Baekeland, L. H. (Leo Hendrik), 1863-1944 Search this
Collection Creator:
Baekeland, L. H. (Leo Hendrik), 1863-1944 Search this
Extent:
1 Item (6.0" x 3.5".)
Container:
Box 19, Folder 3
Type:
Archival materials
Biographies
Diaries
Place:
Yonkers (N.Y.) -- 1900-1910
Date:
1914 March 12-1914 August 16
Scope and Contents:
Inscription on flyleaf: "I / Journal of / Dr. L.H. Baekeland / Yonkers, NY [sic] / March 12, 1914 / to August 16, 1914." The diary details Baekeland's daily activities. He writes often of his visits and discussions, and the subjects of correspondence he has written and received. It sheds light on the use and distance of travel by automobile in the early twentieth century. In the notes, Baekeland explains increasing time spent in the laboratory in 1914.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.
Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
Arrangement:
The collection is arranged into 2 series of each artist's papers:
Missing Title
Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)
Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Biographical Note:
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.
Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.
In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.
Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.
In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.
Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
Provenance:
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Marcel Breuer Associates/Architects and Planners Search this
Extent:
37.6 Linear feet
0.14 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Interviews
Date:
1920-1986
Summary:
The Marcel Breuer papers, 1920-1986, contain biographical material, correspondence, business and financial records, interviews, notes, writings, sketches, project files, exhibition files, photographs, and printed material that document the career of architect and designer Marcel Breuer.
Scope and Contents note:
The Marcel Breuer papers span the years 1920 to 1986 and measure 37.6 linear feet and 0.14 gigabytes. They consist of biographical material, correspondence, business and financial records, interviews, notes, writings, sketches, project files, exhibition files, photographs, and printed material that document Breuer's career as an architect and designer. This material reflects the prolificacy and diversity of his creations, from tubular steel chairs to private residences, college campuses, factories, department stores, and international, municipal, and corporate headquarters and complexes.
The Biographical Material Series contains documents that list or certify significant events or associations attained by Breuer during his career, such as résumés, licenses, and certificates. The number of awards contained in this series attest to the esteem in which he was held by his colleagues.
Breuer's Correspondence Series illustrates the interaction of his various colleagues and the operation of his architectural offices in the execution of their projects, many of which were in progress simultaneously. This series includes letters from Joseph Albers, Jean Arp, Herbert Bayer, Alexander Calder, Serge Chermayeff, Naum Gabo, Sigfried Giedion, Walter and Ise Gropius, Louis I. Kahn, György Kepes, László Moholy-Nagy, Henry Moore, Eero Saarinen, and José Luis Sert.
The Business and Financial Records Series contains documents which reflect Breuer's commercial transactions that do not directly relate to one specific project. Two project books pertain to 36 architectural projects and record their basic physical and financial details, such as site measurements and cost projections. There are also miscellaneous invoices and receipts, and one of Breuer's personal income tax returns.
The Interviews Series contains typescripts of interviews. Of particular interest is the audiotape interview of Breuer, who discusses his early years as a student and his first impressions of the Bauhaus. There are also untranscribed audiotape interviews of his colleagues György Kepes and Harry Seidler, and his patrons Mr. A. Elzas, and the Koerfers, who discuss their business relationships with Breuer.
There are address lists of colleagues and patrons and résumés from architects contained within the series on Notes, while the Writings Series contains typescripts of lectures and articles written by Breuer concerning architecture and its history. Writings by others are about Breuer and his work, including typescripts, galleys, and photographs of architectural and design projects used in the publication of the book Marcel Breuer Buildings and Projects, 1921-1961 by Cranston Jones.
The Sketches Series consists of 3 small, hand-drawn depictions of unidentified floor plans.
The largest and most comprehensive series houses the Project Files, which consist of approximately 300 project files containing letters, legal documents, and photographs that record the planning and execution of many of Breuer's most important architectural projects. These include the UNESCO Headquarters Building (Paris, France), St. John's Abbey and University (Collegeville, Minnesota), the IBM Corporation Research Center (La Gaude, France), the HUD Headquarters Building (Washington, D.C.), the De Bijenkorf Department Store (Rotterdam, The Netherlands), and the third power plant and forebay dam for the Grand Coulee Dam (Washington state). The file for the Whitney Museum of American Art in New York contains an interesting set of photographs of Breuer showing Jacqueline Kennedy through the construction site.
Of equal importance are the additional Project Files for the 100 residences designed by Breuer, including prefabricated houses such as Kleinmetalhaus and Yankee Portables, and commissioned residences such as the two Gagarin Houses (Litchfield, Connecticut), the two Harnischmacher Houses (Wiesbaden, Germany), Koerfer House (Moscia, Switzerland), the Neumann House (Croton-on-Hudson, New York), the Saier House (Glanville-Calvados, France), the Staehelin House (Feldmeilen, Switzerland), the Starkey House (Duluth, Minnesota), and the three Rufus Stillman Houses (Litchfield, Connecticut). There are also files concerning the four houses Breuer designed for himself in Lincoln and Wellfleet, Massachusetts, and in New Canaan, Connecticut.
The Project Files for Breuer's furniture designs are not as comprehensive as those for his architectural creations but contain many photographs of his early conceptions for chairs, tables, desks, cabinets, rugs, and tapestries.
The Exhibition Files Series contains primarily photographs of exhibitions in which Breuer participated. The extent of his participation is sometimes difficult to determine, because it ranged from designing a single chair, designing rooms for an apartment or an entire house specifically to be shown in an exhibition, to designing an exhibition building. Breuer was also the subject of a retrospective exhibition sponsored by the Metropolitan Museum of Art. This traveling exhibition was seen in New York City, Chicago, Paris, and Berlin.
Images contained in the Photographs Series are of Breuer, including one of him in Philip Johnson's house, Breuer family members, and colleagues, including Herbert Bayer, Alexander Calder, Serge Chermayeff, Walter and Ise Gropius, and Matta. Three photograph albums in this series contain more than 1,000 photographs of 59 architectural projects.
The Printed Material Series houses general clippings that concern groups of projects, rather than one specific project. There is also a scrapbook of tearsheets concerning architectural projects, exhibition announcements, and catalogs for others, and miscellaneous press releases and brochures.
Arrangement:
The Marcel Breuer papers are arranged into 11 series, based on type of document. Each series, except Project Files, has been arranged chronologically. The Project Files Series has been divided into 19 subseries of related architectual and design project types. The overall arrangement reflects Breuer's original arrangement. Each subseries or file group within is arranged alphabetically according to the surname of an individual, or a location name of a university. The contents of each project file have been arranged according to material type and a chronology that best reflects the progression of the project toward completion.
Series 1: Biographical Material, 1920-1981 (Boxes 1, 36; Reel 5708; 0.4 linear ft.)
Series 2: Correspondence, 1923-1986 (Boxes 1-6, OV 47; Reels 5708-5717; 5.3 linear ft.)
Series 3: Business and Financial Records, 1933-1980 (Box 6; Reels 5717-5718; 0.4 linear ft.)
Series 4: Interviews, 1963-1985 (Boxes 6-7; Reel 5718; 0.4 linear ft., ER01; 0.14 GB)
Series 5: Notes, 1934-1976 (Box 7; Reel 5718; 0.4 linear ft.)
Series 6: Writings, 1923-1981 (Boxes 7-8; Reels 5718-5720; 1.0 linear ft.)
Series 7: Sketches, circa 1920s-circa 1980 (Box 8; Reel 5720; 1 folder)
Series 8: Project Files, 1921-1986 (Boxes 8-23, 36-40, OVs 43-57; Reels 5720-5737; 27.6 linear ft.)
Series 9: Exhibition files, 1922-1974 (Box 34, OV 49; Reels 5737-5738; 0.8 linear ft.)
Series 10: Photographs, 1928-1979 (Boxes 34, 41-42; Reel 5738; 0.3 linear ft.)
Series 11: Printed Material, 1925-1984 (Boxes 35, 42; Reels 5738-5739; 1.0 linear ft.)
Biographical/Historical note:
Marcel Lajos Breuer was born on May 21, 1902, in the Danube valley town of Pécs, Hungary, to Jacques Breuer, a physician, and Franciska (Kan) Breuer. His siblings were Hermina and Alexander. Throughout his life, Breuer used his first name only on official documents and preferred that his friends use his middle name, the Hungarian form of "Louis." The diminutive form of this name was usually spelled "Lajkó" and pronounced "Lye-ko."
In 1920, Breuer graduated from the Magyar Királyi Föreáliskola in Pécs. He had received a scholarship to study art in Vienna but took an immediate dislike to the Art Academy there, so searched elsewhere for training. He started working in the studio of a Viennese architect and soon became interested in training in the cabinetmaking shop of the architect's brother. Breuer was not satisfied with this arrangement either, and, upon hearing about the year-old Bauhaus school in Germany, he departed for Weimar in 1921.
Founded and directed by Walter Gropius, the Bauhaus combined the teaching of the pure arts with training in functional technology. Breuer received a master's degree from the Bauhaus in 1924, then studied architecture in Paris, where he first met Le Corbusier.
In 1925, Gropius enticed Breuer to return to the Bauhaus, now relocated in Dessau, by offering him a post as master of the carpentry workshop and a commission to design the interiors of the new Bauhaus buildings. Inspired by his new bicycle's handlebars, Breuer designed his first tubular steel chair, the Wassily chair, named for his friend Wassily Kandinsky. This chair and dozens of other Breuer designs for furnishings were mass-produced by the Thonet Brothers in Germany.
Two years later, in 1928, Breuer left the Bauhaus to begin a private architecture practice in Berlin, emphasizing prefabricated housing and the use of concrete in building. During this time Breuer worked on a designs for the Potsdamer Platz, Spandau-Haselhorst Housing, and a hospital in Elberfeld, and he completed work on the Lewin House and the Harnischmacher Apartment. Due to the deteriorating economic and political conditions in Germany, Breuer closed his Berlin office in 1931 and traveled to Budapest, Zurich, Morocco, Greece, and Spain. Returning to Germany in the following year, he began designing furniture in aluminum. Breuer established his reputation as an architect upon completion of the Harnischmacher House in Wiesbaden, a house notable for the use of contrasting materials and distinctive interiors.
The Nazis closed the Bauhaus in 1933. The following year, Breuer designed the Dolderthal Apartments in Zurich for the Swiss architectural historian Sigfried Giedion. From 1935 to 1937, Breuer settled in London, and became partners with F. R. S. Yorke. During this time he designed for the Isokon ("isometric unit construction") Control Company laminated plywood furniture that became widely imitated.
In 1937, Breuer accepted an invitation from Walter Gropius to join the faculty of the School of Design at Harvard University to teach architecture, and he moved to the United States. Among his students were Edward Larrabee Barnes, Ulrich Franzen, Philip Johnson, I. M. Pei, and Paul Rudolph. Breuer formed a partnership with Gropius in Cambridge, Massachusetts, from 1937 to 1941. Their firm was engaged primarily in the design of private homes.
In 1946, Breuer moved to New York City, where he established an office in an East 88th Street townhouse. The number of his commissions began to grow slowly, and it was during this time he constructed his own notable residence in New Canaan, Connecticut. He developed the bi-nuclear, or "two-center" house, which was designed to meet the living requirements of modern families by creating functional areas for separate activities.
Breuer's architectural reputation was greatly enhanced when, in 1953, he was commissioned to design, in collaboration with Pier Luigi Nervi and Bernard Zehrfuss, the United Nations Educational, Scientific and Cultural Organization (UNESCO) World Headquarters in Paris. During this year, he also began work on a series of innovative buildings for St. John's Abbey and University in Collegeville, Minnesota.
Between 1963 and 1964, Breuer began work on what is perhaps his best-known project, the Whitney Museum of American Art, in New York City. He also established an office with the name Marcel Breuer Architecte, in Paris, to better orchestrate his European projects. Also during this time, Herbert Beckhard, Murray Emslie, Hamilton Smith, and Robert F. Gatje became partners in Marcel Breuer and Associates. When Murray Emslie left a year later, he was replaced by Tician Papachristou, who had been recommended by Breuer's former student, I. M. Pei.
After several moves to increasingly larger office space in New York, Breuer established his largest office at 635 Madison Avenue and 59th Street in 1965. After suffering the first of a series of heart attacks, Breuer reduced his travel to Europe, eventually leaving the management of the Paris office in the hands of Mario Jossa.
Between 1965 and 1973, Marcel Breuer and Associates continued to receive many diverse and important commissions, including the Department of Housing and Urban Development Headquarters Building (Washington, D.C.), showrooms for Scarves by Vera (New York City), the IBM Corporation (La Gaude, France), the Baldegg Convent (Lucerne, Switzerland), Bryn Mawr School for Girls (Baltimore, Maryland), a third power plant for the Grand Coulee Dam, the Australian Embassy (Paris, France), the Armstrong Rubber Company (New Haven, Connecticut), and the State University of New York Engineering Complex (Buffalo). Breuer also designed residences including a second Gagarin House (Litchfield, Connecticut), the Saier House (Glanville-Calvados, France), the Soriano House (Greenwich, Connecticut), and a third Rufus Stillman House (Litchfield, Connecticut).
Due to failing health in 1972, Breuer sold his New Canaan house and moved into Manhattan so he could more easily commute to the office. By 1976, Breuer's health had declined further, and he retired from practice. The name of his firm was subtly changed from Marcel Breuer and Associates to Marcel Breuer Associates, and later to MBA/Architects and Planners.
Marcel Breuer died on July 1, 1981, in New York City.
This chronology below is based on evidence found within the Marcel Breuer Papers. The dating of projects reflects the range of dates encompassed by the files for each project, not the project's actual construction time. Most architectural projects have several equally significant dates from which it is difficult to assign a single date. Significant dates for a building may include the date of groundbreaking, the laying of the cornerstone, or the first opening day. When a project's dates are unknown or uncertain, a question mark in brackets appears at the end of the entry.
Missing Title
1902 -- Marcel Lajos Breuer is born on May 21 in Pécs, Hungary.
1920 -- Breuer graduates from Magyar Királyi Föreáliskola (high school) in Pécs. Breuer travels to Vienna to study art.
1921 -- Breuer enrolls at the Bauhaus, Wiemar, Germany. Furniture designs: tea table; wooden cabinet.
1923 -- Architectural project: apartment house (multistory duplex with continuous terrace gardens). Furniture designs: miscellaneous bureaus.
1924 -- Breuer earns a master's degree from the Bauhaus. Breuer studies architecture in Paris, where he meets Le Corbusier. Furniture designs: desk and bookcase.
1925 -- Breuer returns to the Bauhaus, now located in Dessau, and takes post of master of the carpentry workshop. Architectural projects: Canteen, Bauhaus-Dessau, Germany; Kleinmetallhaus (prefabricated house in steel); Gropius House, Dessau, Germany; Wissinger Apartment, Berlin, Germany [1925?]. Furniture designs: Wassily chair; Rückenlehnstuhl ("back-leaning chair"); tubular steel stool; modular system for cabinets.
1926 -- Breuer marries Martha Erps. Architectural projects: Gröte Residence, Dessau, Germany; Moholy-Nagy Apartment and Studio, Berlin, Germany; Muche House, Dessau, Germany; Piscator Apartment, Berlin, Germany; Thost House, Hamburg, Germany. Furniture designs:(modular) system for unit furniture; dining room chair; tubular steel chair; office chair; storage wall unit. Exhibition: Bauhaus Exhibition, Dessau, Germany; table for Kandinsky's Master's Studio.
1930 -- Breuer meets György Kepes in Berlin. Architectural project: Boroschek Apartment, Berlin, Germany. Exhibitions: Bauhaus Exhibition, Berlin-Germany, House for a Sportsman, Cork Industry Display; Paris Werkbund Exhibition, Paris, France, Wohn Hotel, Vitrine and Cabinets, and Klubraum Gropius.
1931 -- Breuer closes the Berlin office and travels in Europe and North Africa. Architectural project: Reidemeister Residence, Berlin, Germany. Furniture design: bookcase. Exhibition: Bauausstellung Exhibition, Berlin, Germany, Mitarbeiter Hassenpflug Apartment.
1932 -- Breuer returns to Germany.
1933 -- Nazis close the Bauhaus. Architectural project: Harnischmacher House I, Wiesbaden, Germany. Furniture designs: aluminum chairs; aluminum tables.
1934 -- Breuer divorces Martha Erps. Architectural project: Dolderthal Apartments, Zurich, Switzerland. Exhibition Building Competition, Budapest Spring Fair, Budapest, Hungary.
1935 -- Breuer moves to London and forms partnership with F. R. S. Yorke. Furniture designs: Isokon chairs; plywood nesting tables; plywood dining table. Exhibition: Heal's "Seven Architects" Exhibition, London, England; Designs for two chairs.
1936 -- Architectural projects: Motley Fashion Shop, London, England; London Theatre Studio, London, England; Clifton House (Crofton Gane House), Bristol, England; Sea Lane House, Angmering-on-Sea, Sussex, England; Ventris Apartment, London, England. Exhibitions: Royal Show, Bristol, England, Gane's Pavilion; British Cement and Concrete Association Exhibition, London, England, Garden City of the Future (civic center).
1937 -- Breuer and Yorke dissolve their partnership. Breuer moves to the United States to teach at Harvard. Breuer and Walter Gropius establish Walter Gropius and Marcel Breuer, Associated Architects. Architectural project: Obergurgl Ski Lodge, Obergurgl, Austria.
1938 -- Architectural projects: Wheaton College Competition, Art Center, Norton, Massachusetts; Fischer House and Studio, Newtown, Pennsylvania; Gropius House, Lincoln, Massachusetts; Haggerty House, Cohasset, Massachusetts; Margolius House, Palm Springs, California. Furniture design: cabinet with hinged drawers. Exhibition: "Marcel Breuer and the American Tradition in Architecture," Harvard University, Cambridge, Massachusetts.
1939 -- Architectural projects: Black Mountain College, Black Mountain, North Carolina; Breuer House, Lincoln, Massachusetts; Ford House, Lincoln, Massachusetts; Frank House, Pittsburgh, Pennsylvania. Exhibition: New York World's Fair, Flushing Meadows, New York; Pennsylvania Pavilion.
1943 -- Architectural projects: South Boston Redevelopment Project, Boston, Massachusetts; Stuyvesant Six (housing development), New York, New York; Wellfleet Housing Development, Bi-Nuclear "H" House, Wellfleet, Massachusetts.
1944 -- Architectural projects: Van Leer Vatenfabrieken N.V., Office Building, Amstelveen, The Netherlands; 1200 Square Foot House, Florida; Geller House I, Lawrence, Long Island, New York; East River Apartments, New York, New York; Long Beach Nurses' Residence, Long Beach, Long Island, New York.
1945 -- Architectural projects: Eastern Airlines Ticket Office, Boston, Massachusetts; Smith College Competition, Dormitories, Northampton, Massachusetts; Unidentified Memorial, [location unknown]; Cambridge War Memorial, Cambridge, Massachusetts; Florida House, Miami Heights, Florida; Tompkins House, Hewlett Harbor Village, Long Island, New York.
1946 -- Breuer and family move to New York City. Breuer establishes an office on East 88th Street. Architectural projects: Small House Competition; Martine House, Stamford, Connecticut; Preston Robinson House, Williamstown, Massachusetts.
1947 -- Architectural projects: Breuer House I, New Canaan, Connecticut; Scott House, Dennis, Massachusetts; Thompson House, Ligonier, Pennsylvania.
1948 -- Architectural projects: Ariston Club, Mar del Plata, Argentina; Breuer Cottage, Wellfleet, Massachusetts; Kniffin House, New Canaan, Connecticut; Witalis House, Saddle Rock, Kings Point, New York; Wise Cottage, Wellfleet, Massachusetts. Exhibition: Low Cost Furniture Competition, Museum of Modern Art, New York, Cutout plywood chair.
1949 -- Publication of book, Marcel Breuer: Architect and Designer, by Peter Blake. Architectural projects: United States Educational, Scientific and Cultural Organization (UNESCO); Headquarters, Paris, France; Clark House, Orange, Connecticut; Herrick House, Canajoharie, New York; Hooper Residence Additions, Baltimore, Maryland; Marshad House, Croton-on-Hudson, New York; Smith House, Aspen, Colorado; Tilley House, Middletown, New Jersey; Wolfson Trailer House, Pleasant Valley, New York. Exhibition: Museum of Modern Art Exhibition, New York, New York, House in museum garden.
