Skip to main content Smithsonian Institution

Search Results

Collections Search Center
12 documents - page 1 of 1

Design Talk | Trude Guermonprez and Lanette Scheeline: Breaking Boundaries with Design

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2019-12-18T22:58:37.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_G180XN9mjhQ

Oral history interview with Jack Lenor Larsen

Interviewee:
Larsen, Jack Lenor  Search this
Interviewer:
Fisch, Arline M.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Students  Search this
Adamson, Glenn  Search this
Rossbach, Ed  Search this
Extent:
78 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 February 6-8
Scope and Contents:
An interview of Jack Lenor Larsen conducted 2004 February 6-8, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Longhouse, East Hampton, N.Y.
Larsen speaks of his childhood in Seattle, Washington; his parents and other adults who had a positive impact on his development; building things with his friends; attending the University of Washington to study architecture and deciding to study textiles instead; visiting Dorothy Liebes's textile studio; leaving school and moving to Los Angeles; attending the University of Southern California and eventually returning to the University of Washington; becoming a teaching assistant to Ed Rossbach; getting a Masters degree at Cranbrook Academy of Art; meeting many influential people in San Francisco and New York; moving to New York and setting up a studio; working on commission for several companies including Thaibok; expanding his offices to include larger looms and a showroom; setting up a branch of production in Haiti; working in the fashion industry and designing home decor; and working in Southeast Asia developing handcrafted woven exports. He also speaks of his involvement with the American Craft Council and the World Crafts Council, re-organizing and building the new campus at the Haystack Mountain School of Crafts; traveling to Central Asia, Africa, Europe, and his desire to travel more; working and exhibiting in Japan; experiencing the Japanese textile industry; writing numerous books on fiber arts including, "The Dyer's Art," often collaborating with other fiber artists; developing a classification system for interlacing; collecting art; gardening and its relation to art and design; building Round House and the inspiration behind it; building LongHouse using the Japanese Ise Shrine as a model and plans for further expansion; retiring and difficulties writing, "A Weaver's Memoir." Larsen also recalls Dorothy Liebes, Marianne Strengell, Florence Knoll, Edgar Kaufman, Ed Rossbach, Toshiko Takaezu, Francis Merritt, Mary Bishop, Garth Clark, Issey Miyake, Mildred Constantine, and others.
Biographical / Historical:
Jack Lenor Larsen (1927-2020) was a weaver and textile designer from East Hampton, N.Y. Arline M. Fisch (1931- ) is a jeweler from San Diego, Cailfornia.
General:
Originally recorded on 7 sound discs and 1 sound cassette. Reformatted in 2010 as 19 digital wav files. Duration is 6 hrs., 23 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.
Occupation:
Textile designers -- New York (State) -- New York  Search this
Topic:
Textile crafts  Search this
Textile industry -- Japan  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.larsen04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98c0a4574-4f94-4ed0-87e7-4413a53ec3c1
EDAN-URL:
ead_collection:sova-aaa-larsen04
Online Media:

Bob Stocksdale and Kay Sekimachi papers

Creator:
Stocksdale, Bob, 1913-2003  Search this
Names:
Central Utah Relocation Center  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Tanforan Assembly Center (San Bruno, Calif.)  Search this
War Relocation Authority  Search this
Anderson, Norman  Search this
Collingwood, Peter, 1922-2008  Search this
Larsen, Jack Lenor  Search this
Maloof, Alfreda Ward  Search this
Maloof, Sam  Search this
Merrill, Forrest L.  Search this
Okubo, Miné, 1912-2001  Search this
Shawcroft, Barbara  Search this
Stocksdale, Bob, 1913-2003  Search this
Stocksdale, Kay Sekimachi  Search this
Turner, Tran  Search this
Uchida, Yoshiko  Search this
Former owner:
Stocksdale, Kay Sekimachi  Search this
Extent:
19.5 Linear feet
0.125 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Sketches
Scrapbooks
Watercolors
Photographs
Date:
circa 1900-2015
Summary:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.
Scope and Contents:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.

The bulk of biographical materials are from Kay Sekimachi with some originating from her time spent in forced internment at Topaz and Tanforan camps. These records include identification cards, War Relocation Authority printed materials, and school records. Also found are awards, resumes, and blank stationery. Some materials are from Stocksdale's 85th birthday and memorial service.

Letters and extensive greeting cards are from friends, family, and professional acquaintances. Correspondents include Norman Anderson, Peter Collingwood, Jack Lenor Larsen, Sam and Alfreda Maloof, Forrest L. Merrill, Miné Okubo, Barbara Shawcroft, and others.

Writings and notes are scattered and include two interviews with Kay Sekimachi, hanging instructions, and notes. Writings by others are by Jack Lenor Larsen, Tran Turner, and Yoshiko Uchida.

Sekimachi's and Stocksdale's professional activities are documented through files relating to their participation at conferences, awards ceremonies, and lectures. Also found are fiber samples, order forms for materials and equipment, and notes on techniques and design by Kay Sekimachi. Exhibition records include extensive documentation on Marriage in Form, In the Realm of Nature, and Loom and Lathe as well as files for various solo and group exhibitions for both Sekimachi and Stocksdale. Gallery and institution files include material on multiple or unnamed exhibitions. Exhibiton documentation may include correspondence, writings, proposals, printed material, financial and loan records, condition reports, and photographs. Project files contain material for proposed book projects, a retrospective, and portfolio, by and about Sekimachi and Stocksdale. Also found are three commissions files for works by Sekimachi. A proposed retrospective on the work of Bob Stocksdale by Kay Sekimachi includes a digital sound recording of recollections.

Personal business records include sales books, purchase records for works of art by others, appraisals, contracts, consignment receipts, and insurance records.

Published books, clippings, exhibition announcements and catalogs, magazines, and newsletters are found within printed materials. Of note is a publication by the San Francisco Chronicle entitled "This World" which features illustrations by Miné Okubo.

