondence, 1948-2016 (4.0 linear feet; Box 1-5)

Series 3: Interviews, 1970s-1980 (3 folders; Box 5)

Series 4: Writings, 1970s-2014 (0.3 linear feet; Box 5)

Series 5: Project Files, 1962-circa 2000 (0.2 linear feet; Box 5-6)

Series 6: Personal Business Records, 1960s-2000s (0.3 linear feet; Box 6)

Series 7: Printed Material, 1950s-1990s (0.8 linear feet; Box 6-7, OV 10-11)

Series 8: Photographic Material, 1950s-1990s (1.3 linear feet; Box 7-8)

Series 9: Sketchbooks, circa 1954-2000 (0.3 linear feet; Box 8)

Series 10: Artwork, 1950s-1990s (0.4 linear feet; Box 8, OV 12)

Biographical / Historical:

Marcia Marcus (1928- ) is a figurative painter working in New York, New York.

Born in New York City, Marcus earned her bachelor's degree in fine arts from New York University in 1949, studied at the Cooper Union from 1950-1952, and studied at the Art Students League with Edwin Dickinson in 1954. In 1951, Marcus exhibited her first painting in a group exhibition at Roko Gallery in New York City. Since then, she has been the subject of over a dozen solo shows and participated in many group exhibitions.

Marcus had an exhibition of self-portraits (1960) at the Delancey Street Museum, where the artist Red Grooms, one of her many friends in the art world, was one of the founders. She also directed and performed a "Happening" there. In 1961, Marcus studied Byzantine and fresco painting in Florence, Italy. She then traveled to France from 1962-1963 on a Fulbright fellowship, and was the recipient of many other grants throughout her career including a Esther and Adolph Gottlieb grant and a National Endowment for the Arts grant. Marcus has taught as a visiting artist at a number of colleges and universities, including Vassar College, New York University, and Purdue University.

Marcus married Terrence (Terry) Barrell in 1959 and they have two children, Kate and Jane.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Marcia Marcus conducted by Paul Cummings in 1975.

Provenance:

Marcia Marcus donated her papers in multiple increments between 1974-1984. Her daughter Kate Prendergast donated additional papers in 2016.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.

Rights:

The Marcia Marcus papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

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

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

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

Genre/Form:

Diaries

Sketchbooks

Photographs

Interviews

Citation:

Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.

Identifier:

AAA.marcmarc

See more items in:

Marcia Marcus papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-marcmarc

Creator:

Thayer, Polly, 1904-2006  Search this

Names:

Copley Society (Boston, Mass.)  Search this

Friends General Conference (U.S.)  Search this

Museum of Fine Arts, Boston  Search this

Nucleus Club (Boston, Mass.)  Search this

Trustees of Reservations (Mass.)  Search this

Vose Galleries of Boston  Search this

Abramson, Doris E.  Search this

Cortissoz, Royal, 1869-1948  Search this

Hofer, Philip, 1898-1984  Search this

Koval, Dorothy  Search this

Sarton, May, 1912-  Search this

Starr, Donald C.  Search this

Thayer, Ethel Randolph, 1870-1953  Search this

Thayer, Ezra Ripley, 1866-1915  Search this

Tudor, Tasha  Search this

Wheelwright, John, 1897-1940  Search this

Yarnall, Agnes  Search this

Extent:

21.6 Linear feet

0.807 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sound recordings

Sketchbooks

Transcripts

Interviews

Sketches

Video recordings

Drawings

Scrapbooks

Date:

1846-2008

bulk 1921-2008

Summary:

The papers of Boston portraitist and painter Polly Thayer (Starr) (1904-2006) measure 21.6 linear feet and 0.807 GB and date from 1846 to 2008, with the bulk of the materials dating from 1921-2008. The papers document Thayer's personal life and career as a painter, portraitist, and pastel artist. Found within the papers are biographical materials, extensive family papers, correspondence with artists and art venues, interviews, writings, subject files, organization files, exhibition files, art inventory records, printed and digital materials, five sketchbooks, artwork, and photographs.

Scope and Contents:

The papers of Boston portraitist and painter Polly Thayer (Starr) (1904-2006) measure 21.6 linear feet and 0.807 GB and date from 1846 to 2008, with the bulk of the materials dating from 1921-2008. The papers document Thayer's personal life and career as a painter, portraitist, and pastel artist. Found within the papers are biographical materials, extensive family papers, correspondence with artists and art venues, interviews, writings, subject files, organization files, exhibition files, art inventory records, printed and digital materials, five sketchbooks, artwork, and photographs.