1950 -- Breuer moves his office to East 37th Street, New York. Architectural projects: Alaska Air Terminal, Anchorage, Alaska [1950?]; Sarah Lawrence College, Arts Center, Bronxville, New York; Vassar College, Dwight Ferry House (a cooperative dormitory), Poughkeepsie, New York; Aspen House, Aspen, Colorado; Englund House, Pleasantville, New York; Hanson House, Lloyd Harbor, Huntington, Long Island, New York; Lauck House, Princeton, New Jersey; McComb House, Poughkeepsie, New York; Mills House, New Canaan, Connecticut; Pack House, Scarsdale, New York; Rufus Stillman House I, Litchfield, Connecticut.
1951 -- Architectural projects: Grosse Pointe Public Library, Grosse Pointe, Michigan; Aufricht House Addition, Mamaroneck, New York; Breuer House II, New Canaan, Connecticut; Caesar House, Lakeville, Connecticut. Furniture design: Canaan desk.
1952 -- Architectural projects: Scarves by Vera, Showroom, New York, New York; Levy House, Princeton, New Jersey; George Robinson House, Redding Ridge, Connecticut; Tibby House, Port Washington, New York.
1953 -- Architectural projects: Bantam Elementary School, Litchfield, Connecticut; Litchfield High School, Litchfield, Connecticut; Northfield Elementary School, Litchfield, Connecticut; St. John's Abbey and University, Monastery Wing, Abbey Church and Bell Banner, Collegeville, Minnesota; Torrington Manufacturing Company, Oakville, Ontario, Canada; De Bijenkorf Department Store and Garage, Rotterdam, The Netherlands; Calabi House, Lagrangeville, New York; Crall House, Gates Mills, Ohio; Gagarin House I, Litchfield, Connecticut; Neumann House, Croton-on-Hudson, New York; Snower House, Kansas City, Missouri; Edgar Stillman House, Wellfleet, Massachusetts. Exhibition: Tile Council of America Exhibition, New York, New York, Patio-Bathroom.
1954 -- Architectural projects: New London Railroad Station, New London, Connecticut; Institute for Advanced Study, Princeton University, Princeton, New Jersey; Grieco House, Andover, Massachusetts; Harnischmacher House II, Wiesbaden, Germany; Karsten House, Owings Mills, Maryland; Starkey House (formerly Alworth House), Duluth, Minnesota.
1955 -- Publication of book, Sun and Shadow: The Philosophy of an Architect, edited by Peter Blake. Architectural projects: New York, New Haven, and Hartford Railroad, Train "X," Budd "Hot Rod," Budd "Flying Cloud," and ACF Talgo Locomotives and Passenger Cars, Rye Railroad Station, Rye, New York [1955?]; Connecticut Junior Republic Association Dormitory, Litchfield, Connecticut; Torrington High School, Torrington, Connecticut; Hunter College, Library, Classrooms, and Administration Building, Bronx, New York; Annunciation Priory, Bismarck, North Dakota; O. E. McIntyre, Inc. Plant, Westbury, Long Island, New York; Laaff House, Andover, Massachusetts; McGinnis Apartment, Biltmore, New York, New York; McGinnis House, Charlmont, Massachusetts. Exhibition: Good Design Exhibition, Museum of Modern Art, New York, New York, Hyperbolic Paraboloid.
1956 -- Breuer moves his office to Third Avenue and 57th Street, New York. Breuer is the first recipient of La Rinascente's Compasso d'Oro Prize. Architectural projects: U.S. Embassy, The Hague, The Netherlands; Boston and Maine Railroad, North Station Industrial Building; Boston and Maine Railroad, Fairbanks Morse Locomotive and Passenger Cars; New Haven Railroad Station, New Haven, Connecticut; New York University, University Heights Campus, Bronx, New York; Torrington Manufacturing Company, Van Nuys, California; Wohnbedarf Furniture Showroom, Zurich, Switzerland; Hooper House, Baltimore, Maryland; Krieger House, Bethesda, Maryland; Staehelin House, Feldmeilen, Switzerland.
1957 -- Breuer receives an honorary doctorate from the University of Budapest. Architectural project: Westchester Reform Temple, Scarsdale, New York. Exhibitions: International Autumn Fair, Vienna, Austria, U.S. Pavilion; "Amerika Baut" ("America Builds"), Marshall House, Berlin, Germany.
1958 -- Breuer becomes a Fellow of the American Institute of Architects. Architectural projects: El Recreo Urban Center, Caracas, Venezuela; St. John's Abbey and University, St. Thomas Aquinas Residence Hall, Collegeville, Minnesota; Halvorson House, Dryberry Lake Area, Kenora, Ontario, Canada; Recreational Apartments, Tanaguarena, Venezuela. Exhibitions: "Ars Sacra" Exhibition, Louvain, France; Concrete Industries Exposition, Cleveland, Ohio, The Pavilion.
1959 -- Architectural projects: Whitby Elementary School, Greenwich, Connecticut; Ustinov House, Vevey, Switzerland. Exhibitions: "U.S. Architecture in Moscow," Moscow, U.S.S.R.; "1960 National Gold Medal Exhibition of the Building Arts," Museum of Contemporary Crafts, New York, New York, Photographic Displays of Various Breuer Projects; "Form Givers at Mid-Century" (traveling exhibition), Photographic Displays of Various Breuer Projects.
1960 -- Architectural projects: Flaine Ski Resort Town, Haute-Savoie, France; St. John's Abbey and University, Library, Collegeville, Minnesota; Brookhaven National Laboratory (for Nuclear Research), Upton, Long Island, New York; Torrington Manufacturing Company, Rochester, Indiana; Abraham & Straus Department Store, Facade, Hempstead, Long Island, New York; McMullen Beach House, Mantoloking, New Jersey.
1961 -- Architectural projects: St. Francis de Sales Church, Church and Rectory, Muskegon, Michigan; Temple B'Nai Jeshurun, Short Hills, Millburn Township, New Jersey; One Charles Center, Baltimore, Maryland; International Business Machines Corporation (IBM), Research Center, La Gaude, France; Fairview Heights Apartments, Ithaca, New York. Exhibitions: "Bauhaus" [location unknown]; "New Forms in Concrete," American Federation of Arts (traveling exhibition).
1962 -- Publication of book, Marcel Breuer Buildings and Projects, 1921-1961, by Cranston Jones. Architectural projects: Torrington Manufacturing Company, Machine Division, Torrington, Connecticut; Scarves by Vera, Showroom, Los Angeles, California; Kacmarcik House, St. Paul, Minnesota. Exhibition: "Fourth Biennale of Present-Day Christian Art," Salzburg Dome, Salzburg, Austria.
1963 -- Herbert Beckhard, Murray Emslie, and Hamilton Smith become partners in Marcel Breuer and Associates. Architectural projects: Department of Housing and Urban Development (HUD) Headquarters Building, Washington, D.C.; Hoboken Terminal Building, Hoboken, New Jersey; Whitney Museum of American Art, New York, New York; Grand Central Air Rights Building, 175 Park Avenue, New York, New York; Torrington Manufacturing Company, Nivelles, Belgium; Koerfer House, Moscia, Tessin, Switzerland; Van der Wal House, Amsterdam, The Netherlands. Exhibitions: "Recent American Synagogue Architecture," The Jewish Museum, New York, New York; "Churches and Temples: Postwar Architecture," American Institute of Architects, Pepsi Cola Gallery, New York, New York; "On Campus: Recent Buildings," American Federation of Arts (traveling exhibition).
1964 -- Breuer establishes an office near the Parc des Expositions, Paris, France. Robert F. Gatje becomes a partner in Marcel Breuer and Associates. Murray Emslie leaves, and Tician Papachristou joins Marcel Breuer and Associates. Architectural projects: Boston Redevelopment Parcel 8 Competition, Boston, Massachusetts; ZUP (Zone à Urbaniser par Priorité/"Zone Designated for Priority Urbanization") Community, Bayonne, France; New York University, University Heights Campus, Technology Building II, Bronx, New York; St. John's Abbey and University, Science Hall, and Auditorium, Collegeville, Minnesota; Yale University, Becton Center for Engineering and Applied Science, New Haven, Connecticut; St. Luke's Church, Fairport, New York; Franklin Delano Roosevelt Memorial, Washington, D.C.; Scarves by Vera, Showroom and Offices, 417 Fifth Avenue, New York, New York; De Gunzburg Houses, Megève, Haute-Savoie, France; Rufus Stillman House II, Litchfield, Connecticut. Exhibition: "Art in the United States" Part III, ("Architecture in the U.S.A."), Brearley School, New York, New York.
1965 -- Breuer's Paris office (Marcel Breuer Architecte) moves to 48 rue Chapon in the third arrondissement. Breuer's New York office moves to 635 Madison Avenue and 59th Street. Breuer suffers the first of a series of heart attacks while in New York in August. Architectural projects: Interama (Community for Argentina, Brazil, Paraguay, and Uruguay), Miami, Fla.; Department of Health, Education, and Welfare (HEW) Headquarters, Washington, D.C.; State School for the Mentally Retarded, Nassau County, New York; Cardinal Stritch College (Tri-Arts Center), Milwaukee, Wisconsin; Mary College, Bismarck, North Dakota; University of Massachusetts, Murray Lincoln Campus Center and Parking Structure, Amherst, Massachusetts; Laboratoires Sarget, Corporate Headquarters and Pharmaceutical Plant, Bordeaux, France; Purdue Frederick Company, Corporate Headquarters, Bordeaux, France; Torrington Manufacturing Company, Swindon, England; Torrington Manufacturing Company, Administration Building, Torrington, Connecticut. Exhibition: "Architecture of Industry," Architectural League of New York, (traveling exhibition).
1966 -- Breuer and Robert F. Gatje move back to the New York office. Eric Cercler and Mario Jossa are left in charge of the Paris office. Architectural projects: Sports Park, Corona-Flushing Meadow Park, Queens, New York; Charlotte Hungersford Hospital, Torrington, Connecticut; Stables Competition, Central Park, New York, New York; St. John's Abbey and University, Student Residence Hall II and Student Center and Swimming Pavilion, Collegeville, Minnesota. Furniture design: Tapestries. Exhibitions: Svoboda & Company Furniture Exhibition," Selection 66," Vienna, Austria; School of Architecture Exhibition, University of Oklahoma, Norman, Oklahoma; "Rugs," Stephen Radich Gallery, New York, New York; "Bauhaus: A Teaching Idea," Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts.
1967 -- Architectural projects: Campus High School, Secondary Education Complex, Madison Park Urban Renewal Area, Boston, Massachusetts; Kent School, Girls' Chapel, Kent, Connecticut; St. John's Abbey and University, Ecumenical and Cultural Research Center, Collegeville, Minnesota; Cleveland Museum of Art, Education Wing, Cleveland, Ohio; Baldegg Convent, Mother House Institute, near Lucerne, Switzerland; Cleveland Trust Company, Bank and Office Building, Cleveland, Ohio; Grand Coulee Dam, Columbia Basin Project Third Power Plant and Forebay Dam, Douglas County, Washington; Geller House II, Lawrence, Long Island, New York; Kreizel House Addition, [location unknown]; Soriano House, Greenwich, Connecticut.
1968 -- Breuer is awarded the Gold Medal of the American Institute of Architects. Breuer is awarded the Jefferson Foundation Medal in Architecture from the University of Virginia. Architectural projects: Olgiata Parish Church, Rome, Italy; Harrison-State Development Corporation, Office Building, Bristol Center, Syracuse, New York; Armstrong Rubber Company, New Haven, Connecticut; International Business Machines Corporation (IBM), Expansion of Headquarters Facility, Armonk, New York; International Business Machines Corporation (IBM), Offices, Laboratories, and Manufacturing Facility, Boca Raton, Florida; Scarves by Vera, Showroom, 1411 Broadway, New York, New York; Rosenberg House, [location unknown].
1969 -- Mario Jossa is made sole director of the Paris office. Architectural projects: West Queens High School, Long Island City, Queens, New York; Harvard University, Bio-Chemistry Building, Cambridge, Massachusetts; Boston Office Building, 60 State Street, Boston, Massachusetts. Exhibition: "Le Bauhaus: 1919-1969," Musée National d'Art Moderne et Musée d'Art Moderne de la Ville de Paris, Paris, France.
1970 -- Breuer receives an honorary doctorate from Harvard University. Publication of book, Marcel Breuer New Buildings and Projects, by Tician Papachristou. Architectural projects: Australian Embassy, Paris, France; Bryn Mawr School for Girls, Baltimore, Maryland; State University of New York at Buffalo, Engineering and Applied Science Complex, Buffalo, New York; University of Virginia, Physics Building, Charlottesville, Virginia. Exhibition: ["Marcel Breuer"?], Szépmuvészeti Múzeum (Museum of Fine Arts), Budapest, Hungary.
1971 -- Architectural projects: Acquitaine Coast Resort, Port Contis, France; Atlanta Central Library, Atlanta, Georgia; Pine Ridge High School, Pine Ridge, South Dakota; Marlborough-Gerson Gallery, New York, New York; European Investment Bank, Kirchberg Plateau, Luxembourg; Torin Corporation, Tech Center, Building 1, Torrington, Connecticut.
1972 -- Breuer suffers another heart attack in Kabul, Afghanistan. Breuer sells his house in New Canaan and moves to 63rd Street, New York. Architectural projects: Clarksburg Public Library, Clarksburg, West Virginia; Southern New England Telephone Company (SNET), Traffic Service Position; Systems Building, Torrington, Connecticut; American Press Institute, Conference Center, Reston, Virginia; Afghanistan Hotels, Kabul and Bamyan, Afghanistan; Picker House, Lake Carmel, New York; Saier House, Glanville-Calvados, France. Exhibitions: "Breuer en France," Knoll International, Paris, France; "Marcel Breuer at the Metropolitan Museum of Art" (traveling exhibition), Metropolitan Museum of Art, New York, New York.
1973 -- Architectural projects: Heckscher Museum, Expansion Project, Huntington, New York; Defendon Pharma, Limburg an der Lahn, Germany; Torin Corporation, Sculpture, Torrington, Connecticut; Torin Corporation, Assembly Plant, Lawton, Oklahoma; Gagarin House II, Litchfield, Connecticut; Rufus Stillman House III, Litchfield, Connecticut. Exhibition: "Marcel Breuer at the Metropolitan Museum of Art" (traveling exhibition), Museum of Science and Industry, Chicago, Illinois.
1974 -- Architectural projects: Strom Thurmond Courthouse and Federal Office Building, Columbia, South Carolina; Massachusetts Bay Transit Authority, Red Line Subway Expansion, Cambridge, Massachusetts. Exhibitions: "The Flowering of American Folk Art," Whitney Museum of American Art, New York, New York, Installation designed by Breuer and Hamilton Smith; "Marcel Breuer at the Metropolitan Museum of Art" (traveling exhibition), Centre de Création Industrielle, Pavillon de Marsan, Musée des Arts Décoratifs, Paris, France.
1975 -- Architectural projects: Lawton Community, Lawton, Oklahoma; Mundipharma, Limburg, Germany; Andrew Geller Shoes, Inc., Showroom, New York, New York; Mt. Tochal Hotel, Tehran, Iran. Exhibition: "Marcel Breuer at the Metropolitan Museum of Art" (traveling exhibition), Bauhaus-Archiv, Berlin-Charlottenburg, Germany.
1976 -- Breuer retires from practice. Marcel Breuer and Associates becomes Marcel Breuer Associates and later MBA/Architects and Planners. Architectural projects: Sadat City Ministries Complex, Cairo, Egypt; National Museum of American Amusement, [location unknown]; Torin Corporation, Penrith, Australia; Mideast Market (fish, meat, and vegetable market), Kuwait; Cairo Airport Hotel, Cairo, Egypt; Bratti House, New Canaan, Connecticut.
1977 -- Mario Jossa becomes a partner in MBA/Architects and Planners. Architectural projects: BAFO Warehouse, Springfield, Virginia; ITT Palm Coast Condominiums, Flagler Beach, Florida. Exhibition: "Art and Contemporary Architecture," David Findlay Galleries, New York, New York.
1978 -- Breuer receives the Grand Médaille d'Or from the Academy of Architecture, France. Architectural projects: Litchfield County Courthouse, Litchfield, Connecticut; Grand Coulee Dam, Columbia River Basin Project, Visitors Arrival Center, Douglas County, Washington.
1979 -- Architectural project: Boyarsky House, Lawrence, New York.
1980 -- Breuer receives an honorary doctorate from the Parsons School of Design. MBA/Architects and Planners moves to 26th Street, New York. MBA/Architects and Planners sells the Paris practice to Mario Jossa. Architectural projects: Pall Corporation, Headquarters and Parking Structure, Glen Cove, New York; Philip Morris, Inc., Manufacturing Facility, Cabarrus County, North Carolina; Pittsburgh Convention Center Hotel, Pittsburgh, Pennsylvania.
1981 -- Marcel Breuer dies on July 1 in New York City. Architectural projects: N F & M Corporation, Jericho, New York; Garces House, Cali, Colombia.
1982 -- Herbert Beckhard leaves the partnership in November. Architectural projects: Xerox Corporation, [location unknown]; General Electric Company, Waldorf Towers Apartment, New York, New York; General Electric Company, Chairman's Office Competition, New York, New York; General Electric Company, Corporate Guest Facility and Helipad, Lewisboro, New York.
1983 -- Partnership now called Gatje Papachristou Smith, and is located in offices on lower Fifth Avenue, New York. Architectural project: 44th Street Precinct House, Bronx, New York.
1986 -- Partnership of Gatje Papachristou Smith dissolved.
Related Archival Materials note:
Additional blueprints and drawings by Breuer are located at Syracuse University.
A presentation book for the IBM Research Center in La Gaude, France, is located in the Centre Georges Pompidou, Paris.
Provenance:
The collection was donated to the Archives of American Art in five installments, 1985-1999, by Constance Breuer, widow of Marcel Breuer.
Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the microfilming of this collection was provided by the Gerta Charitable Trust. Funding for the digitization of the microfilm was provided by the Terra Foundation for American Art.
5.3 Linear feet (Boxes 1-6, OV 47; Reels 5708-5717)
Type:
Archival materials
Date:
1923-1986
Scope and Contents note:
Correspondents in this series include a wide range of international architects, designers, and artists who interacted with Breuer. The letters discuss his training and the execution of his hundreds of architectural projects and designs for furnishings. Researchers will find the letters between Breuer and his Bauhaus colleagues, including Josef Albers, Herbert Bayer, Walter Gropius, and László Moholy-Nagy, of particular interest.
Appendix A: List of Notable Correspondents from Series 2: Correspondence
Arrangement note:
The files are arranged chronologically, with the undated letters arranged alphabetically according to the correspondents' surnames.