Four scrapbooks compiled by Kay Sekimachi date from 1937 to 1944. Most of the scrapbooks contain printed material from magazines and other sources with images such as children, valentines, food, birds, clothing, and may include scattered sketches and notes by Sekimachi. One scrapbook dates from the end of Sekimachi's internment at Topaz and relocation to Cincinnati, Ohio. This scrapbook includes sketches and printed materials concerning local and global events. Loose material found in this series was likely meant to be pasted into a new or the forth scrapbook. These materials include relocation information, Japanese-American publications, maps, clippings, sketches, and printed programs.

The bulk of photographic materials consist of slides of various vacation locations and homes and date from the 1960s to the 1980s. Also found are scattered portraits of Kay Sekimachi and Bob Stocksdale, as well as a photo of Miné Okubo with Roy Leeper and Cecil Thompson. Artworks are largely by Kay Sekimachi and include watercolor and pencil sketches as well as designs for fabrics and a weaving portfolio. Watercolor and pencil sketches are of Tanforan Assembly Center and date from circa 1942.
Arrangement:
The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1920-2003 (1.5 linear feet; Box 1-2)

Series 2: Correspondence, 1943-2014 (7.6 linear feet; Box 2-10)

Series 3: Writings and Notes, 1960s-2008 (0.2 linear feet; Box 10)

Series 4: Professional Files, 1950s-2011 (1.1 linear feet; Box 10-11, 22)

Series 5: Exhibition Files, 1951-2015 (2.9 linear feet; Box 11-14, ER01; 0.125 GB)

Series 6: Project Files, circa 1900-2004 (0.3 linear feet; Box 14)

Series 7: Personal Business Records, 1970s-2010 (0.7 linear feet; Box 14-15)

Series 8: Printed Material, 1943-2011 (2.3 linear feet; Box 15-17, 22)

Series 9: Scrapbooks, 1937-1946 (0.9 linear feet; Box 17, 21)

Series 10: Photographic Material, circa 1950-2001 (0.9 linear feet; Box 18)

Series 11: Artwork, 1942-circa 1970 (1.1 linear feet; Box 18-20, 22-23)
Biographical / Historical:
Bob Stocksdale (1913-2003) was a woodturner active in California. He was known for bowls he formed from rare types of wood. Kay Sekimachi (1926- ) is a Japanese-American fiber artist and educator also active in California. She began her career in weaving on and off the loom and was part of the New Basketry movement.

Born in Indiana, Bob Stocksdale began his interest in carving by whittling with a pocket knife. Later, he created his own lathe with a washing machine motor and turned items such as baseball bats. During World War II, he was a conscientious objector and worked at various camps performing forestry work. It was in one of the camps that he turned his first bowl on a lathe.

After the war, Stocksdale settled in the Bay Area of California where he established his own woodturning shop in his basement. He concentrated on making bowls out of rare woods. His work has been recognized throughout the world and in 1998, he received the American Association of Woodturners Lifetime Achievement Award. In 2003, he received the James Renwick Alliance Masters of the Medium Award.

Kay Sekimachi was born in San Francisco, California in 1926. As a high school student, she was forcibly interned through Executive Order 9066 issued by President Franklin D. Roosevelt which incarcerated approximately 120,000 Japanese and Japanese-American citizens during World War II. Along with her mother and siblings, Kay lived at Tanforan Assembly Center and later moved to Topaz War Relocation Center in Utah. She continued her schooling at Topaz and after 1944, was resettled in Cincinnati, Ohio.

After graduating from high school, Kay Sekimachi enrolled at the California College of Arts and Crafts and the Haystack Mountain School of Crafts where she learned the craft of weaving under Trude Guermonprez and Jack Lenor Larsen. Her early works were tapestries and garments. She later used her weaving techniques as part of the New Basketry movement to create baskets and boxes out of fibers. Also an educator, Kay taught weaving at San Francisco Community College. She received the American Craft Council Gold Medal for Consummate Craftsmanship in 2002.

After the dissolution of his first marriage through which he had two children, son Kim and daughter Joy Stocksdale, Bob married Kay Sekimachi in 1972. The two had been acquainted for many years as they were both craft artists living in the Bay Area. Although they married later in life, Kay and Bob travelled the world and exhibited their art together in many exhibitions including Marriage in Form and Loom and Lathe.

Bob Stocksdale died in Oakland, California in 2003. Kay Sekimachi continues to exhibit her work and lives in Berkeley, California.
Related Materials:
Also found in the Archives of American Art are an oral history interview of Bob Stocksdale conducted February 16-March 21, 2001, by Signe Mayfield and an oral history interview of Kay Sekimachi [Stocksdale] conducted July 26-August 6, 2001, by Suzanne Baizerman. Both interviews were conducted in Berkeley, California, during the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Provenance:
The Bob Stocksdale and Kay Sekimachi papers were donated in 2003, 2004, and 2015 by Kay Sekimachi Stocksdale as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of original audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Fiber artists -- California  Search this
Topic:
Concentration camps -- United States  Search this
Textile design  Search this
Decorative arts  Search this
Women artists  Search this
Fiberwork -- Technique  Search this
Woodwork -- Study and teaching  Search this
Textile crafts -- Study and teaching  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American fiber artists  Search this
Asian American educators  Search this
Japanese Americans -- Forced removal and internment, 1942-1945  Search this
Genre/Form:
Interviews
Sound recordings
Sketches
Scrapbooks
Watercolors
Photographs
Citation:
Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stockbob
See more items in:
Bob Stocksdale and Kay Sekimachi papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d7db1c3a-95bc-44e4-92d5-382fb539e654
EDAN-URL:
ead_collection:sova-aaa-stockbob

Dorr Bothwell papers

Creator:
Bothwell, Dorr  Search this
Names:
Pollock-Krasner Foundation  Search this
Adams, Ansel, 1902-1984  Search this
Adams, Virginia Best  Search this
Adnan, Etel  Search this
Chinn, Benjamen, 1921-2009  Search this
Falkenstein, Claire, 1908-1997  Search this
Howard, Charles, 1899-1978  Search this
Jackson, Martha Kellogg  Search this
Packard, Emmy Lou, 1914-1998  Search this
Extent:
10.6 Linear feet
1.72 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Date:
1900-2006
Summary:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.
Scope and Content Note:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.

