United States. Works Progress Administration Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Sketchbooks
Photographs
Date:
1920-1970
Summary:
The papers of African-American painter Palmer C. Hayden date from 1920-1970 and measure 2.4 linear feet. The collection contains biographical material, including 32 diaries documenting Hayden's daily activities, scattered correspondence relating to art sales and Hayden's work for the Works Progress Administration, printed material, 47 sketchbooks compiled over a period of almost forty years, and photographs of Hayden and his artwork.
Scope and Contents:
The papers of African-American painter Palmer C. Hayden date from 1920-1970 and measure 2.4 linear feet. The collection contains biographical material, including 32 diaries documenting Hayden's daily activities, scattered correspondence relating to art sales and Hayden's work for the Works Progress Administration, printed material, 47 sketchbooks compiled over a period of almost forty years, and photographs of Hayden and his artwork.
Arrangement:
The collection is arranged as 6 series:
Missing Title
Series 1: Biographical Material, 1920-1969 (Box 1; 2 folders)
Series 2: Diaries, 1938-1967 (Boxes 1-2; 0.5 linear ft.)
Series 3: Correspondence, 1922-1967 (Box 2; 2 folders)
Series 4: Printed Material, 1926-1969 (Box 2; 2 folders)
Series 5: Sketchbooks and Sketches, 1924-circa 1960 (Boxes 2-6; 1.8 linear ft.)
Series 6: Photographs, 1932-1970 (Box 6; 4 folders)
Biographical / Historical:
Born Peyton Cole Hedgeman, in Widewater, Virginia in 1890, Palmer Hayden received his first art instruction through correspondence courses, then studied in 1925 with Asa Grant Randall at the Boothbay Art Colony, in Maine, specializing in marine subjects. In 1927, Hayden's seascape, Schooners, won first prize for "Distinguished Achievement in Fine Arts" in the Harmon Foundation's first awards ceremony. With that award, and an additional grant from a patron, Hayden was able to continue his studies in Paris, where he further developed his skills in seascapes and ethnic subject matter. Hayden was among the first African-American artists to use African-American subjects and designs in his painting.
Hayden returned to the United States in 1932 and worked steadily over the next several years for the United States government, including the Treasury Relief Art Project and the Works Progress Administration. In 1944 Hayden began work on his noted Ballad of John Henry series of twelve paintings that would occupy him for a decade. In his later work, Hayden continued to focus on African-American themes, capturing both rural gatherings in the South and the urban milieu of New York.
Palmer Hayden died in 1973.
Provenance:
The collection was donated by Palmer C. Hayden in 1970 and a portion of it was microfilmed shortly after receipt.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
This collection is open for research. Access to 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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to 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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
Includes articles about Davidovich, SoHo, garbage art, and art events.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This tape were recorded on Nov. 7, 1953, at a square dance in Springfield, Missouri. The performers include callers, fiddler, banjo player, bass player, and, on one track only, a pianist. Most tracks are square dances with calling; at least one track is exhibition dancing without calls, and another is tap dancing with piano accompaniment. None of the personnel are identified. The tapes are poorly recorded, and perhaps have deteriorated over time; the 2nd half of -2619 contains ripples, which are probably the source of the sound volume fluctuations. The back of the -2619 tape box states that the first and last tracks feature the Missouri Champ as caller; the penultimate track caller on that tape is "local." One square dance track on -2619, without calling, features, "Exhibition Dancing." The back of the tape box of -2619 has a number "3," and -2620 has a number "2," so presumably -2620 was recorded prior to -2619. See other sheets for list of tracks and durations.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
This tape were recorded on Nov. 7, 1953, at a square dance in Springfield, Missouri. The performers include callers, fiddler, banjo player, bass player, and, on one track only, a pianist. Most tracks are square dances with calling; at least one track is exhibition dancing without calls, and another is tap dancing with piano accompaniment. None of the personnel are identified. The tapes are poorly recorded, and perhaps have deteriorated over time; the 2nd half of -2619 contains ripples, which are probably the source of the sound volume fluctuations. The back of the -2619 tape box states that the first and last tracks feature the Missouri Champ as caller; the penultimate track caller on that tape is "local." One square dance track on -2619, without calling, features, "Exhibition Dancing." The back of the tape box of -2619 has a number "3," and -2620 has a number "2," so presumably -2620 was recorded prior to -2619. See other sheets for list of tracks and durations.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
124 Swimmy Swim (ACT-062) / Woody Guthrie. Guitar. English language.
125 Poor Boy (ACT-064) / Woody Guthrie. Guitar. English language.
126 Put Your Finger in the Air (ACT-065) / Woody Guthrie. Guitar. English language.
127 Dance Around (ACT-065) / Woody Guthrie. Guitar. English language.
129 Wake Up (ACT-065) / Woody Guthrie. Guitar. English language.
131 Clean-O (ACT-065) / Woody Guthrie. Guitar. English language.
132 Put Your Finger in the Air (ACT-066) / Woody Guthrie. Guitar. English language.
133 Dance Around (ACT-066) / Woody Guthrie. Guitar. English language.
134 Wake Up (ACT-066) / Woody Guthrie. Guitar. English language.
135 Clean-O (ACT-066) / Woody Guthrie. Guitar. English language.
136 Songaree (ACT-067) / Cisco Houston. Guitar. English language.
138 Miner's Song (ACT-069) / Woody Guthrie. Guitar. English language.
139 Put Your Finger in the Air (ACT-071) / Woody Guthrie. Guitar. English language.
Local Numbers:
FP-CDR-0188-7
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No duplication.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