Appendix A: List of Notable Correspondents from Series 2: Correspondence:
Missing Title
Aalto, Alvar, 1964 (1 invitation): to reception honoring Aalto
Abercrombie, Stan (architect), 1964-1977 (8 letters)
Abramovitz, Max (Harrison & Abramovitz, Architects), 1947 (3 letters) and 1963 invitation from Brandeis University in honor of Abramovitz
Harry N. Abrams, Inc., 1975 (2 letters): from Breuer's office Académie d'Architecture, 1976-1979 (4 letters)
Acme Laboratory Equipment Company, 1950 (1 letter): from Breuer's office ács, Gábor and Anikó, 1956 (1 letter)
Agel, Jerome B. (Agel & Friend), 1959 (1 letter): includes press release
Agostini, Edward (Becker and Becker Associates), 1969 (1 letter): from Breuer's office
Airflow Refrigeration, 1954: (1 letter): from Breuer's office
Alabama Polytechnic Institute, 1947 (1 letter)
Albers, Josef ("Juppy") and Anni (Black Mountain College), 1933-1958 (11 letters): a 1956 letter includes miscellaneous typescripts by Albers and clippings; a 1965 letter to the Phoenix Art Museum from William A. Leonard of the Contemporary Arts Center concerns an Albers exhibition and includes a list of works; a 1967 letter from Breuer to National Institute of Arts and Letters includes a typescript concerning Albers
Alexander, H. J. W. (Architectural Association), 1957-1958 (4 letters)
Alpern, Robert, 1964 (letter from Breuer)
B. Altman & Company, 1951 (1 letter)
Aluminum Company of America (ALCOA), 1946-1964 (2 letters)
Aluminum Import Corporation, 1946 (2 letters)
Alvarez, Raúl J., 1968 (1 letter)
American Academy in Rome, 1947-1961 (4 letters): request recommendations for Frederic S. Coolidge, Arthur Myhrum, and Thomas B. Simmons
American Academy of Arts and Letters, 1965-1978 (10 letters): a letter 1967 is a nomination by Walter Gropius for Sigfried Giedion's honorary membership in American Academy of Arts and Letters and National Institute of Arts and Letters; see National Institute of Arts and Letters
American Academy of Arts and Sciences, 1977 (1 letter)
American Academy of Political and Social Science, 1946 (1 letter)
American Arbitration Association, 1960-1968 (52 letters)
American Church in Paris, 1966 (1 letter): from Robert F. Gatje
American Council for Emigres in the Professions, Inc., undated: letter introduces Viola Kondor
American Craftsmen's Council (Mrs. Vanderbilt Webb), 1967 (1 letter)
American Designer's Institute, 1947 (convention schedule)
American Export and Isbrandtsen Lines, 1963 (1 letter)
American Federation of Arts, 1958-1967 (8 letters)
American Field Service, 1956 (1 ): letter from Breuer on behalf of Danielle Eyquem
American Fork & Hoe Company, 1944 (1 letter)
American Hungarian Studies Foundation (August J. Molnár), 1964-1968 (10 letters): a 1967 invitation is to George Washington Awards Dinner in honor of Breuer, Watson Kirkconnel, and Hans Selye
American Institute of Architects, 1946-1976 (45 letters): membership applications for Edward Larrabee Barnes, Landis Gores, John MacL. Johansen, George Sherman Lewis, A. McVoy McIntyre, Robert Hays Rosenberg, Bernard Rudofsky); a 1963 letter from Breuer's office concerns a Skyscraper Architecture survey team from Japan; a 1968 letter concerns the Comité Organizador de Los Juegos de la XIX Olimpiada
American Institute of Architects, College of Fellows, 1976 (1 letter): from Breuer's office
American Institute of Architects, Jury of Fellows, 1960 (3 letters): from Breuer
American Institute of Architects, Library Buildings Award Program, 1967 (1 letter): from Breuer's office
American Institute of Architects, New York Chapter, 1945-1963 (16 letters)
American Institute of Decorators (Richard F. Bach), 1956 (1 letter)
American Institute of Interior Design in Switzerland (Charles D. Gandy and Susan Zimmermann), 1977-1978 (2 letters)
American-Jewish Congress: see Commission on Community Interrelations (CCI)
American Library Association, 1951-1968 (2 letters)
American Planning and Civic Association, undated: membership notice
American Press Institute, 1974-1975 (5 letters): from Breuer
American Radiator and Standard Sanitary Corporation, 1947 (1 letter): from Breuer
American Shakespeare Festival, 1954 (1 letter): from Breuer's office
American Society for Church Architecture, 1965-1966 (4 letters)
American Society for Friendship with Switzerland, 1969 (1 letter)
American Society of Interior Decorators, 1976 (1 letter): from Breuer's office
American Society of Planners and Architects (ASPA), 1945-1947 (12 letters)
Anderson, Lawrence B., 1945-1965 (2 letters): see American Society of Planners and Architects (ASPA)
András, Ivánka, 1957 (1 letter)
Andrews, Robert, 1956 (1 letter)
Aoyagi, Nobuo, 1964 (1 letter)
Aoyagi, Tetsu, 1965 (1 letter)
Arbelaez, Carlos, 1952 (1 letter): from Breuer)
Architects & Engineers Institute, 1959 (1 letter)
Architects' Collaborative, 1946-1959 (3 letters): see McMillan, Louis and Peggy
Architectural Association, London, 1965-1969 (7 letters): see project file for UNESCO for correspondence with Edward J. Carter Architectural Design, 1960 (1 letter): from Ernesto Fuenmayor and Manuel Sayago of Centro Profesional del Este)
Architectural Forum, 1960 (1 letter): from Leonard J. Currie
Architectural Group, (W. D. Wilson), 1947 (1 letter)
Architectural League of New York, 1947-1975: (26 letters and minutes from 6 meetings): see Ketchum, Morris
Architectural Record, 1946-1959 (9 letters)
Architectural Students Association, 1958 (1 letter)
Architecture Formes Fonctions, 1971 (3 letters): includes a typescript "Design Research in Concrete" for July 1971 magazine
Architektur + Wohnwelt, 1975 (3 letters)
Argan, Giulio Carlo, 1955-1957 (6 letters)
Arizona, University of, 1974 (1 letter): from Breuer's office
Bergen County Cut Stone Company, 1967 (1 letter): from Breuer's office
Bergen, Emiel, 1956 (1 letter)
Berger, Donald (North Dakota Agricultural College), 1953 (1 letter)
Berger, George, 1950 (1 letter)
Berger, Otti, undated and 1934-1937 (7 letters)
Berger, Sanford and Helen (architects), 1945 (1 letter): from
Breuer to László Moholy-Nagy and Ludwig Mies Van der Rohe introducing the Bergers
Berger, Stephen E., 1959 (1 letter)
Berizzi, Sergio, 1959 (4 letters): letters of introduction
Berko, Franz, 1946-1947 (5 letters): including one from László Moholy-Nagy
Berlin Interbau, (International Building Exhibition), 1957 (1 letter): from mayor of Berlin
Berndt, Marianne, 1933 (1 letter)
Berti, Vincent, 1974 (1 letter): from Breuer's office
Better-Philadelphia Exhibition (Richard A. Protheroe, Harry
B. Nason, Hugh B. Sutherland), 1947 (1 letter)
Bevington, Alistair M., 1959 (1 letter): includes résumé
Bevington, Mariette (stained-glass designer), 1967 (1 letter): to Herbert Beckhart
Bharadwaj, Ajaya, 1955 (2 letters)
Biasini, E. J. (French prime minister), 1972 (1 letter)
Biddle, Mrs. Francis, 1962-1968 (3 letters): includes a funeral announcement for her husband)
Biddle, George, 1965 (4 letters): 3 from Breuer
Bier, Justus (University of Louisville), 1938 (3 letters)
Bigeleisen, Jacob (University of Rochester), 1970 (1 letter) Ronald S. Biggins and Associates, 1958 (1 letter)
Bijenkorfbeheer N.V., Amsterdam, 1967-1974 (2 letters): from Breuer
Bill, Alexander H., Jr., undated (1 calling card)
Blake, Peter (architect), undated and 1950-1976 (41 letters): a 1958 letter from Breuer is illustrated with a hand-drawn map by
Blake of Easthampton property
Blanton, John A., 1951 (1 letter)
Blaustein, Morton K., 1963-1965 (2 letters)
Bliss, Douglas P. (Glasgow School of Art), 1947 (1 letter): from Breuer
Bloeme, Sidney, 1963 (1 memorandum): from James S. Plaut
Blum, Kurt (photographer), 1974 (1 letter): from Breuer's office
Bode, Paul (architect), 1956 (1 letter)
Bodri, Ferenc, 1967-1975 (3 letters): 2 1975 letters from Breuer
Boehringer Ingelheim, Ltd., 1975 (1 letter): from Breuer
Bogner, Walter, 1938-1960 (4 letters): see Project File for UNESCO
Boissonnas, Eric and Sylvie, undated and 1960-1978 (20 letters)
Bollingen Foundation, 1964 (1 invitation): to reception in honor of Sigfried Giedion
Bonaparte, Mrs. Robert L., 1955 (1 letter)
Bonomi, Maria, undated and 1958 (2 letters)
Bookman, Mrs. John, 1964 (1 letter)
Borbíró, Virgil (Hungarian architect), 1945-1956 (2 letters): includes Borbíró's obituary
Borglum, Paul, 1950 (1 letter): see Project File for UNESCO
Born, Karl, 1968 (1 letter): from Breuer
Borsódy, István ("Stephen"; historian; Hungarian Legation) and Zsóka, 1946-1965 (5 letters): 1951 letter includes a biographical sketch of Borsódy by Aladár Szegedy-Maszák
Bortfeldt, Hermann (Büro Willy Brandt), 1963 (1 letter)
Bosch, Robert, 1934 (2 letters)
Bosserman, Joseph Norwood, 1963-1967 (2 letters)
Bosshard, J., 1956 (1 letter)
Boston Architectural Center, 1968 (1 letter)
Boston Redevelopment Authority, 1970 (1 letter)
Boston Society of Architects, 1946 (1 letter): from Breuer to John R. Abbott
Botond, Stephen G. ("Pista"; architect), 1958-1960 (2 letters): includes wedding announcement for Botond and Patricia Potter Luce
Bouchet, Maxime, 1953 (5 letters)
Bourget, Inc., 1955 (2 letters): from Breuer's office
Bower, John, 1954 (1 letter)
Bozzola, Vittorio, 1964 (2 letters)
Bradford, Carol (Mrs. Amory H. Bradford), 1951 (1 letter): from Breuer
Brandon-Jones, John, 1958 (1 letter)
Brandstätter, Elsbeth, 1936-1937 (2 letters)
Brassaï, Gyula Halász (Romanian photographer), undated (1 calling card): no signature
Peter Bratti Associates, 1974-1975 (2 letters): from Breuer
Bratti, Peter (A. Tozzini Tile Works, Inc.), 1958 (1 letter)
Braun, Wolfgang, 1968 (1 letter): from Breuer
Braziller, George, 1966 (1 letter)
Bremer, Paul and Nina, 1975 (2 letters)
Breuer, Constance (née Leighton), 1947-1982 (22 letters): from Breuer and Breuer's office; a 1967 letter, 1967, from French filmmaker Gerard Calisti is routed from Robert Osborn; an invitation from M. Knoedler and Company concerns reception for Lina Kandinsky
Breuer, Francesca, undated and 1966-1973 (3 letters): includes a letter of recommendation from Tician Papachristou
Breuer, Hermina, 1950 (1 telegram): from Breuer
Brewer-Cantelmo Company, Inc., 1966 (3 letters): from Breuer's office
Brewer, Joseph, 1965 (1 letter)
Brewster, George W. W., Jr., undated and 1946 (2 letters)
Brey, David M. (architect), 1950 (1 letter)
Breydert, Katherine, 1946 (1 letter)
Brickel/Eppinger, Inc., 1963 (3 letters)
Brigham, Richard C., 1954 (1 letter)
Brion, Maud (secretary to Eric Cercler), 1966-1972 (10 letters)
Brissenden, Norine (Mrs. P. R. Brissenden), 1947 (1 letter)
British Chair Company, 1954 (1 letter): from Breuer's office
General Electric Appliances, Inc., 1947 (1 letter)
General Electric Company, 1943-1950 (6 letters)
General Fireproofing Company, 1943-1946 (4 letters)
Georges, Alexandre (photographer), 1974-1976 (2 letters): from Breuer's office
Geraghty, Margaret, 1960 (1 letter): from Breuer's office
Gerbman, Joyce, 1968 (1 letter): from Breuer
Giedion-Welcker, Sigfried and Carola, undated and 1932-1976 (62 letters): see Congrès Internationaux d'Architecture Moderne (CIAM; Chapter for Relief and Post-War Planning)
Grimball, Henry G. (Harvard University), 1950 (1 letter)
Gropius, Walter ("Pius") and Ise ("Pia"), undated and 1933-1969 (120 letters): see Harvard University, Graduate School of Design; Project File for UNESCO
Grosse Pointe Public Library, 1960 (1 letter)
Grossi, Olindo (Architectural League of New York), 1957 (4 letters): see Pratt Institute; see Project File for UNESCO
Grosswirth, M. (New York University, College of Engineering), 1958 (1 letter)
Gröte, Dr. Andreas and Laura, 1961-1967 (3 letters)
Gröte, Ludwig and Gertrud Maud, 1956-1967 (5 letters)
Groupe Espace, 1952-1954 (5 letters)
Gruber, Gerd, 1965-1967 (2 letters)
Gruber, Richard D. (Independent Oil Company of Connecticut, Inc.), 1970 (1 letter)
Gruzen, Barney Sumner, 1956 (1 letter): from Breuer
Gstrein, Kassian, 1936 (1 letter)
Guenther, Carl Frederic, 1958 (1 letter)
Guerrero, Pedro E. (photographer), 1955 (1 letter): from Breuer
Solomon R. Guggenheim Museum, 1964 (1 letter): concerns the loan from Breuer of an Alexander Calder work
Guilford Leather Company, 1950 (1 letter): from Breuer
Gumbel, Robert W., 1950 (1 letter)
Gutheim, Polly (Mrs. Frederick A. Gutheim), 1946 (1 letter)
Haas, Robert (Ram Press), 1954-1957 (8 letters): from Breuer's office
Hächler, W. (architect), 1956 (1 letter): from Breuer
Hack, Lynda, 1968 (1 letter): from Breuer
Hackett, Gabriel D. (photographer), 1963 (1 letter)
Hackley Art Museum, 1977 (3 letters)
Hagenbach, Marguerite: see Arp, Hans Jean
Hagerty, Francis (Hagerty Company), 1945 (2 letters)
Hagerty, John, 1958 (1 letter)
Haggerty, Brian (Sacred Heart Seminary), 1964 (1 letter)
Hagmann, John S. (and Robert A. M. Stern), undated (1 letter)
Hagood, M. Lindsey (Virginia Polytechnic Institute, Architectural Speakers Committee), 1952 (3 letters)
Hahn, Alexander, 1957-1958 (2 letters)
Halász, Dezso (International Union of Local Authorities), 1957-1959 (3 letters)
Halász, Ferenc, 1959 (2 letters)
Halborg, Rev. John E. (Evangelical Lutheran Church of the Advent), 1968 (1 letter)
Hall, John Hughes (Nardin & Radoczy), 1956-1957 (2 letters)
Halprin, Lawrence, 1966-1970 (2 letters)
Halverson, Marvin (National Council of the Churches of Christ in the USA), 1955-1956 (4 letters)
Halvorson, Roy E., 1956-1971 (4 letters)
Hambuechen, Dr. Eva-Dorothee, 1937 (1 letter)
Hamer, R. D. (Aluminium Laboratories Ltd.), 1946 (1 letter)
Hammett, Ralph W., 1975 (1 letter): from Breuer's office
Hancy, L., 1975 (1 letter): from Breuer's office
Hansen, Thomas L. (University of Colorado, Boulder), 1956 (1 letter)
Hanson, B. (Mrs. John Hanson), 1955-1967 (3 letters)
Haraszty, Eszter, undated and 1956 (2 letters)
Harbert, Guido, 1950 (1 letter)
Hardoy, Jorge Ferrari (architect), 1965 (1 letter)
Hendry, Charles E. ("Chick"; University of Tornoto), 1950 (2 letters): see Commission on Community Interrelations (CCI) of the American Jewish Congress
Henin, Mme. S., 1956 (2 letters)
Henze, Wilfried, 1964 (1 letter)
Herbe, Paul (architect), 1963 (1 letter)
Herford, Julius G., 1945 (1 letter)
Herman, Harold M., undated (1 letter)
Hermanson, Ray T. (Trynor & Hermanson, Architects), 1957 (1 letter)
Herrera, Alberto Rodriguez (El Recreo, Centro Profesional del Este), 1960 (1 letter): from Breuer's office
Herrey, Hermann (architect), 1946-1947 (3 letters)
Herter, Susan and Chris, undated (1 letter)
Hertner, W. (architect), 1939 (1 letter)
Hertzell, Tage (Meningsblad for Unge Arkitekter), 1956 (1 letter)
Hervé, Lucien, 1960 (4 letters): see Project File for UNESCO
Herz, Alexandra, 1965-1967 (2 letters)
Hess, Orvan W., 1976 (1 letter)
Hester, James M. (New York University, Washington Square), 1963-1970 (2 letters)
Hetényi, George, 1954 (1 letter)
Heyer, Paul O., 1965-1970 (11 letters)
Heyman, Marla, undated (1 letter)
Heywood-Wakefield Company (Mr. Greenwood, Mr. Paul Posser), 1944 (6 letters)
Higgins, Ambrose S. (architect), 1947 (1 letter)
Hill, Albert Henry, 1950-1951 (2 letters)
Hill and Knowlton, Inc., 1974 (1 letter): from Breuer's office
Hill, Henry and Heather, 1950-1964 (7 letters): see Project File for UNESCO
Hirschfeld, Ludwig, undated and 1935-1963 (18 letters)
Hirshhorn Museum and Sculpture Garden, 1975 (2 letters): from Breuer
Hudnut, Joseph ("Vi"; Harvard University) and Claire, undated and 1946-1947 (3 letters): see American Society of Planners and Architects (ASPA); Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning; Harvard University, Graduate School of Design
Hug, Hattula Moholy-Nagy (daughter of László Moholy-Nagy), 1976 (1 letter)
Hungarian Alumni Association, undated (1 letter): includes a hand-drawn map, 8 photographs of Hungarian cityscapes, 4 photographs of city views, and a drawing of the facade of a building
Hunter, Louise, 1947 (1 letter)
Hurley, Jane C., 1947 (1 letter): from Breuer
Hurwitz, Joe, 1968 (1 letter): from Breuer
Hutchhausen, Walther, 1937 (1 letter)
Hutchins, John Jay (Law Offices of S. G. Archibald), 1963-1969 (14 letters): see Project File for UNESCO
Hutton: E. F. Hutton Company, 1946-1951 (7 letters)
Huygens, W., 1957 (1 letter)
Ichban [?], Hans ("Zero"), undated and 1939 (2 letters)
Ikuta, Tsutomu, 1951 (1 letter)
Illinois, University of, Chapter of AIA, 1959 (2 letters)
Illinois, University of, Urbana, 1957-1964 (4 letters)
Ilmanen, J. William, 1955-1956 (2 letters)
Immanuel, M., 1946 (2 letters)
India, ambassador from, 1965 (1 invitation): to Nehru
N.V. Induventa, 1935 (1 letter)
Ingrand, Max, undated (2 letters)
Institute der Schwestern, Baldegg, Switzerland, 1970-1975 (5 letters): 4 from Breuer
Institute for Advanced Study, Princeton University, 1970 (1 letter)
Institute of Contemporary Art, 1954-1956 (3 letters): see Project File for UNESCO
Institute of Contemporary Art, Department of Design in Industry, 1951 (3 notices of meetings)
Institute of Design, Illinois Institute of Technology, 1953-1959 (6 letters)
Institute of International Education, 1960-1961 (4 letters)
Instituto Internazionale di Arte Liturgica, 1970 (1 letter)
Interiors Incorporated, 1975 (1 letter): from Breuer
Interiors International, 1963 (4 letters)
Interiors magazine, 1950 (1 letter)
International Bank for Reconstruction and Development, 1975 (1 letter): from Breuer
International Business Machines Corporation (IBM), 1963-1974 (4 letters): 2 from Breuer
International Business Machines (IBM) Deutschland, 1970 (1 letter)
International Congress for Engineering Education, 1947 (2 letters)
International Congress for Modern Architecture: see Congrès Internationaux d'Architecture Moderne (CIAM)
International Contract Furnishings, Inc., 1975 (1 letter): from Breuer
International Design Conference, Aspen, Colorado, 1953-1955 (4 letters)
International Lighting Review, 1961 (1 letter)
International Rescue Committee, Inc., undated (1 letter)
Iowa State College, 1960 (1 letter): see Myers, John S.