Biographical material consists of biographical sketches, resumés, identity cards, award certificates, typescripts of autobiographical interviews, address books, and a file concerning UFOs, spirituality, and philosophy.

Correspondence consists of letters exchanged between Bothwell and her colleagues and friends discussing their art-related activities, travel, and birthday greetings. There are scattered letters from Ansel and Virginia Adams, Etel Adnan, Benjamin Chinn, Claire Falkenstein, and Emmy Lou Packard.

Personal business records include teaching contracts, contracts and royalty statements for the publication of Bothwell's book Notan, insurance records, income tax records, records concerning a grant from the Pollock-Krasner Foundation, estate records, card files, lists of art work, price lists, exhibition entry cards, receipts for the sale of art work, travel receipts, medical receipts, and consignment/sales records.

Notes and writings include three diaries, two travel journals, guest books, miscellaneous lists, schedules of classes for various organizations and art schools including the Ansel Adams Yosemite Workshop, typescripts of lecture notes, and miscellaneous notes. There are also scattered writings by Bothwell and others.

Seventeen sketchbooks, including several completed during Bothwell's travels, and one dated 1942 illustrated with daily drawings of her activities while preparing for World War II, are found within the papers. There are also miscellaneous drawings, collages, a serigraph It's Time for a Change, an etching by Martha Jackson, and a drawing by Charles Howard.

Three scrapbooks contain clippings, exhibition announcements and catalogs, programs, and photographs of art work. Scrapbook 3 contains materials concerning spiritualism and mysticism. Additional printed material consists of clippings, exhibition announcements and catalogs, press releases, brochures for art classes, the sale of art work, travel, and camera equipment, reproductions of art work, picture postcards, programs, books, and miscellaneous commercial business cards.

Photographs are of Bothwell, her mother and brother, her studio/residences, miscellaneous friends and colleagues including her former husband, sculptor Donal Hord, miscellaneous events, and art classes conducted by Bothwell. There are also photographs of art work by Bothwell and others, as well as numerous photographs and slides of travel various forms in nature that Bothwell would incorporate into her art work.
Arrangement:
The collection is arranged as 8 series:

Missing Title

Series 1: Biographical Material, 1939-2001 (Box 1, 11, 13, 15; 0.6 linear feet)

Series 2: Correspondence, 1942-2002 (Box 1-3, 13; 2.3 linear feet)

Series 3: Personal Business Records, 1925-2006 (Box 3-4; 0.7 linear feet)

Series 4: Notes and Writings, 1949-1998 (Box 4, 11, 14, 15; 0.8 linear feet.)

Series 5: Art Work, 1920-1994 (Box 4-5, 11, 13, 16, 17; 1.5 linear feet)

Series 6: Scrapbooks, 1926-1979 (Box 5, 11, 12; 0.5 linear feet)

Series 7: Printed Material, 1923-2000 (Box 5-7, 12, 13; 1.8 linear feet)

Series 8: Photographs, 1900-2001 (Box 7-9, 10; 2.4 linear feet, ER01-ER04; 1.72 GB)
Biographical Note:
Dorr Bothwell (1902-2000) worked primarily in California as a painter, printmaker, and art instructor.

Doris Bothwell was born on May 3, 1902 in San Francisco, and later changed her first name to Dorr in order to more easily enter the art business. Bothwell began her art studies in 1916 with her parents' friend Anna Valentien, a student of Rodin. Between 1921 and 1922, she studied at the California School of Fine Art, and continued her studies at the University of Oregon at Eugene. After attending the Rudolph Schaeffer School of Design in 1924, she established her own studio in San Francisco from 1924 to 1927. Also during this time Bothwell, with eight other artists opened the Modern Gallery on Montgomery Street, mounting her first solo exhibition there in 1927.

Between 1928 and 1929, Bothwell traveled to American Samoa, where she created paintings and drawings, and documented tapa (barkcloth) drawings for the Bishop Museum of Honolulu. She then spent a year of study in Europe, returning to San Diego, California in 1931 and marrying sculptor Donal Hord. Four years later, they divorced and she moved to Los Angeles where she worked for the pottery manufacturer Gladding McBean, joined the post-surrealist group around Lorser Feitelson and Helen Lundeberg and opened the Bothwell-Cooke Gallery.

Between 1936 and 1939, Bothwell worked in the mural division of the Federal Arts Project of Los Angeles, and learned the art of serigraph printing. She designed dioramas and mechanized exhibitions for the Los Angeles County Museum. In 1940 she also created murals in the Manning Coffee Restaurant in San Francisco.

After teaching color and design at the California School of Fine Art in San Francisco from 1944 to 1948, Bothwell was awarded the Abraham Rosenberg Traveling Scholarship that financed study in Paris from 1949 to the fall of 1951. In 1952 she taught textile design for mass production at the Parsons School of Design in New York City.

Returning to San Francisco, Bothwell taught again at the California School of Fine Art from 1953 to 1958, and at the San Francisco Art Institute from 1959 to 1960. From 1960 to 1961 she took a sabbatical in England and France, creating paintings for an exhibition. In 1962 she was asked to teach at the new Mendocino Art Center and she taught there until 1983. She was also asked by Ansel Adams to teach design and composition for photographers at his Yosemite Workshop summer sessions, which she did from 1964 to 1977.