Biographical material includes a marriage certificate, school records, inventories of possessions, passports, files about the 1923 Great Kanto earthquake in Japan, and a few personal and scattered financial documents such as invoices and receipts for various art related expenses.

Extensive family papers on many of Polly Thayer's immediate and extended family members include obituaries, condolence letters, writings, and printed materials. The most voluminous files are about Polly Thayer's husband Donald Carter Starr, her mother Ethel Randolph Thayer, and her father Ezra Ripley Thayer.

There is limited correspondence with friends and and colleagues, including Royal Cortissoz, Philip Hofer, Tasha Tudor (photocopies), Dorothy Koval, the curator who wrote about Thayer for her first show at Vose Galleries in 2001, as well as two art consultants who helped Thayer inventory her artwork. The bulk of the correspondence is with museums, galleries, and other venues such as the Boston Museum of Fine Arts, Copley Society of Boston, and Vose Galleries.

Interviews with Polly Thayer include transcripts as well as sound and video recordings. There is also a sound recording of poet and professor Doris Abramson discussing Catherine Sargent Huntington.

Writings include typescript and handwritten drafts of essays, notebooks, and notes on assorted topics. The bulk of the material was written by Thayer, with a few writings by others.

Subject files are found for people and general interests. The "People" files are collected documents about Thayer's friends, colleagues, artists, and portrait subjects. The files include short biographies, articles, obituaries, a few photographs, two videocassettes and one sound recording. The most voluminous files are on Francis DeLancey Cunningham, the Howe family, Rose Nichols, May Sarton, John Brooks Wheelwright, and Agnes Yarnall. Thayer's "Interests" files consist of articles and clippings on various topics such as animals, humor, and pacifism.

Organization files contain materials related to Polly Thayer's charitable contributions, club memberships and affiliations, including The Chilton Club, Nucleus Club, Religious Society of Friends, and Trustees of Reservations, among others. These files contain seven sound recordings.

Exhibition files contain exhibition catalogs, reviews, clippings, notes, inventory price lists, and other materials about Thayer's solo and group shows.

Art inventory records consist of dismantled binders of inventories that also include photographs of artwork and descriptive information such as the title, medium, and dimensions. There are also photographic inventories of works of art arranged by subject, and several partial art inventories.

Printed materials include two scrapbooks compiled by Polly Thayer's mother containing articles about Thayer, magazines, journals, exhibition catalogs, brochures, exhibition invitations, postcards, clippings, and miscellaneous materials. Digital materials consist of inventories and digitized audio interviews.

Five sketchbooks include figure drawings, portrait sketches, and landscape sketches. Also found are loose drawings of animals, landscapes, and people.

Disbound binders of photographs contain images of works of art that are grouped by subject, including portraits, landscapes, and "mystical/flowers/animals," as well as personal photographs of Polly Thayer and family members, houses, social events, pets, and friends. There is one small disbound photograph album of houses and properties.

Arrangement:

The Polly Thayer papers were organized and inventoried by curator Dorothy Koval and other art consultants prior to arriving at the Archives of American Art, and most likely do not reflect the original order by Polly Thayer. The Archives has maintained the arrangement imposed by Koval for the bulk of the papers. This collection is arranged as 13 series.

Series 1: Biographical Material, 1921-2007 (0.8 linear feet; Box 1, 22, 0.582 GB; ER01-ER02)

Series 2: Family Files, 1846-2006 (2 linear feet; Box 1-3, 22)

Series 3: Correspondence, 1929-2008 (1.3 linear feet; Box 3-5)

Series 4: Interviews, 1995-2004 (0.2 linear feet; Box 5, 0.196 GB; ER03)

Series 5: Writings, 1922-2006 (1.7 linear feet; Box 5-6)

Series 6: Subject Files, circa 1900-2008 (3.3 linear feet; Box 7-10)

Series 7: Organization Files, 1931-2008 (1 linear feet; Box 10-11, 0.029 GB; ER04)

Series 8: Exhibition Files, 1928-2006 (1.9 linear feet; Box 11-13)

Series 9: Art Inventory, circa 1940-1999 (4.6 linear feet; Box 13-17)

Series 10: Printed Material, 1900-2006 (1.8 linear feet; Box 17-19, 22)

Series 11: Sketchbooks, 1930-circa 1970 (0.3 linear feet; Box 19, 23)

Series 12: Artwork, 1927-circa 1990 (0.4 linear feet; Box 19, 23, OV 25)

Series 13: Photographs, 1898-2006 (2.1 linear feet; Box 19-21, 24)

Biographical / Historical:

Polly Thayer (Starr) (1904-2006) was a Boston painter of portraits, landscapes, and still lifes.