Iran, empress of, 1975 (1 letter): from Breuer
Irving & Casson/A. H. Davenport Company, 1945 (1 letter): see Commission on Community Interrelations (CCI)
Irving, Michael H. (Irving and Jacob), undated and 1968-1971 (4 letters)
Kennedy, John Fitzgerald, 1961-1963 (3 letters): from the White House
Kennedy, Robert Woods (first architect in Gropius-Breuer office, Cambridge, Massachusetts), undated and 1950 (3 letters): see American Society of Planners and Architects (ASPA)
Kennerly, Albert (Kennerly Construction Company, Inc.), 1947 (1 letter)
Keogh, Eugene J. (Halpin, Keogh & St. John), 1970 (1 letter)
Kepes, György (architect) and Juliet, undated and 1924-1978 (29 letters)
Maas, Carl ("Happy"/"Hap"; editor, House Beautiful), 1937-1946 (6 letters)
Maas, Walter, 1947 (1 letter): from Breuer
Macomber, George A. (Cambridge Trust Company), 1947 (2 letters)
Madison, Bob, 1951 (1 letter)
I. Magnin, San Francisco, 1961 (1 letter): from Breuer's office
Magyar Album, 1956 (1 letter)
Magyar épitomuvészek Szövetsége magazine, 1956-1977 (4 letters)
Maki, Fumihiko (Harvard University), 1963 (1 letter) George E. Mallison Importing Company, 1950-1955 (2 letters)
Manders, Dave, 1968 (1 letter): from Breuer
Mandl, Zoltán, 1939 (1 letter)
Manfred, Ernest F., 1966 (1 letter)
Mang, Karl (architect), 1967 (1 letter)
Manitoba, University of, Students' Architectural Society, 1953 (1 letter)
Mantel, H. J., 1951 (1 letter)
Manton, Mr. and Mrs. John, 1967 (1 letter): from Breuer's office
Marbleloid, Inc., 1946 (1 letter)
Marine-Air-Research Corporation, 1946 (1 letter): from Breuer
Maroy, Jean-Paul, 1981 (1 letter): from Robert F. Gatje William L. Marshall, Ltd., 1944-1947 (8 letters)
Marson, Bernard A. (architect), 1968 (1 letter)
Marston, Natalie (Institute of Contemporary Art), 1951 (1 letter)
Martens, Michel (Hedendaagse Kerkelijke Kunst), 1956-1957 (2 letters)
Martignetti, Antonio, 1956 (1 letter)
Martin, J. L. (architect), 1938 (1 letter)
Martin, Leslie and Sadie, undated and 1954 (3 letters)
Mary College and the Annunciation Priory, 1963-1976 (6 letters)
Massachusetts Institute of Technology, Art Committee, 1968 (1 letter)
Massachusetts Institute of Technology, Office of the President, 1961-1965 (2 letters)
Massachusetts Institute of Technology Press, 1975 (1 letter): from Breuer's office
Massachusetts Institute of Technology, School of Architecture and Planning, 1958-1960 (4 letters)
Massachusetts, University of, Amherst, 1968 (1 letter)
Massenot, J. P. (éditions Techniques), 1974 (1 letter): from Breuer's office Master, Dipak C. (Master Sathe and Kothari, Architects), 1968 (1 letter): from Breuer
Mathews, Joseph F., 1956 (1 letter)
Maucher, Helmut, 1976 (1 letter): from Breuer's office
Maurer, Laurie, undated (3 letters)
Mauser Kommandit-Gesellschaft, 1966 (1 letter)
Mayekawa, Kunio, 1963 (1 letter)
McClean-Smith, Betty, 1940 (1 letter)
McComb, Peter K. and Karen, 1954-1956 (4 letters)
McGarry, Ann M., 1947 (1 letter)
McGill University, Montreal, 1967 (1 letter)
McGlynn Associates, Inc., 1956 (1 letter)
McGrath, Raymond (Office of Public Works, Dublin, Ireland), 1937-1969 (9 letters)
McGraw-Hill Publications, 1967 (1 letter)
McGuinness, William J. (Pratt Institute), 1951 (1 letter)
McIntyre, A. McVoy, 1950-1951 (2 letters)
McLaughlin, Peter, 1959 (1 letter)
McMillan, Louis and Peggy (Architects' Collaborative), 1945-1946 (2 letters)
McVitty, John D., 1946 (1 letter)
John O. Meadows Associates, Ltd., 1984-1985 (2 letters)
Medical Economics, 1960 (1 letter)
Meier, Richard Alan, undated and 1957-1967 (5 letters)
Meldrum, Andrew, 1956 (1 letter): from Breuer
Meller, Herbert, 1969-1970 (4 letters)
Mellon, Mary, 1938 (1 letter)
Meng, John J. (Hunter College), 1963 (1 letter)
Menken, Julian (Julian Menken and Associates), 1964 (1 letter)
Merit Studios, Inc., 1965 (1 letter): from Breuer's office
Merle, André (André Merle Associates, Architectural Engineers), 1946 (1 letter)
Merrill and Holmbren, Architects, 1954 (1 letter): concerns Campbell Building Company
Merrill, Ruth P., 1950-1964 (2 letters)
Metropolitan Milwaukee War Memorial, Inc., 1945 (4 letters): 1 to Walter Gropius
Metropolitan Museum of Art, 1944-1975 (8 letters)
Metropolitan Structures, Inc., 1974 (2 letters): from Breuer's office
Metropolitan Washington Board of Trade, 1969 (2 letters)
Meunier, John, 1957 (1 letter)
México, Consulado Honorario de, 1938 (2 letters)
Meyer-Bohe, Walter, 1975 (1 letter): from Breuer's office
Michaëlis, Lorenz S. (Swiss doctor), undated (1 letter)
Michel, John (General American Transportation Corporation), 1947-1948 (2 letters)
Michelson, Val (architect), 1970 (1 letter)
Michigan, University of, Ann Arbor, 1957-1963 (19 letters)
Middelhauve, Dr. F. G., 1963 (1 letter)
Mies Van der Rohe, Ludwig, 1945 (1 letter): from Breuer introducing Sanford L. and Helen Berger, architects
Mihályfy, Károlyné, 1966 (1 letter)
Millar, L. R., 1935 (1 letter)
Millard, Charles W., 1957 (1 letter)
Miller Company, 1945-1947 (2 letters)
Miller, Flora W. (Mrs. G. MacCulloch Miller), undated (1 letter)
Miller, H. Wisner, 1968-1969 (2 letters)
Herman Miller Furniture Company, 1951-1954 (4 letters): from Breuer
Miller, Rev. John (St. Charles Seminary), 1975 (1 letter): from Breuer
Miller, Richard J., 1955 (1 letter)
Miller, Steve, 1968 (1 letter): from Breuer
Milliken, W. H. (Binney & Smith Company), 1951 (1 letter)
Mills, Mrs. Edward E., 1954 (1 letter): from William W. Landsberg
Mills, Willis N. (Sherwood, Mills and Smith, Architects), 1960-1969 (2 letters)
Ministre d'état Chargé des Affaires Culturelles, 1963 (1 letter): from Breuer
Minnesota Society of Architects, 1958 (1 letter)
Minnesota, State of, Board of Registration, 1954 (2 letters)
Minnesota, University of, 1953 (1 letter)
Miró, Joan, 1959-1963 (2 letters): 1 from Breuer
Mitchell and Ritchey, 1947 (2 letters)
Mitchell, Mary, 1954 (1 letter): from Breuer's office
Miya & Company, 1956 (1 letter): from Breuer's office
Modern Industry, 1947 (1 letter)
Modern Master Tapestries, Inc., 1974-1975 (4 letters): from Breuer's office
Moffett, Toby, 1974 (1 letter)
Moholy, Lucia, 1957-1958 (5 letters)
Moholy-Nagy, László ("Lakci") and Sibyl, 1934-1955 (40 letters): includes a 1946 exhibition catalog for a Walter Gropius exhibition at the School of Design, Chicago; see also Hug, Hattula Moholy-Nagy
Moldcast Products, Inc., 1950 (1 letter): from Breuer's office
Molitor, Joseph W. (photographer), 1955-1975 (5 letters): 4 from Breuer
Molnár, Farkas (Hungarian architect), undated and 1933-1940 (25 letters)
Mongan, Agnes, 1938 (1 letter)
Montague, Harvey, 1968 (1 letter): from Breuer
Montgomery, Elizabeth (Mrs. Wilmot), 1950 (1 letter)
Moore, Henry, 1946-1962 (13 letters): 6 from Breuer
Moore, Joe A., 1945 (2 letters)
Moore, Paul S. (architect), 1966-1967 (3 letters)
Morassutti, Mangiarotti, 1961 (1 letter)
Moretti, Bruno, 1936 (1 letter)
Morgan, Alice, 1939 (1 letter)
Morgan, Sherley W. (Princeton University), 1952 (3 letters)
Móricz, Miklós, 1947 (1 letter)
Morrell, Mrs. Ben, 1965 (1 letter): from Breuer's office
Sydney Morrell & Company, Inc., 1973-1976 (4 letters)
Morris, Walter (Fuller & Smith & Ross, Inc.), 1950 (1 letter)
Morrow, Margot, 1950 (1 letter): from Breuer's office
Mory, Bob, 1968 (1 letter): from Breuer
Moschette, Angela, 1950 (1 letter)
Motherwell, Robert, 1968 (1 letter)
Muguruza Otaño, José María (architect), 1935-1967 (3 letters)
Mulford, Edwin H., 1966 (1 letter): from Breuer's office
Murray, J. A. (University of Toronto School of Architecture), 1947-1956 (3 letters)
Murrow, Mrs. Edward R., 1961 (1 letter)
Musée des Arts Décoratifs, 1969 (2 letters)
Museu de Arte Moderna do Rio de Janeiro, 1954 (1 letter)
Museu de Arte Moderna do São Paulo, 1956 (1 letter concerning IV Bienal de S. Paulo)
Museum of Contemporary Crafts, 1967 (7 letters)
Museum of Modern Art, New York, 1941-1976 (49 letters)
Museum of Science and Industry, Chicago, 1967 (3 letters)
Museum of the City of New York, 1959 (2 letters)
Muskat, Irving E., 1968 (2 letters)
Mutsu, Masako, 1964-1965 (2 letters): from Breuer
Myers, John S. and Shirlee, 1955-1959 (4 letters)
Myers, Ralph E., 1958 (2 letters)
Myers, Robert L., 1950 (1 letter)
Nadeau, Eleanor Saxe, 1950 (1 letter)
Nader, Fouzieh, 1972 (2 letters)
Nagare, Masayuki, 1963-1965 (6 letters): 5 letters from Breuer
Nagel, Chester (architect), 1968 (1 letter)
Nagy Iván, Dr. Vitéz (Ministry Secretary), undated (1 letter)
Najibullah, Yousof, 1968 (1 letter): from Breuer
Napier, Frieda (Mrs. Ian Napier), undated and 1937 (7 letters)
Nathan, Carl H. (Suncraft), 1945 (1 letter)
National Academy of Sciences/National Research Council, undated (1 letter)
National Citizens for Johnson and Humphrey, 1964 (1 letter)
National Committee of Arts, Letters and Sciences for John F. Kennedy for President, 1960 (2 letters)
National Concrete Masonry Association, 1958-1959 (7 letters)
National Council of American Soviet Friendship, Inc., Architects' Committee, 1944-1945 (13 letters)
National Council of American Soviet Friendship, Inc., Building Industry Committee, 1946 (6 letters)
National Council of Architectural Registration Boards, 1946-1959 (5 letters): request recommendations for Jean Bodman Fletcher, I. M. Pei, and Richard G. Stein
National Council of Churches, 1955 (1 letter)
National Council on Schoolhouse Construction, 1951 (1 letter)
National Institute of Arts and Letters, 1965-1968 (47 letters): 1967 letter from Breuer includes typescripts concerning Josef Albers and Constantino Nivola; 1968 encloses a letter from Philip Johnson; see American Academy of Arts and Letters National Society of Interior Designers, Inc., 1958 (1 letter) National Terrazzo & Mosaic Association, 1955 (1 letter from Murray S. Emslie)
National Trust for Historic Preservation, 1975 (2 letters): from Breuer's office
Pack, Nancy (Mrs. Howard Meade Pack), undated and 1953 (2 letters)
Paine Furniture Company, 1946 (1 letter)
Pajor, Zoltán, 1938-1947 (7 letters)
Palestrant, Stephen, 1963 (1 letter)
Palmer Physical Laboratory, Princeton, New Jersey, 1945 (1 letter)
Papachristou, Tician and Judy, undated and 1967-1974 (6 letters)
Papadaki, Stamo, 1945-1951 (14 letters): see Commission on Community Interrelations (CCI) of the American-Jewish Congress; Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning
Praeger, Frederick A. (Frederick A. Praeger, Inc.), 1959-1969 (19 letters): includes a 1959 transcript of Praeger's conversation with Breuer concerning the publication of a book on Breuer's life work
Pratt Institute, 1953-1969 (11 letters)
Présentè, G. M., 1954 (1 letter): see Project File for UNESCO
Prestressed Concrete Institute, 1970 (1 letter)
Price, Thomas M., 1946 (1 letter)
Prichard, Theodore J. (University of Idaho), 1946-1950 (3 letters)
Schawinsky, Xanti and Irene, undated and 1934-1964 (14 letters)
Schecter, Jack H. (architect), 1950 (1 letter)
Schendell, Hal, 1947 (2 letters): to Eliot Noyes
Schickel, William J., 1964 (1 letter)
Schillinger, Emilio F., 1964 (1 letter)
Schleifer, Fritz, 1934 (1 letter)
Schlemmer, Tut (Mrs. Oscar Schlemmer), 1960-1965 (3 letters)
Schlesinger, Alajos, undated (1 letter)
Schmalenbach, Werner (Kunstsammlung Nordrhein-Westfalen), 1976 (2 letters)
Schmid, Elsa, 1950 (1 card): sent jointly with J. B. Neumann
Schmidt, Benno C. (J. H. Whitney & Company), 1970 (1 letter)
Schmidt-Gellerau, Karl, 1934 (3 letters)
Schmieg & Kotzian, 1945 (1 letter)
Architekturbüro Joachim Schmitz, 1974 (1 letter): from Breuer's office
Schnall, Ben (photographer), undated (2 letters) vSchneck, Adolf G. (architect), 1947-1950 (2 letters)
Schneider-Manzell, Toni (Biennale Christlicher Kunst der Gegenwart Salzburg), 1964 (2 letters)
Robert Schoelkopf Gallery, undated (1 invitation): to meet Walker Evans
Schoendorff, Ellen G., 1937 (1 letter)
Schömer, Ervin (architect), 1974-1975 (6 letters)
Schorer, Mark, 1960 (1 letter): from Breuer
Schultz, Lili, 1964 (1 letter)
F. Schumacher & Company, 1954-1964 (2 letters): from Breuer's office
Schuster, Mathias and Gerda (Schuster & Geiger), 1950-1964 (3 letters)
Schweighofer, Dr. Fritz, 1960 (1 letter)
Science Illustrated, 1955 (1 letter): from Breuer
Scitorszky, Hanna, 1966 (1 letter)
Scott, Stuart N. (Dewey, Gallantine, Bushby, Palmer & Wood), 1958 (1 letter)
Seagram-Distillers Corporation: see Kessler-Gallacher & Burton
Sears, Roebuck and Company (Arthur M. Wood), 1974 (1 letter): from Breuer concerning luncheon for Alexander Calder
Segal, Georgette, 1954 (1 letter): from Breuer's office
Seghers, Pierre, 1963 (1 letter)
Segner, Marvin H., and John C. R. O'Neill (consulting engineers), undated (1 letter)
Segre, Mr., 1959 (2 letters): from Breuer
Seidel, Bert (architect), 1955 (2 letters)
Seidler, Harry (architect, Black Mountain College), 1946-1978 (24 letters)
Sekey, Sue, 1968 (1 letter): from Breuer
Selinger, Hans, 1956 (1 letter)
Selwood, Christopher, 1958-1959 (2 letters): see also Gardner-Medwin, R. J.
Selye, Hans, 1967 (1 invitation): to George Washington Awards Dinner in honor of Breuer, Selye, and Watson Kirkconnell
Semrad, Peter H., 1957 (1 letter)
Senix Aerial (Don Preuss), 1947 (1 letter)
Sert, José Luis (architect) and Moncha, 1945-1970 (7 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee; Project File for UNESCO
Setzer, H. O. (Spartan Tire & Recapping Company), 1947 (3 letters)
Sevely, Marvin, 1951 (1 letter): from Breuer's office
Seyton, Mrs., 1954 (1 letter)
Shackleton, Edwin, 1951 (1 letter)
Shand, James (Art and Technics, Ltd.), 1950 (1 letter)
Shankland, Graeme, 1939 (1 letter)
Shannon, Edgar Finley (University of Virginia), 1967 (1 invitation): to Founder's Day Exercises
Sharon Forest Service Company, Inc., 1950 (5 letters)
Shattuck, George, 1946 (1 letter): from Breuer
Shelton Roofing Company, Inc., 1956 (1 letter): from Breuer's office
Vitrum magazine (Centro Informazioni e Studi per le Applicazioni del Vetro nell'Edilizia e nell'Arredamento; C.I.S.A.V.), 1955 (1 letter)
Vogel, George S. (Temple Israel, Cortlandt), 1951 (1 letter)
Voigt, James D. (Voigt and Fourré, Architects), 1958 (4 letters)
Volante, Julio C., 1955-1963 (2 letters)
von Debschitz, Irene, 1935 (1 letter)
von Erffa, H., 1951-1968 (2 letters)
von Meyerburg, Henrietta [?], undated (1 letter)
von Moltke, Wilhelm Viggo, 1946-1958 (4 letters)
von Segesser, Beat and Francisca, 1968-1975 (1 letter, plus 4 from Breuer)
Wachsmann, Konrad (architect/designer, General Panel Corporation), 1945-1965 (8 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee
Wadsworth, Suzanne G., 1975 (1 letter): from Breuer's office
Wagner, Martin (Harvard University), 1946 (2 letters)
Senator Wagner Memorial Dinner, 1965 (1 invitation): from mayor of New York
Walker and Company, 1966-1967 (2 letters): includes a typescript about Breuer; see also Heyer, Paul O.
Walker Art Center, Center Arts Council, 1959-1962 (12 letters)
Walker, H. E. L. (Universal Moulded Products Company, Ltd.), 1943 (1 letter)
Walker, Ralph (AIA), 1951 (1 letter): from Walter Gropius
Walker, Vicki, 1968 (1 letter): from Breuer
Ward, Ernest and Priscilla (Sprague Electric Company), 1946 (2 letters)
Washington University, St. Louis, Missouri, 1975 (1 letter): from Breuer
Watson, Arthur K. (U.S. Embassy, Paris), 1970-1972 (2 letters)
Watson, Thomas, 1970 (1 letter)
Wattjes, Professor J. G., 1935 (1 letter)
Webb & Knapp (Canada), Ltd., 1963 (3 letters)
Weidler, Charlotte (Bauhaus Ausstellung), 1968 (1 letter)
Weidlinger, Paul, 1946: see Project File for UNESCO
Weidlinger Associates, 1983-1984 (2 letters)
Weiner, Paul L., 1950-1966 (2 letters)
Weinstein, Jerry, 1945 (1 letter)
William H. Weintraub & Company, Inc., 1943-1947 (3 letters)
Weiz [?], Tiberio, 1939 (1 letter)
Weizenblatt, Sprinza, 1946-1963 (20 letters)
Wenzler, William P. (architect), 1965-1968 (4 letters)
Weren, Edward C., 1946 (1 letter)
Werner, Ingrid, 1963 (3 letters)
Wertz, Mr. (Der Finanzminister des Landes Nordrhein-Westfalen), 1974 (1 letter): from Breuer
West China Development Corporation, 1947 (1 letter)
West Coast Stained Shingle Company, 1950 (1 letter): from Breuer
Westcott and Mapes, Inc. (architects and engineers), 1970 (1 letter)
Western Arts Association, 1959 (4 letters)
Western Reserve University, 1958 (5 letters)
Westport Public Library, 1975 (1 letter): from Breuer
Zahedi, H. E. Ardeshir (ambassador of Iran), 1974-1975 (4 letters): from Breuer
Zanuso, Marco (architect; Olivetti), 1957 (1 letter): from Breuer
Zechlin, Hans Josef, 1950 (1 letter)
Ziegler, Barbara, 1947 (1 letter)
Ziegler, Frank, 1974 (1 letter): from Breuer
Ziegler, Richard, undated (1 letter)
Zwick, Virgil J., 1959 (1 letter)
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
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:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the microfilming of this collection was provided by the Gerta Charitable Trust. Funding for the digitization of the microfilm was provided by the Terra Foundation for American Art.