From 1966 to 1967, Bothwell documented indigo dying techniques, strip weaving, and pottery in Western Nigeria and Tunisia. In 1968, she published her book, co-authored with Marlys Frey, NOTAN The Principle of Dark-Light Design. The book was reissued in 1991. Bothwell continued her travels from 1970 to 1971, when she studied 12th century enamels in England, France, and Holland, and conducted a symposium, "Notan Design," for the London Educational Authority. In 1974, she traveled to Bali, Java, and Sumatra, making a slide documentary on batik, woodcarving, and folk design.

In 1977 Bothwell moved to Joshua Tree, California, from Mendocino in Northern California, but moved back and forth between the two studio/residences until 1992 when she moved to her last residence on the desert at Apache Junction, Arizona. From 1979 to 1980, she taught composition at the Victor School of Photography in Colorado and a design course at the Women's Art Guild in Kauai, Hawaii. Following a tour of China with a watercolor artists' group in 1982, Bothwell conducted workshops at the Mendocino Art Center. In 1985, she traveled to Japan.

Dorr Bothwell died on September 24, 2000 in Fort Bragg, California.
Provenance:
The Dorr Bothwell papers were donated in 1978 by the artist, and in 2002, 2009, and 2012 by the Dorr Bothwell Trust.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Muralists -- California  Search this
Painters -- California  Search this
Art teachers -- California  Search this
Printmakers -- California  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Artists' studios -- Photographs  Search this
Surrealism  Search this
World War, 1939-1945  Search this
Women muralists  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Citation:
Dorr Bothwell papers, 1900-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bothdorr
See more items in:
Dorr Bothwell papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ea68aa35-b63d-4c1e-a251-57c54f91e232
EDAN-URL:
ead_collection:sova-aaa-bothdorr

Dorothy Goldeen Gallery records

Creator:
Dorothy Goldeen Gallery (Santa Monica, Calif.)  Search this
Names:
Abakanowicz, Magdalena  Search this
Altoon, John, 1925-  Search this
Ben Tré, Howard, 1949-  Search this
Benton, Fletcher, 1931-  Search this
Bergman, Ciel, 1938-  Search this
Carnwath, Squeak, 1947-  Search this
Chihuly, Dale, 1941-  Search this
Cho, Tŏk-hyŏn, 1957-  Search this
De Forest, Roy, 1930-2007  Search this
Fasnacht, Heide, 1951-  Search this
Hudson, Robert, 1938-  Search this
La Noue, Terence  Search this
Lipski, Donald, 1947-  Search this
Paik, Nam June, 1932-2006  Search this
Paschke, Ed  Search this
Rath, Alan, 1959-  Search this
Raymond, Zizi, 1960-  Search this
Reinoso, Pablo, 1955-  Search this
Extent:
18.5 Linear feet
2.52 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Video recordings
Date:
1960-circa 2014
bulk 1987-1996
Summary:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.5 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials. There is a 2.3 linear foot unprocessed addition to this collection donated in 2021 that includes a business plan, 1987; exhibition announcements; website project files; travel files and notebooks; a rolodex; files on works of art, artists, exhibitions and the Dorothy Goldeen gallery and art advisory/ consulting; lecture notes; personal and professional business records; and a scrapbook containing printed material about the gallery, 1987-1989. Materials date from circa 1987-2013.
Scope and Contents:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.5 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials. There is a 2.3 linear foot unprocessed addition to this collection donated in 2021 that includes a business plan, 1987; exhibition announcements; website project files; travel files and notebooks; a rolodex; files on works of art, artists, exhibitions and the Dorothy Goldeen gallery and art advisory/ consulting; lecture notes; personal and professional business records; and a scrapbook containing printed material about the gallery, 1987-1989. Materials date from circa 1987-2013.

Correspondence is with artists, museums, galleries, and collectors regarding exhibitions, sales, and acquisitions of artwork. Administration records include appraisals, mailing lists, materials related to gallery events, a rolodex, and a list of artist contracts. Exhibition files are found for only a few of the gallery's exhibitions, including American Artists in Jewelry (1987), Private Reserve (1988), Fresh Visions 1 (1989), Fresh Visions 2 (1989), and Multiple Parts (1994).

There are extensive artists' files containing correspondence, printed and digital material, resumes, slides, and photographs documenting the gallery's relationship with and exhibitions of many prominent artists. These files also contain numerous audio and video recordings of interviews with artists, exhibitions, documentaries, and video art.

Financial and legal records mostly consist of sales records of artwork by various artists, in addition to materials on a lawsuit, a sublease for exhibition space, and a few invoices.

Printed materials include Dorothy Goldeen Gallery press releases, exhibition announcements, press reviews, newsletters, clippings, and one videocassette of a broadcast news program.

Photographic materials mostly consist of slides and transparencies of artwork by artists represented by the gallery. There are a few images of the gallery building.
Arrangement:
This collection is arranged as 8 series.

Missing Title

Series 1: Correspondence, 1979-2012 (1.1 linear feet; Box 1-2)

Series 2: Administration Records, circa 1987-circa 2010 (0.6 linear feet; Box 2)

Series 3: Exhibition Files, 1987-1995 (0.4 linear feet; Boxes 2-3)

Series 4: Artists' Files, 1961-2007 (12.1 linear feet; Boxes 3-14, OV 17-18, 2.52 GB; ER01-ER02)

Series 5: Financial and Legal Records, 1987-2005 (0.8 linear feet; Box 15)

Series 6: Printed Material, 1986-2014 (0.4 linear feet; Boxes 15-16)

Series 7: Photographic Material, 1960-2005 (0.8 linear feet; Box 16)

Series 8: Unprocessed Addition, circa 1987-2013 (2.3 linear feet; Boxes 19-21)
Biographical / Historical:
The Dorothy Goldeen Gallery (1987-1996) was an art gallery in Santa Monica, California, founded by Dorothy Goldeen.

Dorothy Goldeen graduated from the University of California, Berkeley, where she studied sculpture and textile design. In 1973, Goldeen began her career in the arts working in San Francisco, California at the Hansen Fuller Gallery which later became Fuller Goldeen Gallery.