Ethel Randolph Thayer, known as Polly, was born in Boston in 1904, the daughter of Professor Ezra Ripley Thayer, also Dean of the Harvard Law School, and Ethel Randolph Thayer, née Clark. Thayer began her drawing lessons at an early age and later attended the Westover Boarding School in Middlebury, Connecticut. Although she signed some of her early paintings Ethel Thayer, by the end of the 1920s she generally signed her work Polly Thayer. She continued to use Polly Thayer as her brush name after she married, although in 1967 she changed her name legally from Ethel Randolph Starr to Polly Thayer Starr.

After graduating from Westover School, Thayer traveled to China, Korea, and Japan with her brother and mother. While in Japan, the Great Kanto Earthquake of 1923 struck just as their ship was about to leave Yokohama. In the devastation that followed, their ship was used as a hospital and Polly Thayer assisted with nursing the injured.

After returning home, Thayer began her formal studies at the Boston Museum of Fine Arts from 1923 to 1925 where she took painting classes taught by Philip Hale. She eventually left the Boston Museum and began private painting lessons with Hale. While working under Hale, she painted a large nude, Circles, which was awarded the National Academy of Design's coveted Julius Hallgarten Prize in 1929. She also spent the summer of 1924 in Provincetown studying with Charles Hawthorne and traveled to Europe where she studied at the Académie Colarossi in Paris. She later studied in Madrid and, from 1930-1933, at the Art Students League in New York City.

Thayer's first solo exhibition was held on New Year's Eve, 1930 at the Doll & Richards gallery in Boston. The Globe reviewer declared it "surely settles her status as one of the foremost painters in the country." The success of the exhibition led to numerous portrait commissions --any of them exhibited at Wildenstein gallery in New York City --and launched Thayer's career as a portrait artist. Her portrait subjects include Judith Anderson, Jacques Barzun, Maurice Evans, Lewis Galantiere, Robert Hale, May Sarton, John Wheelwright, and Agnes Yarnall, among others. Additional galleries that subsequently gave Thayer solo shows were the Sessler Gallery in Philadelphia; Contemporary Arts and Pietrantonio Galleries in New York; and in Boston the Guild of Boston Artists, Grace Horne Galleries, Child's Gallery, The Copley Society, the St. Botolph Club and the Boston Public Library.

In 1933, Polly Thayer married Donald Starr, a Boston lawyer and avid sailor. They married in Italy and honeymooned in Paris while he took a break from a sailing trip around the world on his schooner "Pilgrim." They had two daughters, Victoria and Dinah. In 1942 Thayer joined the Society of Friends (Quakers) which became an important part of her life and identity. She was active in many educational, charitable and cultural institutions and local clubs. Thayer had long been fascinated by the dynamics, meaning and variety of visual experience. In 1981 the Friends Journal published her essay "On Seeing," a paper she continued to refine until she was ninety-seven.

In the 1950s and 1960s, Polly Thayer began focusing more on landscapes and still lifes and continued to be prolific artist, exhibiting in numerous solo and group exhibits in Boston, New York, and Philadelphia. In her later years she renewed an early affiliation with Vose Galleries which she maintained for the rest of her life. In 2001, she was the only living artist whose work was included in the Boston Museum of Fine Arts exhibition "A Studio of Her Own" and a banner of her portrait of May Sarton hung over the entrance to the Museum.

Polly Thayer (Starr) died on August 30, 2006.

Related Materials:

The Archives of American Art also holds an oral history interview of Polly Thayer conducted May 12, 1995-February 1, 1996, by Robert F. Brown.

The Polly Thayer Starr Charitable Trust holds archival materials and artwork by Polly Thayer.

Provenance:

The Polly Thayer (Starr) papers were donated to the Archives of American Art by Polly Thayer in 1998 and again in 2008 by Thayer via Stephanie S. Wright, executor. A notebook was donated in 2016 by Dinah Starr, daughter of Polly Thayer (Starr) and merged with the rest of the collection.

Restrictions:

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

Rights:

The Polly Thayer (Starr) papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Painters -- Massachusetts -- Boston  Search this

Kanto Earthquake, Japan, 1923  Search this

Portrait painters  Search this

Women artists  Search this

Genre/Form:

Photographs

Sound recordings

Sketchbooks

Transcripts

Interviews

Sketches

Video recordings

Drawings

Scrapbooks

Citation:

Polly Thayer (Starr) papers, 1846-2008, bulk 1921-2008. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Polly Thayer Starr Charitable Trust

Identifier:

AAA.thaypoll

See more items in:

Polly Thayer (Starr) papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-thaypoll