An interview of Bruce Metcalf conducted 2009 June 10, by Edward S. Cooke, Jr., for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Metcalf's home, in Bala Cynwyd, Pennsylvania. Mr. Metcalf discusses his early years in Amherst, Massachusetts; beginnings as a maker with modeling clay and plastic airplane models; undergraduate years at Syracuse University, Syracuse, New York in the late 1960s; early interest in architecture; early disenchantment with modernist discourse and theory; introduction to Marxist theory and idealism of the 1960s; summer trip to California in 1970; return to the East Coast upon the death of his father; return to college, transferring into jewelry in his senior year; influence of his teacher Michael Jerry; seeing the work in "Objects: USA" exhibition (1969) and influence of the work of J. Fred Woell, Richard Mawdsley, L. Brent Kington; rejection of current trends in art, including conceptual art and formalism; his affinity for the medium of metal, and hammersmithing; influence of funk ceramics, including work by Fred Bauer and Richard Shaw; brief stint at Montana State University, Bozeman; working in cardboard and wood; graduate school at the State University of New York, New Paltz; working with Robert Ebendorf and Kurt Matzdorf at New Paltz; work as a production artist/craftsperson; attending Rhinebeck, New York, craft fair in the mid-1970s; the influence of writings by William Morris and John Ruskin and the notion of "dignified labor"; graduate school at Tyler School of Art, Philadelphia, Pennsylvania; formulating his aesthetic of narrative symbolism; publication of his first article in 1977 as a response to review of the exhibition "Forms in Metal: 275 Years of Metalsmithing in America" (1975); yearlong teaching position at Colorado State University, Fort Collins, Colorado; taking a teaching position at Kent State University, Kent, Ohio (1986-1991); publication of his article "Crafts: Second-Class Citizens?" in the first issue of Metalsmith, 1980; growing involvement with the Society of North American Goldsmiths; development of his notion of "social utility" and the role and function of crafts and making; expansion of his writing on craft; rejection of the deconstructivist school of thought in the 1980s; abandonment of sculptural objects for jewelry in the early 1990s; return to Philadelphia in 1991; early teaching of history of craft, first at Kent, then on a Fulbright scholarship in Seoul, South Korea (1990), later at the University of the Arts, Philadelphia, in the early 1990s; influence of Martin Eidelberg; development of his vision for a history of craft course; collaboration with Janet Koplos on "Makers: A History of American Studio Craft"; use of his medium and craft to explore issues of nurturing and anxiety; the psychological/social effect and aesthetic importance of wearing jewelry (for the wearer and the artist); the pros and cons of craft collectors; the problematics of installation work by craft artists; recent trends in craft, including Anne Wilson's notion of "sloppy craft" and an "anti-craft" attitude; recent artists, including Arthur Hash and Gabriel Craig; lack of exhibition opportunities for younger/emerging artists; influential recent texts, including "Shards," by Garth Clark. He also recalls Robert Arneson, Randy Long, Carol Kumata, Jamie Bennett, Steve and Harriet Rogers, Wayne Hammer, Stanley Lechtzin, Gene Koss, Henry Halem, Mark Burns, Rose Slivka, Nilda Getty, Jill Slosberg, Sharon Church, John Gill, David La Plantz, Lois Moran; Gary Griffin; William Daley, Marian Pritchard, Glenn Adamson, Pat Flynn, Susan Cummins, and Judith Schaechter.
The following oral history transcript is the result of a recorded interview with Bruce Metcalf on June 10, 2009. The interview took place in Bala Cynwyd, Penn., and was conducted by Edward S. Cooke, Jr. for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Bruce Metcalf has reviewed the transcript. His corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose.
Biographical / Historical:
Bruce Metcalf (1949- ) is a jeweler and writer in Bala Cynwyd, Pennsylvania.
General:
Originally recorded as 5 sound files. Duration is 4 hr., 10 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Biographical materials, correspondence, awards, photographs, and printed materials relating to the career of the noted ceramist and teacher who devoted the last quarter century of her life to the Cranbrook Academy of Art in Bloomfield Hills, Michigan.
Correspondence consists chiefly of letters received from museums, colleagues (including Charles Eames), friends and former students. Other materials include biographical sketches, resumes, exhibition catalogs and announcements, clippings, scrapbook fragments, a file relating to students and colleagues, a register of funeral visitors, numerous personal and family photographs and five photo albums of Grotell and her work.
Biographical / Historical:
Ceramist and educator. Born 1899. Died 1973. After several years as a textile designer in her native Finland, Grotell immigrated to the United States in 1927. For a short time she studied with Charles Fergus Binns and from 1938 to 1966 she headed the ceramics department at the Cranbrook Academy of Art. During this period, the height of her career, she became one of the leaders in the development of ceramics as a medium of artistic expression. In addition, her research on glazes for Eero Saarinen made possible the widespread architectural use of colored glazed bricks.
Related Materials:
Slides of Grotell's work located at the George Arents Research Library for Special Collections, Syracuse University.
Provenance:
Order and arrangement is that of the George Arents Research Library for Special Collections, Syracuse University.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of modernist painter and activist Harold Weston (1894-1972) date from 1894 to 1978 and measure 24.3 linear feet. The papers focus on Weston's painting career and his involvement with humanitarian and artistic causes. Found are biographical materials, correspondence, personal business records, association and organization records, commission and project files, materials relating to Weston's book Freedom in the Wilds, writings, artwork, printed materials, two scrapbooks, and photographs.
Scope and Content Note:
The papers of modernist painter and activist Harold Weston (1894-1972) date from 1894 to 1978 and measure 24.3 linear feet. The papers focus on Weston's painting career and his involvement with humanitarian and artistic causes. Found are biographical materials, correspondence, personal business records, association and organization records, commission and project files, materials relating to Weston's book Freedom in the Wilds, writings, artwork, printed materials, two scrapbooks, and photographs. The papers document his involvement with the Committee to Defend America, Federation of Modern Painters and Sculptors, Food for Freedom, the International Association of the Plastic Arts, National Countil on the Arts and Government, National Endowment for the Arts, New York State Council for the Arts, Reconstruction Service Committee, and the YMCA in Baghdad.
Biographical materials include biographical sketches and resumes, including a short biography written by Faith Weston in 1969. There are records from his school years at Exeter Academy and Harvard University that include yearbooks, report cards, scholarship information, Harvard Lampoon materials, and a diploma from Harvard. Also found are materials relating to Faith Weston, membership cards, memorials information, passports and travel papers, and wedding wishes.
Correspondence from Harold Weston dates from his school years up until his death in 1972. In letters to his family, Weston discusses his education; his travel and activities in the Middle East during World War I; the Adirondacks; convalescense in France in the mid-1920s; his immediate family life; and exhibitions. Also found are holiday cards designed and printed by Weston. The majority of correspondence is with his father S. Burns Weston, mother Mary, sister Esther, brother Carl, Faith Weston and the Borton family, children Barbara, Bruce, and Haroldine, and others. Also found are letters between Weston and friend Theodore Sizer and Duncan Phillips of the Phillips Collection in Washington, D.C.
Personal business and financial records relating to Weston's exhibitions include delivery receipts, agreements, hand-drawn gallery plans for exhibitions, lists of exhibitions, framing invoices, legal information, pricelists, records of sales, and lists of works of art. Galleries with which Weston held exhibitions, sold, or lent works of art include Boyer Galleries, Corcoran Gallery, the Gallery in Paoli, Montross Gallery, the Phillips Collection, and Studio House Galleries.
Records relating to Harold Weston's memberships and involvement with professional associations and service organizations are from the Adirondack Trail Improvement Society, the Committee to Defend America, Federation of Modern Painters and Sculptors, Food for Freedom, International Association of the Plastic Arts/International Arts Association, National Countil on the Arts and Government, National Endowment for the Arts, New York State Council on the Arts, Reconstruction Service Committee, and the Young Men's Christian Association, Baghdad. The files include correspondence, financial records, meetings and membership information, notes, organizational history, photographs, printed materials, programs and activities records, speeches, and writings.
Files that document Weston's Building the United Nations and the Treasury Relief Project sponsored "Procurement Building Murals" are found within the Commissions and Project files series. The files include correspondence, financial information, legal documents, photographs of the works of art and research photos, and printed materials. Correspondence of note includes letters written by Lewis Mumford, Duncan Phillips, Eleanor Roosevelt on behalf of Weston's Building of the United Nations and letters from Leonard Carmichael, Secretary of the Smithsonian Institution. Letters from Olin Dows of the Treasury Relief Art Project are within correspondence relating to the "Procurement Building Murals." Also found are preliminary sketches of the murals.
The Freedom in the Wilds series contains materials relating to the book which combined Weston's autobiography with a history of the Adirondack Mountain Reserve. Additional writings and notes are by Harold Weston and others, and include articles, poetry, notes, speech notes and speeches, and lists. Harold Weston's articles include "Persian Caravan Sketches" published in 1921 discussing his travels throughout the Middle East. Other articles are written by Duncan Phillips, Paul Rosenfeld, Barbara Weston, and Faith Weston. Also found are postcards annoted with notes by Harold Weston about his travels.
Artwork inlcudes sketches, etchings, copperplates, and woodcuts. There are copperplates entitled "Shroud" and of the series Building the United Nations for the Harvard Alumni bulletin in 1957; an untitled etching by Weston; sketches including those from Baghdad and watercolor sketches; a woodcut of the 1924 Weston holiday card; and scattered unsigned sketches probably not by Weston.
Printed materials include calendars with notations; clippings; exhibition catalogs and announcements for Weston's exhibitions dating from 1922-1976 and for others; gallery tags or labels for paintings shown in exhibitions; reproductions of illustrations for the Harvard Lampoon and full issues from 1911-1916; materials relating to the Harvard production of Henry IV, for which Weston designed the sets; reproductions of works of art by Weston and by others; school seals; and various art related publications.
There are two scrapbooks compiled by Faith Weston about her husband. The first contains materials relating to Weston's activity with the International Association of the Plastic Arts Conference of 1963, including a letter and photograph of President John F. Kennedy. The second scrapbook dates from 1977 and consists of general clippings relating to Weston's career, dating from 1917 to 1952 with additional materials added by Faith in 1977.
Photographs are of Weston, family members, exhibitions and installations, and works of art by Weston and others. There are also numerous photographs of Weston's travel through the Adirondacks, the Middle East, Europe, and India. Also found are glass plate negatives of works of art painted in France between 1926-1930; scattered glass plate negatives of Baghdad and the Middle East; glass plates belonging to S. Burns Weston of the Adirondacks, circa 1900; and approximately 100 lantern slides of the various Middle Eastern cities and ruins - probably used by Weston to illustrate his talks given in the 1920s.
Arrangement:
The collection is arranged as 11 series. Glass plate negatives are housed separately and closed to researchers:
Missing Title
Series 1: Biographical Information, 1896-1974 (Box 1, 38; 0.4 linear feet)
Series 2: Correspondence, 1894-1975 (Box 1-3, 38; 2.5 linear feet)
Series 3: Personal Business and Financial records, 1912-1977 (Box 4; 0.4 linear feet)
Series 4: Associations and Organizations records, 1916-1972 (Box 4-10, 37-38; 6.5 linear feet)
Series 5: Commissions and Project files, 1935-1965 (Box 10-12, 38, OV 39; 1.4 linear feet)
Series 6: -- Freedom in the Wilds -- records, late 1960s-1976 (Box 12-13; 1.8 linear feet)
Series 7: Writings and Notes, 1912-1975 (Box 13-14; 0.6 linear feet)
Series 8: Artwork and Artifacts, circa 1917-1967 (Box 14, 21; 0.6 linear feet)
Series 9: Printed Material, circa 1900-1978 (Box 15-18, 38; 2.5 linear feet)
Series 10: Scrapbooks, circa 1963-1977 (Box 17-18; 0.5 linear feet)
Series 11: Photographs, circa 1900-1975 (Box 18-20, 22-36, 38; 4.8 linear feet)
Biographical Note:
Modernist painter and federal Treasury Relief Art Project artist Harold Weston (1894-1972) worked primarily in New York City and St. Huberts, New York in the Adirondacks. Weston was president of the U.S. Commission of the International Association of Art/Plastic Arts and the Federation of Modern Painters and Scultors. He was also chairman of the National Council on the Arts and Government and active with various political and humanitarian causes.
Harold Weston was born in 1894 in Merion, Pennsylvania into a privileged family. He attended school in Europe as a teenager, where he began to draw and sketch. In 1910, Harold contracted Polio which left him with a weak leg. After graduating from Exeter Academy, Harold entered Harvard University with the class of 1916 and was active in the Delta Upsilon Club and the Harvard Lampoon, for which he illustrated.
Despite his leg, Weston was determined to serve in some form during World War I. He traveled to Baghdad and volunteered with the YMCA. Here he started the Baghdad Art Club and organized exhibitions of soldier art. He remained in the Middle East until 1919 and served as the official painter for the British Army. The colors and the landscape of the region also inspired later works of art.
Upon returning to the United States, Weston built a one-room cabin in the Adirondack Mountains, where he lived and painted. He had his first one-man exhibtition at the Montross Gallery in 1922. In 1923, he married Faith Borton who moved with him to the Adirondacks. His wife inspired his series of "landscape nudes" which treated the body with different techniques that would typically be used in landscape painting. After suffering from a kidney infection in 1925, Weston and his wife moved to Ceres, France to recover. Weston continued to paint and started a family with Faith while in France. In 1930, the family moved back to the United States and lived in Greenwich Village, New York.
From 1936-1938, Harold Weston worked with the federal Treasury Relief Art Project and painted murals in the Procurement Building in Washington, D.C. The murals represent the growth of public buildings during the Great Depression. He took on a second major project to document the contruction of the United Nations in a series of six paintings. Later, the Smithsonian Instution received the paintings as gifts through an independent committee.
In addition to painting, Harold Weston devoted himself to public service by becoming involved in humanitarian causes, artist professional organizations, and federal government support of the arts. Weston served as president or chairman of three different organizations including the Federation of Modern Painters and Sculptors, the International Association of Art/International Association of the Plastic Art, and the National Council on the Arts and Government. Before the start of World War II, Harold Weston was named the Chairman of Essex County Committee to Defend America, which argued for financial support of the allied forces in World War II. After the start of the war, he helped form the Food for Freedom movement which urged American aid for European and Asian refugees. Similarly, Weston served as Executive Secretary for the Reconstruction Service Committee which was established to assist the rebuilding of Europe.
Later in life, Weston wrote a book Freedom in the Wilds, which combined his own autobiography with a history of the Adirondack Mountain Reserve. Harold Weston died on April 10th, 1972 in New York City.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-76) including biographic notes, exhibition material, clippings, a presentation album, and commemorative stamps.
Some, but not all, of these papers were included in later donations. Materials not donated remain with the lender and are not described in the collection container inventory.
Syracuse University also holds circa 14 linear feet of Harold Weston's papers.
Provenance:
Harold Weston lent the Archives of American Art materials for microfilming in 1969. Faith Borton Weston, Harold Weston's widow, donated the papers in several increments between 1972-1980 and lent materials for microfilming in 1977.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting, Abstract -- New York (State) -- New York Search this
Harold Weston papers, 1894-1978. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Historical Records of the Barnett-Aden Gallery showcases one of the first galleries owned and operated by African Americans. The work of the Gallery was invaluable as they opened the exhibition space to established and unknown artists regardless of race or gender.
Scope and Contents:
The Historical Records of Barnett-Aden Gallery collection includes historical background materials on the gallery, its founders James V. Herring and Alonzo Aden as well as Adolphus Ealey, its steward after its closure in 1969. The materials include correspondence, business records, photographs, exhibition catalogues, and clippings.
Arrangement:
The materials in this collection have been kept at the folder level and separated into four series. The materials have been ordered and organized based on the content. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
Historical Sketch:
The Barnett-Aden Gallery, suggested to be the first African American privately-owned gallery in the U.S, open its doors on October 16, 1943. The gallery was founded by artist and scholar James V. Herring alongside his protegee, curator Alonzo Aden. The gallery was housed in a private home that they shared, located on 127 Randolph Street NW in Washington, DC. These men aimed to create an art gallery that provided a venue for underrepresented artists of all races and genres. It was this partnership that laid the foundation for the shift in African American representation in modern art. Aden stated that the gallery's aims were to help foster new talent while also bringing "art of superior quality" to the community. Throughout its history, the gallery held almost 200 exhibitions and showcased the work of over 400 artists.
James Vernon Herring was born on January 7, 1887 in Clio, South Carolina to an African American mother, Alice Herring (1860-1942), and white father, William Culbreth. As a young man, he moved to Washington, DC for better educational opportunities. Herring was educated at the Howard Academy, a preparatory high school located at nearby Howard University campus. Herring received his undergraduate degree from Syracuse University and completed graduate studies at Columbia and Harvard Universities. Trained in art and classical studies with a focus on French impressionism, Herring was initially brought on Howard University's faculty as architecture instructor in 1920. This experience inspired Herring to create the Department of Art at the university where he convinced former home economics student and future prominent visual artist, Alma Thomas to be the art school's first graduate in 1924. Herring continued to mentor and discover young artists as was the case with Alonzo Aden.
Alonzo Aden was born on May 6, 1906 in Spartanburg, South Carolina to Naomi Barnett (1883-1956) and Ephraim Aden (1859-1917). His working-class parents wanting more for their eldest son, decided to send him to live with relatives in Washington, DC for greater educational opportunities. Aden did well academically and completed some studies at Hampton Institute (now Hampton University) before finally entering Howard University in 1927. The following year, Herring opened the Howard University Gallery of Art and installed Aden as its first curator. Aden initially pursued a career as an educator but became more interested in art history and after his graduation from Howard in 1933, he pursued studies in museum and curatorial work.
Recent scholarship has suggested that Herring and Aden were in a romantic as well as working relationship. Working together in the Howard Gallery of Art, they sought to provide a space for art students, local artists and other relatively unknown artists from around the world. Living together since 1929, Herring supported Aden's post-graduate pursuits including his studies of African arts and crafts in galleries across Europe as well as his curatorial work at the American Negro Exposition in Chicago in 1940. Aden returned to Washington to great acclaim and continued his work with Herring at the Howard Gallery of Art.
The Gallery was housed in a Victorian townhouse located in the then middle-class African American neighborhoods of LeDroit Park and Logan Circle (present-day Bloomingdale). Research notes that the house was purchased during the late 1920s by Herring with some assistance of artist Alma Thomas (or vice versa). Both were listed as owners of the property until 1933 when Aden was listed as the co-owner. In 1943, Aden resigned as head of the Howard Gallery for unknown reasons which led Herring and Aden to open a gallery in their home. The gallery was named after Aden's mother Naomi, who also served as an early benefactor of the gallery giving $1,000 in support. It was the support of various benefactors alongside Herring's salary as a Howard professor and Aden's several "government jobs" that kept the gallery afloat during its time in the home. The first floor of the gallery consisted entirely of exhibition space with the second-floor space interchanged between exhibition, study, and living spaces over the years. Herring's library, also located on the upper floors, was used for research by students and local scholars. Herring and Aden never saw the gallery as a truly profitable venture but instead wanted to offer avenues for the artists to showcase their work. As policy, each artist retained all money earned from sales but were required to donate at least one work of art to the Barnett-Aden collection.
The gallery, the first of its kind in Washington at the time, exhibited works of artists regardless of race; African American artists displayed alongside their more notable white peers. Notable artists featured in the gallery include Henri Matisse, Paul Cezanne, Pablo Picasso, Marc Chagall, and M.C. Escher were exhibited alongside notable African American artists Richmond Barthé, Romare Bearden, Elizabeth Catlett, Charles White, Selma Burke as well as many others. Several Howard professors who went on to have notable art careers also exhibited their work at the gallery including James Porter, Lois Mailou Jones, and James Lesesne Wells. Many of the artists featured in the gallery were also greatly involved in the operations. Alma Thomas served gallery's vice president before she began exhibiting her work there in 1950s. Artist and scholar, David Driskell served as the associate director of the gallery after Aden's death.