In 1987, Goldeen moved to Los Angeles and founded the Dorothy Goldeen Gallery. Historically significant artists such as Magdalena Abakanowicz and Nam June Paik were represented by her gallery as well as influential, emerging Los Angeles artists. Other notable artists include Robert Arneson, Paul Kos, Ed Paschke, and Alan Rath.

In 1996, Goldeen closed her gallery and launched the Dorothy Goldeen Art Advisory in Santa Monica. Goldeen often travels internationally as an art consultant for private and institutional clients, advising them on the acquisition and resale of art.
Related Materials:
The Archives of American Art also has an oral history interview with Dorothy Goldeen conducted by Hunter Drohojowska-Philp in 2014.
Provenance:
The Dorothy Goldeen Gallery records were donated by Dorothy Goldeen to the Archives of American Art in 2003, 2014, and 2021.
Restrictions:
Boxes 19-21 are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
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:
Jewelry  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Interviews
Sound recordings
Video recordings
Citation:
Dorothy Goldeen Gallery Records, 1960-circa 2014, bulk 1987-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dorogolg
See more items in:
Dorothy Goldeen Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cb98cfb9-219a-4751-a22f-9ab3a05343ab
EDAN-URL:
ead_collection:sova-aaa-dorogolg
Online Media:

Rudolph Schaeffer papers

Creator:
Schaeffer, Rudolph  Search this
Names:
East & West Gallery (San Francisco, Calif.)  Search this
Rudolph Schaeffer School of Design  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976 -- Photographs  Search this
Frey, Caroline  Search this
Frey, Fred  Search this
Tobey, Mark  Search this
Wright, Frank Lloyd, 1867-1959 -- Photographs  Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Diaries
Christmas cards
Designs
Interviews
Sketchbooks
Sketches
Sound recordings
Transcripts
Place:
Japan -- Description and Travel
Date:
1880s-1997
Summary:
The collection measures 13.3 linear feet, dates from the 1880s-1997 and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.
Scope and Content Note:
The collection measures 13.3 linear feet, dates from the 1880s-1997, and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.

Correspondence documents Schaeffer's personal and professional activities as well as the Rudolph Schaeffer School of Design. Subject files contain various combinations of correspondence, photographs, printed material, and drawings reflecting Schaeffer's activities, projects, and interests. Within the subject files is correspondence with artists, including Mark Tobey. Extensive writings include manuscripts for published and unpublished articles and drafts, notes, and manuscripts of several unpublished books including Collected Lectures of Rudolph Schaeffer on Color and Design, Color and Design, Prismatic Color Theory, and Rhythmo-Chromatics, all undated. Diaries include a volume recording Schaeffer's 1936 trip to Japan. 42 volumes of journals, compiled between 1954 and 1987, contain entries on a wide range of subjects including lists of errands, invitation lists, class notes, drafts of letters, notes including staff assignments and staff meetings, autobiographical notes and reminiscences, and musings on religion and philosophy.

The Artwork series houses artwork by Schaeffer and his students. Found are hand-made Christmas cards, designs, sketches, and sketchbooks. Seven scrapbooks document Rudolph Schaeffer's career, his school and former students, and the San Francisco art scene. They contain printed material, photographs, letters, and a small amount of artwork. Volume 3 is devoted to East West Gallery, and volume 7 documents Rudolph Schaeffer's 90th Birthday and the 50th Anniversary of the Rudolph Schaeffer School of Design.

Most untranscribed sound recordings (audio cassettes and reels) are of lectures by Schaeffer and others delivered at the Rudolph Schaeffer School of Design.

Miscellaneous records includes a series of hand-baticked fabric samples from the Wiener Werkstatte, as well as transcripts of an oral history with Schaeffer and other interviews.

Printed material concerns the career of Rudolph Schaeffer, his school and former students, the San Francisco art scene, and general art topics. Included are articles and a book by Schaeffer, catalogs and other items produced by the Rudolph Schaeffer School of Design, and miscellaneous items about or mentioning Schaeffer and his school. Items of note are announcements of courses taught by Schaeffer in Piedmont and San Francisco prior to the opening of his school, and theatre programs from productions with sets and some costumes designed by Schaeffer in the early 1920s.

Photographs are of artwork, people, places, events, stage designs, and miscellaneous subjects. Artwork includes some designs by Rudolph Schaeffer; people include Schaeffer, his family, friends, and students. Of particular note are a photograph of Frank Lloyd Wright's visit to the Rudolph Schaeffer School of Design, and one of Rudolph Schaeffer and Imogen Cunningham. Places include interior and exterior views of the Rudolph Schaeffer School of Design at its St. Anne Street and Mariposa Street locations. Also included are photographs by Ansel Adams of the home of Ed and Caroline Fey.
Arrangement:
The collection is arranged as 10 series:

Missing Title

Series 1: Biographical Information, 1900-1988 (Box 1; 0.1 linear ft.)

Series 2: Correspondence, 1906-1989 (Box 1, 19; 0.5 linear ft.)

Series 3: Subject Files, 1907-1988 (Boxes 1-2, OV 16; 1.3 linear ft.)

Series 4: Writings, circa 1910-1987 (Boxes 2-6, 15, 19, 21; 4.2 linear ft.)

Series 5: Artwork, 1911-1957 (Boxes 6-15, 19, 21 OV 17; 0.6 linear ft.)

Series 6: Scrapbooks, 1933-1976 (Boxes 6, 14, 19; 0.6 linear ft.)

Series 7: Sound Recordings, 1949-1986 (Boxes 11-13; 1.2 linear ft.)

Series 8: Miscellaneous Records, 1905-1986 (Box 7, 19, 22; 0.8 linear ft.)

Series 9: Printed Material, 1906-1994 (Boxes 7-8, 15, 19, 22; 1.2 linear ft.)