The gallery held five to eight exhibitions every year including a special annual anniversary exhibition. In 1944, the gallery opened a show featuring Brazilian modern artist, Candido Portinari, who had previously completed a mural at the Library of Congress, that sparked great interest at the gallery. The exhibition opening brought in visitors from all over Washington including members of the president's cabinet, foreign ambassadors and First Lady Eleanor Roosevelt. This renewed interest created a somewhat hectic pace in keeping up with the work of the gallery. This pace coupled with the full-time jobs and other ventures including a gift shop enabled the gallery to act as a luminary of the African American and local arts community in Washington.
In 1961, while preparing for the annual anniversary exhibition, Alonzo Aden died suddenly. Herring with aid of his friends and students took on the management of the gallery after his partner's death but was unable to keep the pace of Aden's work and the attendance declined. In 1969, Herring died in the home leaving behind a formidable legacy. The home and its contents including the gallery's art collection was sold in order to settle the debts of Herring's estate. The collection was divided amongst three individuals. Artist and former Herring student, Adolphus Ealey inherited the bulk of the collection that featured 250 significant works. Herring's books, graphic drawings, and prints were given to Herring associate and friend, Dr. Felton J. Earls, while the sculptures went to art collectors and friends Dr. and Mrs. Cecil Marquez.
The portion of the collection owned by Ealey was described as the preeminent selection from the gallery's collection. The size and ongoing upkeep of the collection was significant which caused the collection to be moved several times over the years. The collection which out of necessity was originally stored in Ealey's Southwest Washington apartment then moved a to a house in LeDroit Park and then to another space in the Washington neighborhood of Fort Lincoln. Ealey collaborated with colleagues and institutions to have it exhibited in various locations but also bid to find the collection a permanent home. During the 1970s, the collection was featured at the Museum of Afro-American Culture and History in Philadelphia, the Anacostia Neighborhood Museum (now the Smithsonian Anacostia Community Museum) and the Corcoran Gallery of Art.
Unable to find an institutional home for the collection, Ealey was forced to sell the collection in 1989 to the Florida Endowment Fund for Higher Education. Ealey stipulated that collection must remain intact but also that the new owners had to develop educational and outreach programs focused on African Americans in the arts. Failing to find consistent opportunities to exhibit the collection, the owners were forced to sell the collection. In 1998, Robert L. Johnson, then chairman and founder of the television channel, Black Entertainment Television (BET), purchased the collection. The collection went on a national tour then was displayed for some time at the BET headquarters in Washington. In 2015, Johnson donated selections from the gallery collection to the Smithsonian National Museum of African American History and Culture in an effort to preserve the legacy of the Barnett-Aden Gallery and the tireless work of James V. Herring and Alonzo Aden for generations to come.
Historical Timeline
1897 -- James Vernon Herring was born January 7 in Clio, South Carolina.
1906 -- Alonzo James Aden was born May 6 in Spartanburg, South Carolina.
1914-1916 -- While attending Syracuse University, Herring taught summer classes at Wilberforce University in Ohio for two summers.
1917 -- Herring graduated from Syracuse University with a Bachelors of Pedagogy in Art degree.
1917-1920 -- Herring served as YMCA secretary for the YMCA in Muscle Shoals, Alabama, and then Camp Lee, Virginia. Herring also held teaching positions at Straight College in New Orleans and Bennett College in North Carolina
1920 -- Alonzo was sent to Washington, D.C. to live with his uncle, James Aden, and his wife Laura.
1921 -- Herring was initially hired as architectural drawing instructor at Howard University and after negotiations established Department of Art later that same year.
1927 -- Herring organized an exhibition of Howard U. students' artwork that toured the Deep South U.S. Aden enrolled in Howard University in pursuit of an education degree.
1930 -- The Howard University Gallery of Art formally opened on April 7. Aden was hired as gallery assistant.
1933 -- Aden received his Bachelor of Arts in Education; Herring added Aden's name as co-owner of the 127 Randolph Place home.
1934-1939 -- Aden engaged in post-graduate study and museum curatorial work around the U.S. and Europe.
1940 -- Aden served as art curator for the American Negro Exposition (the "Negro's World Fair") in Chicago
1943 -- Aden resigned his position at the Howard University Gallery of Art for undisclosed reasons. The Barnett-Aden Gallery was founded by James V. Herring and Alonzo Aden. The first exhibition, "American Paintings for the Home" featured Elizabeth Catlett, Lois Mailou Jones, Malvin Gray Johnson, James Lesesne Wells, Jacob Lawrence, and many others.
1944 -- First anniversary exhibition featuring artist Candido Portinari, Brazilian artist who was already known in Washington from his mural for the Library of Congress. It was attended by the First Lady, Eleanor Roosevelt. Exhibition, "The Negro in Art" and "American Paintings for the Home" featuring Catlett, James A. Porter, Wells, Jones, Richmond Barthé, Hale Woodruff, Betsy Graves Reyneau and others.
1946 -- Exhibition, "Paintings by Lois Mailou Jones" and featured paintings of Jacob Lawrence for Third Anniversary exhibition.
1947 -- Fourth Anniversary Exhibition, "Recent Paintings by Charles White". Exhibition of Elizabeth Catlett, "Paintings, Sculpture, and Prints of The Negro Woman".
1948 -- Exhibition, "Paintings and Drawings by James A. Porter".
1949 -- Exhibition, "Sylvia Carewe".
1950 -- "Exhibition of Six Washington Artists" featuring Romare Bearden, Samuel Bookatz, Bernice Cross, Robert Gates, Norma Mazo, and James A. Porter. "Exhibition "Paintings and Prints by James Lesesne Wells."
1951 -- Exhibition, "Three Washington Artists" featuring Richard Dempsey, Sam Herman, and Jack Perlmutter Exhibition, "Herman Maril: Paintings in Retrospect, 1931-1951"
1953 -- Tenth Anniversary Exhibition, "Eighteen Washington Artists" featuring Sarah Baker, Samuel Bookatz, William Calfee, Bernice Cross, Robert Franklin Gates, Jacob Kainen, Marjorie Phillips, James Porter, and James Lesesne Wells.
1954 -- Exhibition "Six Washington Painters" featuring Theresa Abbott, Gabriel Cherin, Gloria Besser Green, Alma W. Thomas, and Anita Wertheim.
1955 -- Twelfth anniversary exhibition focused on "Jack Perlmutter".
1957 -- Exhibition, "David C. Driskell: Exhibition of Paintings"
1958 -- Exhibition "Norman Lewis: Paintings"
1959 -- Sixteenth Anniversary Exhibition of "Paintings by Pietro Lazzari, Helen Rennie, Alma Thomas, Andrea De Zerega". Exhibition of "Religious Paintings and Prints by James L. Wells and Sculpture by Selma Burke"
1962 -- Alonzo Aden died suddenly at the age of 56 on October 13 in Washington D.C. Herring solely inherits the Gallery collection.
1969 -- Herring dies at age 84 in Washington, DC. on May 29. Artist Adolphus Ealey inherits the bulk of the gallery collection along with Dr. Felton J. Earls and Dr. and Mrs. Cecil Marquez.
1974 -- Two exhibitions of the collection at the Anacostia Neighborhood Museum and the Corcoran Gallery of Art.
1989 -- Collection sold to Florida Endowment Fund for Higher Education.
1998 -- Robert Johnson, founder and former CEO of Black Entertainment Television (BET) purchased the entire collection and serves as administrators over the collection.
Provenance:
Acquired through a purchase by the Smithsonian National Museum of African American History and Culture.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
This series consists of letters exchanged between Lazzari, family members, and colleagues. Over one hundred letters from the Federal Works Agency and the Treasury Department Section of Painting and Sculpture concern post office murals for towns in Florida, New Jersey, and North Carolina. Five letters from the National Aeronautics and Space Administration contain 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon. Lazzari also received at least one letter each from Jacqueline Kennedy, Duncan Phillips, Eleanor Roosevelt, industrialist John Rust, and socialist Norman Thomas.
See Appendix for a list of selected correspondents in Series 2.
Arrangement note:
Correspondence is arranged chronologically.
Appendix: Selected Correspondents in Series 2:
Aguilera, Francisco: undated (1 letter)
Albergo Saturnia, Rome: 1928 (1 letter)
Alberts: Russell Alberts-Laura Langdon Antiques: undated (1 letter)
Alexander Gallery: undated (1 letter)
Allied Publications, Inc.: 1965 (1 letter)
Alterman, Selma: undated (1 letter)
Ambasciata d'Italia: 1950-1973 (3 letters)
Ambasciatore d'Italia: undated and 1971 (2 letters)
America-Italy Society: 1956 (1 letter)
American Academy in Rome: 1955 (2 letters)
American Artists Professional League: 1949-1955 (3 letters)
American Battle Monuments Commission: 1959 (1 letter)
American Commission for Cultural Exchange with Italy (Fulbright grant): 1950-1954 (2 letters)
American Federation of Arts: 1951-1956 (2 letters)
American Red Cross: 1943-1945 (6 letters)
American University: 1947-1967 (5 letters)
Amici, Alfredo: 1948-1959 (6 letters)
Amministrazione Erdi M.se Saverio Patrizi: 1969 (2 letters)
Andori, Adolfo: 1913-1916 (3 letters)
Anderson, Wayne V.: 1956 (1 letter)
Andrade, Victor: undated (1 letter)
Angelelli, Augusta: 1972 (1 letter)
Angiolillo, Giuseppe: 1967-1972 (9 letters)
Anson, Cherrill: 1998 (1 letter)
Appleby, J. Scott: 1952-1961 (9 letters); see Life Insurance Company of Georgia
Aquil, Preta: 1921 (1 letter)
Architectural League of New York: 1955 (3 letters)
Aristide, Zio (?): 1926 (1 letter)
Arndal, Kersten: 1970-1977 (2 letters)
Art Direction -- magazine: 1956 (1 letter)
Art in Federal Buildings, Inc.: 1943 (1 letter)
Art Institute of Chicago: 1944-1956 (11 letters)
Artists Equity Association: undated and 1949-1972 (7 letters)
Artists for Victory: 1942-1943 (7 letters including a prospectus for "America in the War" exhibition)
Conant, Howard (New York University): 1956 (1 letter)
Connolley, Robert Emmet: 1947-1950 (8 letters)
Console Generale d'Italia: 1965 (1 letter)
Constantino, C.: 1967 (1 letter)
Cook, Elizabeth: [1946] (1 letter)
Cooke: Hereward Lester Cooke Foundation: 1974-1975 (3 letters); see National Aeronautics and Space Administration; see National Gallery of Art
Cooper, Alice J.: 1927 (1 letter)
Corcoran Gallery of Art: undated and 1951-1981 (37 letters)
Corsi, Emma and W. Edward: 1928 (1 letter)
Cosgrove, Jessica (Mrs. John O'Hara Cosgrove): 1928-1930 (22 letters)
Cosgrove, John O'Hara (editor of -- New York World): -- undated and 1927-1929 (7 letters)
Costintin, Celestino and Emilia: 1916-1971 (6 letters)
Cotzia, Pasquale: 1966-1968 (2 letters)
Coughlin, Clarence John: 1948 (1 letter)
Crimi: undated (1 letter)
Crosby, Caresse (Crosby Gallery of Modern Art): undated and 1945-1969 (14 letters)
Crossley, Kay A.: 1966 (1 letter)
Cullen, Amelia: undated (1 letter)
Cusumono, Stefano: 1947-1951 (3 letters)
Daloni, Edith B.: 1928 (1 letter)
Damer, Veffarghi: 1919 (1 letter)
Damiani, Angelo: 1921 (1 letter)
Dane, C. K.: 1965 (1 letter)
Dean, Edward: 1940 (1 letter)
Debs: Eugene V. Debs Foundation: 1965-1966 (3 letters including 6 photographs with Norman Thomas); see United Auto Workers
de Chetelat, Mr.: mentioned in letter dated 1928
de Chirico, Giorgio: mentioned in undated invitation from Ambasciatore d'Italia
DeLano, Agnes: undated (1 letter)
De Medio, Americo: 1963-1976 (32 letters)
De Medio, Vincenzo: undated and 1970-1977 (3 letters)
Demiddi, Alberto: undated and 1972 (3 letters)
De Mont, Nany and Eugene: undated (1 letter)
Dernay, Eugene: 1945-1959 (4 letters)
Design in Steel Award Program: 1972 (1 letter)
Dictionary of International Biography: 1974 (1 letter)
Diller, Burgoyne: see Federal Art Project
Dipanfilo, Pio: 1949-1968 (10 letters)
Di Raimondo, Vicenzo: 1920-1928 (7 letters)
District of Columbia Board of Commissioners: 1959 (1 letter)
District of Columbia Department of Public Welfare: 1958 (1 letter)
District of Columbia Juvenile Court: 1964 (1 letter)
District of Columbia Recreation Board: 1963 (1 letter)
Dole (?), Louis: 1923 (1 letter)
Dollinger, Josef: undated (1 letter)
Donaldson, Leota L.: undated (2 letters)
Donaldson, Renee: undated (1 letter)
Douglas, Paul F.: 1951 (1 letter)
Dretzin, S. C.: 1950 (1 letter)
Draper, Warren A.: 1944 (1 letter)
Dumbarton College: 1949-1951 (3 letters)
Duncan and Duncan Chinese Shop: 1964 (1 letter)
Dunham, Dr. G. C.: 1944 (1 letter re: portrait of Dr. Sawyer)
Duproix, Eunice: 1928 (1 letter)
Durbin, Jack: 1960 (1 letter)
Editions du Griffon, Neuchatel, Suisse: 1964 (3 letters)
Edsor, Mary: 1928 (1 letter)
Elenbrock, Gretel: 1927 (3 letters)
Elkins: Stella Elkins Tyler School of Fine Arts of Temple University: 1956 (1 letter)
Eng, Ernest: 1959 (1 letter)
Ernesto Desideri: 1915 (3 letters)
Evening Star -- newspaper, Washington, D.C.: 1957 (1 letter)
Farmers Educational and Cooperative Union: 1944 (1 letter)
Fasola, Roberto: 1948-1949 (2 letters)
Federal Art Project: 1938-1939 (4 letters)
Federal Works Agency, Public Buildings Administration: 1940-1947 (70 letters re: murals for the Brevard, N.C. post office, the North Bergen, N.J. post office, and the Jasper, Florida post office, including a contract, 2 photographs, and 2 sketches for a mural)
Federal Works Agency, Work Projects Administration: 1941-1942 (2 letters)
Fellowship of Reconciliation and War Resisters League: [1945] (1 letter)
Ferargil Gallery: 1941 (1 letter)
Ferreri, Elena: 1938 (1 letter)
Figoullo, Adriano: 1912 (1 letter)
Fiore, Ilario and Titta: 1966-1967 (5 letters)
Fitzwater, Aldace: 1950 (1 letter)
Florentine Gallery: 1956 (4 letters)
Fogle, Bruce: 1927 (1 letter)
Food and Agriculture Organization of the United Nations: 1956 (1 letter)
Force, Mrs.: undated (1 letter)
Foreign Service of the United States of America: 1950 (3 letters)
Foresti, Arnaldo: 1948-1949 (2 letters)
Fortas, Abe: 1956 (1 letter)
Fortune -- magazine: 1944-1956 (2 letters)
Francis, Emily A.: 1951 (3 letters)
Franco, Johan: 1966 (2 letters)
Frankel, Samuel: undated (1 letter)
Freeman: Carl M. Freeman Associates, Inc.: 1963 (1 letter)
Frisine, Robert: 1967 (1 letter)
Frost, Phillip: 1981 (1 letter)
Fujita, Mr.: 1957 (1 letter)
Fulbright grant: see American Commission for Cultural Exchange with Italy
Fuller, Eve Alsman (Miami, Fl. post office): 1938 (1 letter)
Gabetti: undated (1 letter)
Galarza, Ernesto and Mae: (National Farm Labor Union; National Agricultural Workers Union): undated and 1944-1978 (27 letters); see Landon School for Boys; see Perkins, Milo
Galerie Internationale: 1965 (1 letter)
Galerie Schindler: undated and 1965-1972 (12 letters)
Gallaudet College: 1963-1970 (14 letters, including a contract)
Gallenga: 1951 (1 letter)
Gaspari, Mario P.: 1966 (1 letter)
Georgetown University Fine Arts Club: 1960 (1 letter)
George Washington University: 1965 (1 letter)
Giovannetti, Alberto: 1966 (1 letter)
Giovanni, Sebastiani: 1921 (1 letter)
Giricosnelli, Emilio: 1918 (1 letter)
Gobbi, Adolfo: 1928 (1 letter)
Goldberg, Dorothy and Arthur: 1964-1965 (3 letters)
Goldsmith, Alberto R.: 1947-1968 (3 letters)
Gonzales, Angelino: 1951-1975 (11 letters)
Gotham Book Mart: 1968 (1 letter)
Graham, John: 1948 (1 letter)
Granati, Pasquale: 1918 (1 letter)
Grand Central Art Galleries: 1956 (1 letter)
Grant, Blanche C.: undated (1 letter)
Grebanier, Barnard: 1961 (1 letter)
Greene, Hope Margaret: 1926-[1927] (2 letters)
Gualdi, Luigi: 1947-1949 (11 letters)
Guarino, A.: undated letters to Mabel McMahon and Guiolitta Sartori
Guggenheim: John Simon Guggenheim Memorial Foundation: 1937-1971 (5 letters)
Guggenheim: Solomon R. Guggenheim Museum: 1956-1960 (3 letters)
Gutheim, Frederick: 1956 (1 letter)
Haarlem House, Inc.: 1926 (1 letter)
Hahn, Rosemarie E.: 1961 (1 letter)
Halle, Kay: 1972 (1 letter)
Hammerle, Brooke: 1966 (1 letter)
Hansen, Jane: 1954 (1 letter)
Hardman, Virginia: undated (1 letter)
Harrison & Abramovitz, Architects: 1956 (1 letter)
Harrison, Charles H.: 1949 (1 letter)
Hart, Earl: mentioned in an undated letter
Hartley, Bettina: undated (1 letter)
Hartman Galleries, Inc.: 1973 (1 letter)
Hayward: City of Hayward, California: 1965 (1 letter)
Health, Education, and Welfare Employees' Association: 1962 (1 letter)
Hechinger, June: undated (1 letter)
Heilbron, Edna: 1972 (1 letter)
Heinemann, Mark: undated (1 letter)
Herzbrunn, Josef: 1949 (1 letter)
Heywood, Carmen: 1948 (1 letter)
Hollander, Cornelia: undated (1 letter)
Holvey, Sam: undated (1 letter)
Holy See: Permanent Observer of the Holy See: 1966 (1 letter)
Hom Gallery: 1972 (1 letter)
Horrocks, E. Joan: 1971 (1 letter)
Hotel Beau Site, Rome: 1928 (1 letter)
Hotel de la Ville, Rome: 1928 (1 letter)
Hotel Hassler, Rome: 1928 (1 letter)
Hotel Pension Alexandra, Rome: 1928 (1 letter)
Hotel Windsor, Rome: 1928 (1 letter)
Hough, Edith Louise: 1952 (1 letter)
Illinois State Historical Library: 1965 (1 letter)
Il Messaggero: 1928 (1 letter)
Immigration and Naturalization Service: 1976 (1 letter)
Institute for International Education: 1963 (1 letter)
Institute for the Arts of the Archdiocese of Washington: 1978 (2 letters)
Institute of Contemporary Art: 1956 (2 letters)
Institute of Gerontology: 1970 (1 letter)
International Directory of Arts: 1982 (1 letter)
Isherwood, Christopher: undated (1 letter)
Istituzione Maddalena Aulina: 1966 (1 letter)
Jacometti, Nesto: 1972 (1 letter)
Jaffe, Norman: 1964 (1 letter)
Janus, Virginia: 1929 (2 letters)
Jelleff: Frank R. Jelleff, Inc.: 1949 (1 letter)
Jennoff?, Peter L.: undated (1 letter)
Jewish Social Service Agency: 1967 (1 letter)
Johnston, L. R.: 1932 (2 letters)
Jones, Dorothea and Stuart E.: 1955 (3 letters)
Jones, George Lewis: 1961 (1 letter)
Jopp, Fred Gilman: 1936 (1 letter)
Josephy, Diane ( -- Time): -- 1968 (1 letter)
Junior Council of the Museum of Modern Art: 1956-1960 (2 letters)
Jurin, Benjamin M.: undated (1 letter)
Kagy, Virginia and Sheffield: 1948 (1 letter)
Kahles, Jessie: 1940-1948 (3 letters)
Kennedy, Jacqueline: May 19, 1960
Letters from White House Social Secretary: 1961-1963 (5 letters)
Kerensky, Alexander: 1965 (1 letter)
King Features Syndicate, Inc.: 1943 (1 letter)
King, Marion: 1952 (1 letter)
King, Rufus: 1975 (1 letter)
Kneifel, Mr.: 1956 (1 letter from Lazzari)
Kramer, Herbert (Congregazione del Preziosissimo Sangue): 1950 (1 letter)
Krishnamurti, Jack: 1959 (1 letter)
Kurzland, Toby: 1991 (1 letter)
La Follia: 1926 (1 letter)
La Galleria: 1972 (1 letter)
Landon School for Boys: 1944 (1 letter re: Ernesto Galarza)
Landu, Consuelo: 1948 (1 letter)
Lanier, Fanita: see Ruffiner, Willis E.