Series 10: Photographs, 1880s-circa 1988 (Boxes 8-10,15, 20, 22, OV 18; 1.8 linear ft.)
Biographical Note:
Rudolph Schaeffer (1886-1988), a proponent of the Arts and Crafts movement, aspired to unite technology, science, and lifestyle in order to live in harmony with nature. An individual with many talents and interests, he was best known for his work in the field of color study and as a teacher and the founder of the Rudolph Schaeffer School of Design in San Francisco.

Born on a farm in Clare, Michigan in 1886, Rudolph Schaeffer displayed musical and artistic talent from a young age. Although he initially wanted to become a professional musician, he began focusing more on art when his musical abilities were compromised by an improperly set broken wrist. Schaeffer received his first formal art training as a high school student and then attended the Thomas Normal Training School in Detroit, where he studied music, art, and design. He continued studying independently, developing interests in calligraphy and metal craft.

In 1907, Schaeffer taught manual training courses in the Columbus, Ohio, public schools. The following summer he traveled to Paris and London. While in London he saw an exhibition of Josef Hoffman's modern interiors that had a great impact on his own design ideas. He then returned to Michigan and taught in schools close to home. In 1909, Schaeffer attended a design course in Minneapolis taught by A. E. Batchelder, director of Throop Polytechnic Institute in Pasadena. Both Batchelder and his course were strong influences on Schaeffer, as was Ralph Johnot, a proponent of Arthur Wesley Dow's design principles. In 1910 Schaeffer joined the faculty of Throop Polytechnic Institute, where he remained for five years.

The U. S. Commission on Education selected Schaeffer to be part of a delegation of twenty-five American teachers sent to Munich for several months in 1914 to investigate the exemplary industrial design curriculum offered in their secondary schools. Schaeffer subsequently expected to begin teaching at the Manual Arts High School in Los Angeles at the start of the 1914 school year, but World War I erupted while he was in Germany and his return to the United States was delayed so long that another teacher had to be hired to fill his place.

In 1915 Schaeffer was a manual training instructor at the California College of Arts and Crafts (formerly the Hopkins School), and taught design and metal crafts at the University of California Berkeley. For a number of years afterwards, he did free lance design work, taught private classes, and ran a small summer school in his Piedmont studio. Schaeffer was a visiting professor at Stanford University in 1918 when he was drafted and sent to drafting and surveying courses by the Army. Between 1917 and 1924 Schaeffer was on the faculty of the California College of Arts and Crafts where he taught design, color, handicrafts, and interior design. During this period he developed a new approach to teaching color and design based on the prismatic color wheel.

During the early 1920s Schaeffer worked as a set designer and as Art Director of Greek Theatre at the University of California at Berkeley, Schaeffer began applying prismatic color theory to set and costume design. He also designed sets for productions in Detroit. In 1925, Schaeffer saw the Paris Exposition and researched interior and stage design while in France.

The Rudolph Schaeffer School of Design which, in its early days was called the Rudolph Schaeffer School of Rhythmo-Chromatic Design, opened on St. Anne Street in San Francisco's Chinatown in 1926. In 1951 the school then moved to Union Street on Telegraph Hill where it remained for nearly a decade. In 1960, the school purchased a former boys' school on Mariposa Street, Portero Hill. Rudolph Schaeffer lived in a small cottage built for him at the rear of the property where he designed and tended a remarkable "Peace Garden."

The Rudolph Schaeffer School of Design was best known for its courses in color and interior design. Schaeffer was the first person in the United States to teach prismatic color theory, is credited with being the first to use the term "interior design" rather than "interior decoration" and the first to incorporate the use of models into interior design coursework. In 1959 the school's courses were expanded from 2 to 3-year programs and a diploma was awarded. Former students include many successful interior designers, textile designers, furniture designers, industrial designers, commercial artists, color consultants, teachers, and master flower arrangers.

In addition to the interior design and color diploma courses, the school offered a summer session, classes for children, a brief lecture series for the general public, and a wide variety of classes including advertising art, architecture and design, art history, art in public schools, calligraphy, color design, color for television, color for weavers, color theory, design, drawing, environmental aesthetics, fashion design, fashion illustration, flower arrangement, industrial design, interior design, Notan, sculpture, space planning, textile design, and weaving. Always struggling financially and sometimes lacking adequate enrollment, the school nevertheless managed to stay open for nearly 60 years. In 1984, the Board of Directors voted to remove Schaeffer from the board and close the school. Two years earlier the board had forced Schaeffer to retire, appointed him Director Emeritus, and brought in a new director charged with making the institution financially solvent, reorganizing the curriculum, and working toward accreditation. Unable to separate himself from the school (though he had done so legally when it was incorporated in 1953), Schaeffer balked and refused to cooperate with plans for revitalizing the institution.

One of the aims of the Rudolph Schaeffer School of Design was to interpret Asian esthetic principles. To this end the East West Gallery was established at the school in 1950. A membership organization, it offered exhibitions, lectures, concerts, and other programs that encouraged cultural integration. Exhibitions alternated between East (Asian art and artifacts from Rudolph Schaeffer's collection or other sources) and West (student work or work of local artists illustrating the influence of the Asian esthetic on contemporary art and design). East West Gallery was a membership organization, the first space of its kind in San Francisco for Asian art and operated in each of the school's locations.

In addition to running the school Schaeffer was involved in many other activities. He wrote several articles about flower arrangement, color, and color theory that were published in popular magazines. In 1935, he published Flower Arrangement Folio I (said to be the first on the subject published in this country) and in 1942 edited and wrote the introduction to Sunset's Flower Arrangement Book by Nell True Welch. Over a period of many years, he worked on several monographs on color, design, and "rhythmo-chromatics." None were ever published.