La Revue Moderne: 1961 (3 letters)
La Rocca, Principessa de: 1968 (1 letter)
Latif, Bilkeer: undated (1 letter)
Law, L. S.: 1932 (2 letters of recommendation for Lazzari)
Lawton, Thomas: 1974 (1 letter)
Lazzari, Attilio: 1922 (1 letter)
Lazzari, (Grace) Elizabeth Paine: undated and 1920-1951 (69 letters)
Letters from Pietro to Elizabeth: 1928-1929 (52 letters)
Lazzari, Evelyn Cohen: undated and 1948-1965 (6 letters)
Letters from Pietro to Evelyn: undated and 1932-1966 (49 letters, including one with a photograph of friends)
Lazzari, Fernanda (sister) and Vittoria: 1915-1949 (11 letters)
Lazzari, Leno: 1918-1929 (2 letters)
Lebanon: Embassy of Lebanon, Washington: 1956 (1 letter)
Lee, Amy: Nov 01, 1974 (letter from Lazzari); 1975 (1 letter)
Lee, Dal: 1954 (1 letter)
Lee, Pearl: undated (1 letter)
Levy, Sid A.: undated (1 letter)
Library of Congress: undated and 1965-1982 (6 letters)
Licciardi, Pietro: undated (1 letter)
Licinio Cappelli: 1949 (1 letter)
Life Insurance Company of Georgia: 1954 (2 letters)
Little Gallery: see Carolan, Anna B.
Lobatini, G.: undated (1 letter)
Loccatelli, Giulio: 1956-1958 (2 letters)
Lombaro (?), Patricia: 1961 (1 letter)
Loughlin, Dr. John J.: 1936-1940 (2 letters)
Lousine, L.: undated (1 letter)
Luccia, Enrico: undated and 1928-1977 (19 letters)
Lucibello, Luigi: Jan 12, 1965
Lucifero, Alfonso: Jan 13, 1912 (letter from Ministero delle Finanze)
McAfee, Don: 1955-1969 (3 letters); see Watergate Construction Corp.
McGinnis, Paul: 1988 (1 letter)
McIlhenny, Henry P.: 1949 (1 letter)
McIntyre, W. A.: undated (1 letter)
McKeogh, Elsie: 1954 (1 letter)
McKonish, Margaret: 1949 (1 letter)
McMahon, Mabel: undated (1 letter from A. Guarino)
Meert, Margaret Mullin: 1948 (2 letters)
Meeting House Gallery: 1972 (1 letter)
Meguin, A.: undated (1 letter)
Menard, G.: 1928 (1 letter)
Men of Achievement: 1974-1975 (2 letters)
Mensh, Elizabeth: 1978 (1 letter)
Merritt, Polly: undated (1 letter)
Messina, Joseph R.: 1971 (1 letter)
Metropolitan Museum of Art: 1951 (1 letter)
Miami Museum of Modern Art: 1965-1968 (7 letters)
Miki, Suizan: undated (1 letter)
Mills, Harrington: 1933 (1 letter)
Ming, Wang (National Art & Frame Co.): 1968 (1 letter)
Mitchell, Austin: 1946 (1 letter)
Montgomery County Art Association: 1961 (1 letter)
Moore, Norman Perry: 1927-1928 (2 letters)
Moore, Paul: 1970 (1 letter)
Morey, Mr.: [1950] (1 letter)
Morott, Aristodemi: 1918 (1 letter)
Morrison, Lillian: 1971 (1 letter)
Mortot, Virgilio: undated and 1962-1964 (4 letters)
Morvidi, Maria: 1918 (1 letter)
Moskin, Ruth: undated (1 letter)
Mullins, Mrs.: undated (1 letter)
Museum of Fine Arts, Boston: undated and 1955 (2 letters)
Museum of Fine Arts, Houston: 1964 (2 letters)
Museum of Modern Art: 1949-1973 (3 letters); see Junior Council of the Museum of Modern Art
Myers, Eugene Ekander: 1976 (1 letter)
National Academy of Design: [1939] (1 letter)
National Aeronautics and Space Administration: 1962-1973 (5 letters including 4 photographs of artwork and 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon; an Apollo translunar/transearth trajectory plotting chart; an Apollo lunar orbit chart; and an Apollo earth orbit chart); see Cooke: Hereward Lester Cooke Foundation
National Cyclopedia of American Biography: 1979 (1 letter)
National Gallery of Art: undated and 1956-1974 (7 letters)
National Housing Center: 1961 (2 letters)
National Investigations Committee on Aerian Phenomena: 1957 (1 letter)
National Society of Arts and Letters: 1952 (1 letter)
National Society of Mural Painters: 1940-1963 (3 letters)
National Student Art Tour: 1949 (1 letter)
National Sugar Refining Company: 1938 (1 letter)
Neale, Rosamund: 1961 (1 letter)
Neilson, Robert Hude: 1928 (1 letter)
Nelson, Helen Ewing: undated (1 letter)
New American Library: 1953 (1 letter)
Newlin, Ben: 1979 (1 letter)
New Society for Art and Literature: 1947 (1 letter)
Nichol, Jean: 1926 (2 letters)
Nichol, Nella: 1929 (1 letter)
Nilsen, Laila: 1946 (1 letter)
Nobili, A.: undated letter written on reverse of photograph of Nobili painting
Nuova Critica Europea: 1969 (1 letter)
O'Connor, Don: 1960 (1 letter)
O'Connor, FrancisV.: 1968 (1 letter)
Oggi: 1967 (1 letter)
Okamoto, Yoichi R.: undated (1 letter)
Oklahoma Art Center: 1969 (1 letter)
Oklahoma Museum of Art: 1988 (1 letter)
Olson: Charles Olson Archives, University of Connecticut: 1975-1976 (3 letters)
Oregon State Library: 1957 (1 letter)
Orlando, Teresa: undated and 1949-1971 (3 letters)
Ottiani, Giuseppe: 1909 (1 letter)
Palmieri, Renato: 1928 (1 letter)
Park, Marlene: 1979 (1 letter)
Pavia, Dagoberto: 1959 (1 letter)
Pavia, Goffredo: 1921-1924 (7 letters)
Palmieri, Renato: 1957 (1 letter)
Palombi, Angelo: 1921 (1 letter)
Pan American Union: 1944-1945 (2 letters)
Parsons, Betty (Betty Parsons Gallery): undated and 1949-1973 (9 letters)
Passedoit Gallery: 1956 (1 letter)
Pensione Boos, Rome: 1928 (1 letter)
Pensione Girardet, Rome: 1928 (1 letter)
Perentine, Giuseppe (Nino): 1927-1950 (3 letters)
Peresson, I.: 1971 (1 letter)
Peretti, Luigi: undated (1 letter)
Perkins, Milo: 1944 (1 letter re: Ernesto Galarza)
Perna, Giorgio: undated (1 letter)
Peterson, Esther: 1978 (1 letter)
Philadelphia Department of Public Property: 1960 (1 letter)
Philadelphia Museum of Art: 1965-1966 (3 letters)
Phillips, Duncan: 1954 (1 letter)
Pirucchini, Maria: 1927 (1 letter)
Pope Paul VI: mentioned in 7 letters dated 1966, including 2 photographs of Lazzari with bust of the Pope; see Fiore, Ilario; see Giovannetti, Alberto; see Institute for the Arts of the Archdiocese of Washington
Preissler, Audrey: 1970 (1 letter)
Print Collector's Quarterly: 1949 (1 letter)
Print Council of America: 1963 (1 letter)
Prospersin, Eugenio: 1941 (1 letter)
Pyramid Club: 1956 (1 letter)
Quick, Robert B.: 1972 (1 letter)
Quinzi, Amerigo: 1920-1925 (2 letters)
Rady, Cabell: 1958 (1 letter)
Rahill, William Allen: 1954 (1 letter from Lazzari)
Rassegna Nazionale di Arti Figurative: 1948 (1 letter)
Rattu, Salvatore: undated and 1926-1966 (13 letters)
Reeves, Rosser: 1947 (1 letter)
The Reporter -- magazine: 1956 (1 letter)
Reuther, Victor: see United Auto Workers
Reynolds, D.: 1939 (1 letter from Lazzari)
Rhine, J. B.: 1949 (1 letter)
Ricca, Roberta: undated (1 letter)
Rieder (?), Baronessa: 1934 (1 letter)
Rioffo, Angela: 1959-1962 (2 letters including 2 photographs of friends)
River Road Gallery, Louisville, Ky.: 1941-1943 (4 letters)
Rivoi, Swami: undated (1 letter)
Robson, John: 1958 (1 letter)
Rocca Sinibalda: 1920 (1 letter)
Rockefeller, Nelson A.: 1946 (1 letter)
Rodman, Selden: undated (1 letter)
Rollins College: 1933-1942 (4 letters)
Roosevelt, Eleanor: Nov 09, 1945 and a letter dated 1964 concerns a viewing of the Roosevelt portrait bust); see White House; see Roosevelt Library
Roosevelt: Franklin D. Roosevelt Library at Hyde Park: 1963-1965 (8 letters, including typescripts of speeches); see United Auto Workers
Ross, Fred: 1949 (1 letter)
Rosso, Giulio: undated letter of recommendation by Lazzari
Roth, Maurice: 1993 (1 letter including 2 photographs of Lazzari's work)
Rothschild, Anselm A.: undated (1 letter)
Rowan, Edward: see Federal Works Agency
Rowan, Leata: undated (1 letter)
Rowantrees Pavilion: see Thompson, Lin
Rowin, Fran: 1976 (2 letters)
Rowland, Creelman: undated (1 letter)
Ruffner, Willis E. (lawyer for Fanita Lanier): 1944 (1 letter)
Russell, N. F. S.: 1932 (1 letter)
Rust, John and Thelma: 1952-1954 (38 letters, including an application from Lazzari for a grant from the John Rust Foundation, including a clipping about Rust and 3 photographs of cotton pickers); see West Tennessee Historical Society
St. Louis, Bertha: undated (1 letter)
Sanderson, W. A. (Calouste Gulbenkian Foundation): 1958 (1 letter)
San Francisco Museum of Art: 1967 (1 letter)
Sartori, Guiolitta: undated letter from A. Guarino
Satterlee & Smith, Architects: 1962 (1 letter)
Savini, Renata: 1965-1967 (3 letters)
Scheetz, June Rice: undated (1 letter)
Schoenberg, Rose: 1967 (1 letter)
Schurmer, Zaira E.: 1947 (2 letters)
Schwarz -- magazine: 1957 (1 letter)
Scigliano, Peppino Cosenza: 1910 (2 letters)
Sebastiani, G.: undated (1 letter)
Selmi, Gabriella: undated (1 letter)
Sevareid, Eric: 1956 (1 letter)
Sheen, Rev. Fulton J.: 1970 (1 letter)
Simotti, Aristide (friend who was prisoner of war): 1911-1925 (62 letters)
Sinisca: undated (1 letter)
Sirony, Simone: 1955-1964 (8 letters)
Smart: David and Alfred Smart Museum of Art: 1991-1996 (4 letters)
Smith, George: 1926-1927 (2 letters)
Smithsonian Institution: undated and 1947-1976 (8 letters)
Snyder, Nell H.: 1969 (1 letter)
Society of American Etchers: 1944 (1 letter)
Society of American Graphic Artists: 1956 (2 letters)
Society of Washington Artists: 1960-1961 (2letters)
Society of Washington Printmakers: 1976 (2 letters)
Sound View Press: 1991 (1 letter)
Spiral Group: see Strantin, Wally
Stevenson, Adlai: see White House
Stewart, George: 1932 (1 letter)
Strantin, Wally and Edward: 1950-1951 (2 letters)
Stroppoghetti, Arturo: 1923 (1 letter)
Stubbs, Kenneth: [1948] (1 letter)
Studer, Alfredo and Clara: 1947-1976 (15 letters)
Sweeney, James Johnson: 1949 (1 letter)
Syracuse University: 1964 (1 letter)
Taylor, Prentiss: 1972 (1 letter)
Teller, Douglas H.: 1963 (1 letter)
Terenz, Don Umberto: 1960 (1 letter)
Thames and Hudson, Ltd.: 1974 (1 letter)
Thomas, Norman: 1963-1965 (2 letters)
Thomen, Luis Francisco (Ambassador from Dominican Republic): undated (1 letter)
Thompson, Lin: 1950-1951 (3 letters)
Thurston, Charles D.: 1927-1928 (4 letters)
Tibet Society: 1975 (1 letter)
Timpenado, Cesare: 1927 (1 letter)
Tirrocelli (?), A.: 1917 (1 letter)
Toledo Museum of Art: 1957 (1 letter)
Toscanini, Arturo: mentioned in 2 letters dated 1928
Tosello, Alfredo: 1947-1949 (2 letters)
Tosi, Elisa: 1929 (1 letter)
Treasury Department, Section of Painting and Sculpture: 1936-1939 (53 letters concerning the Arlington, N.J. post office, the Sanford, N.C. post office, and the New York World's Fair Sculpture Competition)
Truman: Harry S Truman Library at Independence, Mo.: 1963 (1 letter)
Turkish Embassy, Washington, D.C.: 1958-1959 (4 letters including a photograph of Lazzari)
Tyler, Richard O.: 1958 (1 letter)
Ugolini, Luigi: 1969 (1 letter)
Ungar, Harold and Mildred: 1965 (1 letter)
United Auto Workers (U.A.W.): 1963-1971 (9 letters); see Debs: Eugene V. Debs Foundation
United Scenic Artists of America: [1939] (1 letter)
United States Civil Service Commission: 1944 (2 letters)
United States Department of Agriculture: 1945-1967 (10 letters)
United States Department of Labor: undated (1 letter)
United States Information Agency: 1959 (1 letter)
United States Information Service: Jul 09, 1964
University Settlement: 1946 (2 letters)
Upham, Elizabeth: 1948 (1 letter)
Van De Bries, Enri: 1973 (1 letter)
Vangell?, Raphaele: undated (1 letter)
Van Smith, Anne: 1949 (1 letter)
Venice Biennale: 1948-1954 (3 letters)
Vermont Marble Company: 1955 (1 letter)
Veschi, Signora: undated (1 letter)
Vickery, Ruth Bacon: 1929 (1 letter)
Victoria Hotel, Rome: 1928 (2 letters)
Virginia Museum of Fine Arts: 1956 (1 letter)
Visher, John: 1956 (1 letter)
Vosseller, Harold: 1948 (1 letter)
Wagner, Edward A. (Dell Publishing Co.) and Julia: 1954-1976 (5 letters)
Waldo, M. V.: 1945 (1 letter)
Warren, Susan and Louise: undated (1 letter)
Washington Gallery of Modern Art: undated (1 letter)
Washington is Wonderful: see Jones, Dorothea and Stuart E.
Washington-Lee High School: 1961 (1 letter)
Washington, Walter E. (Mayor of Washington, D.C.): 1976 (1 letter); Oct 19, 1976 (1 letter from Franz Bader)
Washington Water Color Association: undated and 1961 (3 letters)
Watergate Construction Corp.: 1968-1969 (4 letters); see Don McAfee
Watson, Ernest W. (editor, -- Art Instruction -- and -- American Artist -- ): 1939-1949 (3 letters)
Watson, Forbes: see Art in Federal Buildings, Inc.
Weil, Frank L.: 1926-1936 (2 letters)
Weinmann, Eric: 1980 (1 letter including a photograph of artwork)
Wells, John K. (Equitable Life Assurance Society): undated (1 letter)
West Tennessee Historical Society: 1952 (3 letters); see Rust, John
Weyhe: E. Weyhe Gallery: 1949 (1 letter)
White, Sarah: 1929 (1 letter)
Whitney Museum of American Art: 1939-1980 (11 letters)
Whyte Gallery: 1944-1950 (2 letters)
Widdemer, Kenneth D.: 1928 (1 letter)
White House: 1965-1968 (4 letters concerning the presentations of the busts of Eleanor Roosevelt and Adlai Stevenson)
Whittemore, Manvel: 1936 (1 letter enclosing poems)
Who's Who in America: 1979-1980 (2 letters)
Works Progress Administration: 1937-1938 (4 letters)
Workshop Center of the Arts: 1953 (1 letter); see Berkowitz, Ida and Leon
WRC Radio: 1966 (1 letter including a photograph of Lazzari)
WRC-TV: 1967 (1 letter)
Young, June: undated (1 letter)
Young, Louis Butler: 1971 (1 letter)
Zerega, Andrea: 1972-1976 (4 letters, including a résumé)
Collection Restrictions:
The collection is open for research. Use requires an appointment.
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:
Pietro Lazzari papers, 1878-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
An interview of John Marshall conducted 2001 April 5, by Lloyd Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Edmonds, Washington.
Marshall speaks of his childhood in Pittsburgh, Pennsylvania; participating in an educational program with the Carnegie Museum; his exposure to art while in grade school and throughout his education; joining the army after high school; spending time in Germany with the army and experiencing the metalwork of that area; learning to work hard from his father; his family background; attending Grove City College, then working in construction during the day and going to classes at Carnegie Tech during the night; finally attending Cleveland Institute of Art; some of his teachers at the Institute, Kenneth Bates, Toshiko Takaezu, and John Clague; his first experiences with metal, Fred Miller, and learning how to design metal pieces; getting a job as head of the metals department at Syracuse and completing his MFA there; meeting Paul Smith and Lee Nordness, and participating in Objects: USA; his travels throughout Europe; the many commissions he has done for churches, everything from baptismal bowls, chalices, and crosses; Patrick Lannan, and how instrumental he was in Marshall's career, his collection of work that Lannan bought and where it all is now located; the different types of communities in the different areas he lived; commissions and how they were important to his career; how he challenges himself with new ideas and creations; the Handy and Harman Workshop; the difference between a university trained artist and one who has learned his/her craft outside academia; his students and how much satisfaction he has received from teaching; the decline in metal working programs at the university level; the influence of other faculty members on his work, such as Lee DuSell; the critics of metalwork, Bruce Metcalf and Gary Griffin; his involvement in the Society of North American Goldsmiths; and his two sons. Marshall also recalls John Paul Miller, Winifred Lutz, Ramona Solberg, Ruth Penington, Michael Scott, Don Bacorn, Annie Hauberg, and others.
Biographical / Historical:
John Marshall (1936- ) is a jeweler and metalsmith from Edmonds, Washington. Lloyd Herman (1936- ) is the former director of the Smithsonian Institution's Renwick Gallery from Seattle, Washington.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Kington, L. Brent (Louis Brent), 1934-2013 Search this
Extent:
159 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 November 15-16
Scope and Contents:
An interview of Michael John Jerry conducted 2004 November 15-16, by Jan Yager, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Santa Fe, N.M.