A sought-after speaker on the subjects of color, interior design, flower arrangement, and myriad other art topics, Schaeffer frequently served as a juror for art exhibitions and flower shows. From the 1930s on, the San Francisco department store Emporium used his services as a color consultant, as did Dutch Boy paints, and numerous textile and clothing manufacturers. Builders also asked Schaeffer to select interior and exterior colors for suburban housing developments.

Schaeffer worked on planning and designing the decorative arts exhibition at the 1939-40 Golden Gate International Exposition. In 1943-44, he participated in the Red Cross's Arts and Skills program, using color therapy with shell-shocked soldiers in a psychiatric unit.

The Rudolph Schaeffer Collection of Asian Art began as a collection of ceramics, both historical and contemporary examples chosen for their form and color, which he used for flower arrangements and in set-ups for still life classes. It soon expanded to include color prints, paintings, screens, and other works of art and portions were exhibited frequently in the East West Gallery. Selections from this collection were exhibited in Kansas City in 1960 and at the Asian Art Museum of San Francisco in 1976.

The City of San Francisco declared June 26, 1986, Schaeffer's 100th birthday, "Rudolph Schaeffer Day" and it was observed with great fanfare. He died at home on March 5, 1988, a few months before his 102nd birthday.
Provenance:
The Rudolph Schaeffer papers were donated in 1991 by Rudolph Schaeffer and the Rudolph Schaeffer School of Design administrator Peter Docili, and in 1999 and 2000 by James Alexander, a friend of both Schaeffer and Docili, who had been storing portions of Docili's estate after his death in 1998, with the assistance of Frances Valesco, a fiber artist and researcher. An addition was received in 2007 by William Woodworth, a close friend and caretaker of Schaeffer's and in 2017 and 2018 by Frances Valesco.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- San Francisco  Search this
Topic:
Artists -- California -- San Francisco  Search this
Designers -- California -- San Francisco  Search this
Art -- Collectors and collecting -- California -- San Francisco  Search this
Art, Asian  Search this
Art -- Study and teaching  Search this
Artists -- California -- San Francisco  Search this
Authors -- California -- San Francisco  Search this
Color -- Study and teaching  Search this
Genre/Form:
Photographs
Scrapbooks
Diaries
Christmas cards
Designs
Interviews
Sketchbooks
Sketches
Sound recordings
Transcripts
Citation:
Rudolph Schaeffer papers, 1880s-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.scharudo
See more items in:
Rudolph Schaeffer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e577bb5b-7a69-4e35-a266-06d309085a6a
EDAN-URL:
ead_collection:sova-aaa-scharudo

Dorothy Liebes papers

Creator:
Liebes, Dorothy  Search this
Names:
Bigelow-Sanford Carpet Company  Search this
E.I. du Pont de Nemours & Company. Textile Fibers Department  Search this
Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this
Morin, Relman, 1907-1973  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
24.7 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Scrapbooks
Diaries
Drawings
Interviews
Date:
circa 1850-1973
bulk 1922-1970
Summary:
The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.
Scope and Content Note:
The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.

Biographical material consists of awards, biographical notes, membership and identification cards, passports, a will, and a sound recording of a 1945 interview with Liebes.

Correspondence is personal with family and friends, and general with friends and colleagues including artists, and fellow weavers and designers. Notable correspondents include Dorr Bothwell, Daren Pierce, Beatrice Wood, and Frank and Olgivanna Lloyd Wright.

Diaries and calendars record Liebes's busy professional and personal life, with notations on daily activities and, beginning in 1952, detailed notes by staff recording activities at the studio on days when Liebes was absent.

Writings by Dorothy Liebes include notes, drafts, and manuscripts of published and unpublished writings, including an autobiography, speeches, and drafts for an unpublished book on weaving.

Subject files contain correspondence, printed material, photographs, and miscellaneous items in varying combinations, and focus heavily on Liebes's consulting work for businesses in the textile industry, including her work with DuPont, Bigelow-Sanford, Goodall, Dow, and others. The files document the importance of her work as a colorist and show how she successfully adapted craft weaving to machine methods. Furthermore, they record how Liebes used her marketing instincts and broad media appeal to rebrand the image of companies such as DuPont from one of chemistry and utility, to one that represented high style and glamor in durable and practical fabrics that were affordable and desirable in home furnishings. Other subject files document organizations, individuals, and topics of interest to Liebes, including files recording her involvement with arts and crafts organizations, her role as director for the Decorative Arts Display at the Golden Gate Exposition in 1939, her work as director of the Red Cross's Arts and Skills workshop, scattered exhibition records, and files on weavers and weaving. Files on Liebes's extensive promotional work for multiple clients are also included here, as are files documenting Liebes's relationship with Relman Morin, such as correspondence and scattered records of Morin's career as a Pullitzer Prize winning journalist.

Financial and legal records are comprised of accounting records from the 1930s-1940s, financial summaries, investment statements, personal and business inventories, personal and business tax returns, and some legal records.

Printed material includes advertisements, articles, and exhibition announcements and catalogs, recording Liebes's career. This material is supplemented by thirty-three bound scrapbooks of printed publicity material, photographs, and documents recording Liebes's career in substantial depth.

Artwork by Dorothy Liebes consists of designs, feather weavings, a small hooked composition, and tapestry samples. Artwork by others includes prints by Dorr Bothwell, designs by Lawrence J. Colwell, and painted sketches of clothing designs by Daren Pierce. Two linear feet of samples consist primarily of textile swatches primarily designed by Dorothy Liebes Studio, Inc.