Jerry speaks of his parents' background and their careers as artists and educators; his father, Sylvester Jerry's, work for the WPA; his father's role as director of the Wustum Museum of Fine Arts in Racine, Wisconsin; living at the museum during his childhood; taking art classes at the museum and industrial arts classes in school; doing metalwork in high school; winning the Scholastic Art Award; attending the Rochester Institute of Technology, School of American Craftsmen; working for Ron Pearson at Shop One and Toza Radakovich; attending Cranbrook Academy of Art; finishing his degree back at the School of American Craftsmen; making liturgical pieces on commission; the New England Silver companies; deciding to teach and taking a job at the State University of Wisconsin at Stout; attending the first Society of North American Goldsmiths conference; attending L. Brent Kington's blacksmithing workshop in Carbondale, Illinois; and teaching at Syracuse University. Jerry also speaks of some of his former students and what they are doing now; his teaching philosophy along with teaching partner Barbara Walter; the difficulties of teaching; the formation of SNAG; how industrial design has changed during his career; teaching at summer art schools; why he decided to work with metal; exhibiting his work; pricing his work; living in London and the metalsmith community there; living in Florence, Italy; how traveling has influenced his work; his tools and setup of his studio; the art community in Santa Fe; the process of designing his pieces; making models and drawings; his current project and working process; design influences; collecting ethnic crafts; making jewelry that is wearable; how the craft market has changed during his career; participating in craft fairs; having pieces at galleries and museums; the need for craft criticism and periodicals; the international versus American metal tradition; and current problems with university art programs. Jerry also recalls John Paul Miller, Hans Christensen, Jack Prip, Fred Fenster, Stanley Lechtzin, Robert Ebendorf, Olaf Skoogfors, Michael Monroe, John Marshall, Alex Bealer, Tom Markusen, Bruce Metcalf, Arthur Pulos, Kurt Matzdorf, Philip Morton, Charles Laloma, Henry Moore, and others.
Biographical / Historical:
Michael John Jerry (1937- ) is a metalsmith and educator from Santa Fe, N.M. Jan Yager (1951- ) is a jeweler and metalsmith from Philadelphia, Pennsylvania.
General:
Originally recorded as 7 sound discs. Reformatted in 2010 as 12 digital wav files. Duration is 9 hr., 16 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
3.8 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
1926-1965
Scope and Contents:
Correspondence, notes, photographs and printed materials concern Fiene's painting, publications and other art-related activities.
REELS 2353-2355: Correspondence (1926-1957) concerns art-related activities and the American Society of Painters, Sculptors and Engravers (1935-1936). A subject file on the Tupperware Art Fund contains applications (1953-1955) and photographs of Fiene painting. Printed material includes clippings (1930-1960) and exhibition catalogs for Paul Fiene (1933), Ernest Fiene (1926-1959) and the American Artists Council (1936). Three scrapbooks (1923-1961) contain clippings, exhibition catalogs and photographs of Fiene and his artworks. Other materials include a resume, an autobiographical account, a 1938 lecture, "Toward New Horizons", delivered at the Art Students League, and Alex Domonkos' (1954) notes on lectures by various artists, including Fiene's discussion of landscape painting.
UNMICROFILMED: Correspondence (1957-1964) concerns art-related activities. Photographs show Fiene, working on the mural in the High School for Fashion Industries, and works of art, including murals for the Interior Department and the council room of the International Ladies Garment Workers Union. Other materials include a manuscript, a typescript and illustrations for Fiene's book COMPLETE GUIDE TO OIL PAINTING (1963-1964), clippings (1940-1964), exhibition catalogs (1964), 2 galley proofs and minutes (1957-1958) from 2 meetings at the National Academy of Design.
ADDITION: Letters from friends, including other artists, 1932-1965; passport and membership cards; financial records, consisting of banking records, invoices and receipts, insurance policies, and records of investments; and a few printed items and photographs.
Biographical / Historical:
Painter, lithographer, etcher, illustrator and teacher. Died 1965.
Provenance:
Material on reels 2353-2355 lent by Maria Fiene, daughter of Ernest Fiene. Unfilmed material (0.8 ft.) donated by Syracuse University, 1984, and an additional 0.8 ft. donated by Maria Fiene, 1994.
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.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 26, Folder 6
Type:
Archival materials
Date:
2003 February 27-March 1
Scope and Contents:
Conference held Thursday, February 27, through Saturday, March 1, 2003, National Museum of American History, Behring Center, Smithsonian Institution. Program celebrated the twenty-second annual national observance of African American History Month. Program created as a conference, community tribute, and cultural fair, in collaboration with the National Underground Railroad Network to Freedom Program of the United States National Park Service. It included performances, films, presentations hands-on activities, lectures, and panel discussions.
Participants included:
Allison Blakely, Ph.D., professor of European and Comparative History, Boston University
David W. Blight, Ph.D., scholarly advisor to the Passages to Freedom conference; professor of history, Yale University
Charles L. Blockson, curator and historian
Spencer R. Crew, Ph.D., executive director and chief executive officer, National Underground Railroad Freedom Center
Mary A. Edmond, chairperson of the Michigan Freedom Trail Commission; founder and president, Michigan Black History Network
Jerry Gore, historian, scholar and one of the founders of the National Underground Railroad Museum, Incorporated
Allen Grundy, founder, International Freedom Institute of the Southwest (IFIS); cofounder of Talking Back Living History Theatre (TBLH)
James Oliver Horton, Ph.D., scholarly advisor to the Passages to Freedom conference; Benjamin Banneker Professor of African Studies and History, George Washington University
Lois E. Horton, Ph.D., professor of history, George Mason University
Wilma King, Ph.D., Strickland Professor of American History and Culture, University of Missouri
Jane Landers, Ph.D., associate dean of the College of Arts and Science; associate professor of history and director, Center of Latin American and Iberian Studies, Vanderbilt University
Emma J. Lapsansky, Ph.D., curator, Quaker Collection and professor of history, Haverford College
Diane Miller, planning committee member, Passages to Freedom conference; and national coordinator, National Underground Railroad Network to Freedom Program,
National Park Service (NPS)
Orloff Miller, Ph.D., planning committee member, Passages to Freedom conference; director, Freedom Station Program; and interim director, Research Programs, National Underground Railroad Freedom Center, Cincinnati, Ohio
Kevin Mulroy, Ph.D., director of research collections and chair, Research Services, University of Southern California libraries
Cathy D. Nelson, founder and president emeritus, Friends of Freedom Society; and state coordinator, Ohio Underground Association
Freddie L. Parker, Ph.D., chair, Department of History, North Carolina Central University, Durham, North Carolina
Bryan Prince, Buxton National Historic Site and Museum, Ontario, Canada
Vivian Abdur-Rahim, founder and director, Harriet Tubman Historical Society; and founding member, Underground Railroad Coalition, Delaware
Bernice Johnson Reagon, Ph.D., scholar, composer, singer, and activist, Cosby Chair Professor of Fine Arts, Spelman College, Atlanta, Georgia
Jane Rhodes, Ph.D., associate professor, ethnic studies, University of California, San Diego
Hilary Russell, independent scholar and researcher
Milton C. Sernett, Ph.D., professor of African American Studies and history and adjunct professor of religion, Syracuse University
Barbara A. Tagger, historian and regional coordinator, National Underground Railroad Network to Freedom Program
Ron Tyler, Ph.D., is director of the Texas State Historical Society and professor of history at the University of Texas at Austin
John Michael Vlach, Ph.D., professor of American studies and anthropology and director of the Folklife Program, George Washington University
Judith Wellman, Ph.D., professor emerita, History Department, State University of New York, Oswego
Deborah Gray White, Ph.D., professor and chair, history department, Rutgers University
Carol Wilson, Ph.D., associate professor of history, Washington College, Chestertown, Maryland
Church Historians
Ambassador Horace G. Dawson Jr., Ph.D., historian, Metropolitan AME Church, Washington, DC
Janet Lee Ricks, member and vice chair, history committee, Mt. Zion United Methodist Church, Georgetown, Washington, DC
Lonise Fisher Robinson, church historian, Asbury United Methodist, Washington, DC
Performers and Artists included:
Nasar Abadey Trio
Drums - Nasar Abadey, drummer and composer, founder and leader of SUPERNOVA
Piano - Allyn Johnson, Washington, DC native, attended the University of the District of Columbia
Bass - James King, bassist, composer, and arranger
Michael E. Baytop, founder and president, Archie Edwards Blues Heritage Foundation, Washington, DC
Gwendolyn Briley – Strand
The Chancel Choir of Sargent Memorial Presbyterian Church
The Daughters of Dorcas and Sons
The Duke Ellington School of the Arts Show Choir
Samuel L. E. Bonds, director and voice teacher, Duke Ellington School of the Arts, Washington, DC
Irma Gardner-Hammond, professional storyteller who tells stories from the African oral tradition known as the Griot tradition
Bus Howard, actor and artist in residence, Kennedy Center for the Performing Arts, Washington, DC
In Process…, African American women's a cappella ensemble
Jo Ann James, avid collector of recipes, a student of African American history, and a craftsperson
Kimberly Kelly, member of planning committee for the Passages of Freedom conference
Magpie - Terry Leonino and Greg Artzner, musicians
Alice McGill, well known for her portrayal of Sojourner Truth
Gretchen McKinney, term member, Speech Choir and Drama Team, Asbury United Methodist Church
Dietra Montague, independent artist who has lived and studied the arts and crafts of North and West Africa, Central and South America, Mexico, and Europe
Fred Morsell, actor
Ayo Ngozi, collage, multimedia, and book artist based in Mt. Rainier, Maryland
Reverb, a cappella group of African American gospel, quartet, and doo-wop singing
Mary Kay Ricks, freelance writer, researcher, and history tour guide who specializes in the Underground Railroad, Washington, DC
Kath Robinson, Washington, DC resident interested in the study of Ethnobotany and the study of misaims
Charlie Sayles, blues harmonica player
Program number AC408.120.
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Scope and Contents:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.
Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.
Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.
White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.
White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.
Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.
Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.
Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.
Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)
Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)
Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)
Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)
Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)
Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)
Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)
Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)
Biographical / Historical:
Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.
White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.
White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.
Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.
Related Materials:
The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Separated Materials:
The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.
Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.
Provenance:
Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
The papers of African American painter and educator Jacob Lawrence and his wife, artist Gwendolyn Knight measure 25.35 linear feet and 0.001 GB date from 1914 to 2008, with one item from 1816 and the bulk of the material dating from 1973 to 2001. The collection includes biographical material; correspondence including condolence letters to Gwendolyn Knight after Jacob Lawrence's death; writings by Jacob Lawrence and others; printed and digital material; photographs; personal business records; artwork; records from the Jacob Lawrence Catalogue Raisonné Project; materials related to the Jacob and Gwendolyn Knight Lawrence Foundation; professional files; and material related to awards and honors received by Jacob Lawrence and Gwendolyn Knight.
Scope and Content Note:
The papers of African American painter and educator Jacob Lawrence and his wife, artist Gwendolyn Knight measure 25.35 linear feet and 0.001 GB and date from 1914 to 2008, with one item from 1816 and the bulk of the material dating from 1973 to 2001. The collection includes biographical material; correspondence including condolence letters to Gwendolyn Knight after Jacob Lawrence's death; writings by Jacob Lawrence and others; printed and digital material; photographs; personal business records; artwork; records from the Jacob Lawrence Catalogue Raisonné Project; materials related to the Jacob and Gwendolyn Knight Lawrence Foundation; professional files; and material related to awards and honors received by Jacob Lawrence and Gwendolyn Knight.
Biographical material includes appointment and address books; education and personal identification certificates and documents; awards, certificates, curriculum vitae, and chronologies; biographical material related to other individuals, including identification documents and memorial programs; and transcripts of interviews with Jacob Lawrence and Gwendolyn Knight.
The correspondence series includes extensive personal and professional correspondence with family, friends, artists, admirers (including students in a number of elementary and middle schools), university students, government agencies, art schools, galleries, museums, publishing houses, and others. Included in this series are condolence letters received by Gwendolyn Knight after Jacob Lawrence's death in 2000.
Writings include published and unpublished writings by and about Jacob Lawrence, as well as writings by others. These writings include speeches, notes, essays, articles, lists, and short stories. Also included is a visitor comment book from the Los Angeles County Museum exhibition of Jacob Lawrence's Harriet Tubman and Frederick Douglass series.
Printed material includes books; brochures; business cards; clippings; exhibition and event announcements, invitations, catalogs, and programs; magazines; newsletters; posters; post cards; and press releases. Books in this collection may include illustrations by Jacob Lawrence or have personal inscriptions from the author to Jacob Lawrence and Gwendolyn Knight.
Photographs include photographs of Jacob Lawrence artwork, photographs and reproductions of Gwendolyn Knight artwork, and photographs of Jacob Lawrence, Gwendolyn Knight, and other individuals. Also included in this series are photographs and reproductions of work by others.
Personal business records include a ledger; consignment, financial, and shipping records related to the Terry Dintenfass Gallery; contracts and agreements; and estate documents.
Artwork includes sketches by Jacob Lawrence, a blank sketchbook inscribed by Jacob Lawrence to Gwendolyn Knight, and artwork by other artists.
Jacob Lawrence Catalogue Raisonné Project Records include materials generated by the Jacob Lawrence Catalogue Raisonné Project, a non-profit created with the goal of producing a catalogue raisonné (and later, a digital archive) of Jacob Lawrence's work. These records include address books and phone logs; copies of Jacob Lawrence's CV; founding documents, bylaws, and meeting minutes; correspondence; writings, including draft pages of the catalogue raisonné; business records, including employment files, contracts, invoices, insurance, and tax information; printed and digital material; and photographs and artwork.
The Jacob and Gwendolyn Knight Lawrence Foundation and Related Material series includes founding documents and foundation bylaws, correspondence, financial documents, reports, and proposals. Found within this series are materials related to the Lawrence Center for the Visual Arts, a subsidiary foundation of the Jacob and Gwendolyn Knight Lawrence Foundation.
Professional files include material related to projects and exhibitions, teaching files and inclusion in curricula, files regarding possible fake Jacob Lawrence works, and gallery files.
The honors series is divided into two subseries: awards and certificates, and government honors. Awards and certificates includes honorary degrees, arts prizes, and any other honors awarded to Jacob Lawrence or Gwendolyn Knight. Government honors include resolutions, proclamations, and keys to cities. Also included in this series are correspondence related to awards and honorary degrees, commencement programs, plaques, and medals.
Arrangement:
The collection is arranged in 11 series.
Missing Title
Series 1: Biographical Material, 1914-2005 (Boxes 1, 11, 26, OV 10; 0.5 linear feet)
Series 2: Correspondence, 1943, 1952-2005 (Boxes 1-5, 12-14, 26; 7.7 linear feet)
Series 3: Writings, 1954-1959, 1973-2005, undated (Boxes 5-6, 14-15; 0.5 linear feet)
Series 4: Printed Material, 1816, 1926, 1937, 1945-2008 (Boxes 6-9, 15-17, 26, OV 30, OV 31; 6.8 linear feet)
Series 5: Photographs, circa 1970-1997, undated (Boxes 9, 17, OV 10; 0.4 linear feet)
Series 6: Personal Business Records, 1962-2005 (Boxes 9, 17; 0.3 linear feet)
Series 7: Artwork, 1984, 1990-1994, undated (Boxes 9, 18, 26; 0.3 linear feet)
Series 8: Jacob Lawrence Catalogue Raisonne Project Records, 1982-2002 (Boxes 18-23, Box 26; 5.1 linear feet, ER01; 0.001 GB)
Series 9: Jacob and Gwendolyn Knight Lawrence Foundation and Related Material, 1997-2005 (Box 23; 0.6 linear feet)
Series 10: Professional Files, 1964-2004 (Boxes 23-24; 1.2 linear feet)
Series 11: Honors, 1948, 1966-2005 (Boxes 24-25, 27-29, OV 30; 2.3 linear feet)
Biographical Note:
Modernist painter and educator Jacob Lawrence (1917-2000) was born in 1917 as Jacob Armstead Lawrence in Atlantic City, New Jersey. He began his art studies at the Utopia Children's Center in New York City's Harlem district where he studied under the painter Charles Alston. Lawrence dropped out of high school at the age of sixteen to continue his art instruction with Alston, this time at the Harlem Art Workshop, where he met several artists associated with the Harlem Renaissance including the sculptor Augusta Savage.
Gwendolyn Knight (1913-2005) was born in Barbados and moved to New York City with her adoptive parents when she was seven. She attended New York's Wadleigh High School and later Howard University in Washington, D.C. where she studied fine arts with Lois Mailou Jones and James Porter. Forced to leave her studies at Howard because of the Depression, Knight returned to Harlem and continued her artistic pursuits in Augusta Savage's workshop. In 1935, Knight joined the Harlem Mural Project of the Works Progress Administration (WPA) working under Selma Day and Charles Alston. Lawrence and Knight met in Savage's workshop and married in the summer of 1941.
During the Depression, Lawrence also joined the WPA Federal Arts Project in Harlem. Finding WPA murals overwhelming, Lawrence concentrated on traditional painting instead. He produced his first major works in the late 1930s, most notably the Toussaint L'Ouverture series, images that document the life of the revolutionary hero and Haiti's struggle for independence. Other significant works include visual narratives of the lives of abolitionists Harriet Tubman and Frederick Douglass. In 1940, Lawrence received the prestigious Julius Rosenwald Fellowship, which made it possible for him to purchase his first art studio on 125th Street in the heart of Harlem. He soon portrayed Harlem street life in paintings that became commentaries on the role of African Americans in United States society with highly developed themes of resistance and social opposition. That same year, Lawrence began his most celebrated series, The Migration of the American Negro, multiple tempera panels depicting the exodus of African American sharecroppers in the south to northern industrial cities in search of better employment and social opportunities. Edith Halpert exhibited the works in their entirety at her Downtown Gallery in 1941, establishing Lawrence as the first African American artist to exhibit in a top New York gallery. The following year, New York's Museum of Modern Art and the Phillips Collection in Washington, DC each bought half of the sixty panels in the series, helping to further Lawrence's career within the larger world of American art.
In the summer of 1946, the artist Joseph Albers invited Lawrence to teach at North Carolina's Black Mountain College. It was the first in a series of teaching positions in prestigious art schools including Pratt Institute (1956-1971), Brandeis University (1965), The New School (1966), the Art Students League (1967), and others. During the 1950s and 1960s, Lawrence's work continued to focus on racism and political activism but in the late 1960s shifted to themes of racial harmony.
Both Lawrence and Knight continued independent careers in art. Knight pursued her art studies at the New School in New York and the Skowhegan School of Painting and Sculpture in Maine. In the mid-1960s, she collaborated with other female artists to form the Studio Gallery in New York City. Knight's main body of work consists of portraits and still-lifes that incorporate expressions of African sculpture, Impressionism, dance, and theater. Focusing on gesture, her art is described as light and airy with a minimum of lines allowing empty space to define the work. In 1970, Lawrence traveled to Seattle to teach as a visiting artist at the University of Washington. He was hired on a permanent basis the following year and remained on staff until his retirement in 1986.
Jacob Lawrence died June 9, 2000, in Seattle, Washington at the age of 83. Gwendolyn Knight continued to paint and exhibit her work around the country until her death on February 18, 2005 in Seattle, Washington at the age of 92.
Related Material:
Also found at the Archives of American Art are an oral history interview with Jacob Lawrence conducted by Carroll Greene (1968 October 26), interviews conducted by Avis Berman (1982 July 20-August 4), and an oral history interview with Jacob Lawrence and Gwendolyn Knight conducted by Paul Karlstrom (1998 November 18). The Archives of American Art also holds a collection of Jacob Lawrence papers, available on microfilm only, reels D286 and 4571-4573. Originals reside at Syracuse University Library, Special Collections.
Provenance:
The Jacob Lawrence and Gwendolyn Knight papers were donated to the Archives of American Art in five accretions between 1979 and 1997. Additional papers were donated in 2012 by the Jacob and Gwendolyn Knight Lawrence Foundation via Barbara Earl Thomas, representative.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Washington (State) -- Seattle Search this
Painters -- New York (State) -- New York Search this
Educators -- Washington (State) -- Seattle Search this
Topic:
Painting, Modern -- 20th century -- United States Search this
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2007 processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the 2018 processing of this collection was provided by the Henry Luce Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2007 processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the 2018 processing of this collection was provided by the Henry Luce Foundation.