Photographic material includes professional portraits of Liebes and others, photos of Liebes at events and parties, with staff and other weavers, at work in her studio, and traveling. Of note are a series of pictures taken at Taliesin West with Frank and Olgivanna Wright, Relman Morin, and others. Photographic material also provides examples of Liebes's design work in homes, hotels, offices, and elsewhere, and shows her work pictured in exhibitions and showrooms. Photographs of other subjects include portraits of unidentified women by Man Ray and Consuela Canaga.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, circa 1934-circa 1970 (Box 1, OV 23; 0.28 linear feet)

Series 2: Correspondence, 1922-1973 (Boxes 1-2; 1.5 linear feet)

Series 3: Diaries and Calendars, 1948-1971 (Boxes 2-4; 1.5 linear feet)

Series 4: Writings, 1920-circa 1971 (Boxes 4-5; 1.05 linear feet)

Series 5: Subject Files, circa 1933-1971 (Boxes 5-13, 20, OVs 23, 59; 8.43 linear feet)

Series 6: Financial and Legal Records, circa 1935-1972 (Box 13, 20; 0.6 linear feet)

Series 7: Printed Material, 1897-1971 (Boxes 14, 20-21, OV 38; 1.1 linear feet)

Series 8: Scrapbooks, 1933-1972 (Box 21-22, 24-36; 5 linear feet)

Series 9: Artwork, circa 1920s-circa 1960s (Boxes 14, 22, OVs 23, 39, 42, RD 37; 1.24 linear feet)

Series 10: Samples, circa 1850-1855, circa 1930s-circa 1970 (Boxes 15-16; 2.0 linear feet)

Series 11: Photographic Material, circa 1875, circa 1897-circa 1970 (Boxes 17-19, 36, OVs 38, 40-41; 2.0 linear feet)
Biographical Note:
California and New York weaver, textile designer, and consultant Dorothy Wright Liebes (1899-1972) was known for distinctive textiles featuring bold color combinations and unusual textures achieved through the use of materials such as glass rods, sequins, bamboo, grass, leather, ribbon, wire, and ticker tape. Her work with companies in the synthetic fiber industry to make craft weaving compatible with man-made fabrics and machine looms, produced an innovative and exciting new aesthetic in interior design that was both functional and affordable, and made Liebes a mid-century household name.

Born Dorothy Wright in Santa Rosa, California, Liebes was the daughter of chemistry professor Frederick L. Wright and teacher Bessie Calderwood Wright. She studied art, education, and anthropology at San Jose State Teachers College and the University of California, Berkeley. During her college years, a teacher encouraged her to experiment with weaving and textile design since many of her paintings resembled textiles.

Liebes was a teacher for several years before deciding to pursue a career in textile design. She then studied weaving at Hull House in Chicago and traveled to France, Italy, Guatemala, and Mexico to learn the traditional weaving forms of those cultures. Upon her return to the United States, Liebes opened her first professional studio for weaving and textile design on Powell Street in San Francisco; Dorothy Liebes Design, Inc. was established in 1934, and eventually employed a staff of weavers. Liebes moved her studio to 545 Sutter Street in 1942.

Her first client in the industry was Goodall-Sanford Mills, with whom Liebes worked as a consultant for more than a decade. As her client base expanded, she decided to open a New York studio and maintained both studios until 1948 when she closed her San Francisco operation and relocated to New York City.

Liebes became a color and design consultant to corporations such as DuPont, Dow, and Bigelow-Sanford and tested and promoted newly developed synthetic fibers. She advised textile chemists in the development of fibers that were versatile enough to produce many different textures and worked with engineers and technicians to develop new machines that could reproduce the irregularities of hand-loomed fabrics. Liebes became a sought-after speaker by textile industry and consumer groups, and sometimes taught workshops on color and design.

Liebes's commissions included the United Nations Delegates Dining Room, the Persian Room at the Plaza Hotel and the King of Saudi Arabia's traveling royal throne room. Between 1937 and 1970, Liebes participated in more than thirty solo and group exhibitions at the San Francisco Museum of Art, Museum of Modern Art, de Young Museum, Cranbrook Museum, Detroit Institute of Art, Massachusetts Institute of Technology, Museum of Contemporary Crafts, and other venues. She received prizes and awards from institutions and corporations such as Lord and Taylor, Neiman-Marcus, the Paris Exposition, the American Institute of Decorators, the American Institute of Architects and the Architectural League. She was also awarded the Elsie de Wolfe Award and an honorary degree from Mills College in 1948.

Liebes's other notable activities included her work a director of the Decorative Arts Display for the 1939 San Francisco World's Fair, which she credited with establishing her as an authority in the field, and her work as organizer and director of "Arts and Skills," a Red Cross occupational therapy project that included training in weaving for soldiers injured in World War II. In the 1950s, she worked with the Bureau of Indian Affairs, journeying though the southwest to study Indian schools and weaving techniques.

Liebes was married to businessman Leon Liebes from 1928 until their divorce in 1940 and continued to use the name Liebes for the remainder of her life. In 1948, she married Pulitzer prize winning Associated Press special correspondent Relman "Pat" Morin.

During the last year of her life, Dorothy Liebes was semi-retired due to a heart ailment. She died in New York City on 10 September 1972.
Provenance:
Gift of the Estate of Dorothy Liebes through Relman Morin, 1972, and Ralph Higbee, 1973-1974.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Textile designers -- California -- San Francisco  Search this
Textile designers -- New York (State) -- New York  Search this
Weavers -- California -- San Francisco  Search this
Weavers -- New York (State) -- New York  Search this
Art consultants -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women textile designers  Search this
Genre/Form:
Sound recordings
Scrapbooks
Diaries
Drawings
Interviews
Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.liebdoro
See more items in:
Dorothy Liebes papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9512b8d71-3c95-4e72-96be-0af0437f2a5f
EDAN-URL:
ead_collection:sova-aaa-liebdoro
Online Media:

Trude Guermonprez: Breaking Boundaries with Design

Creator:
Cooper-Hewitt, National Design Museum  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Wed, 27 Apr 2022 18:31:10 +0000
Topic:
Design  Search this
See more posts:
Cooper Hewitt, Smithsonian Design Museum
Data Source:
Cooper-Hewitt, National Design Museum
EDAN-URL:
edanmdm:posts_7bdef1f352bfadefefcea5a91d5e8022

Oral history interview with Jack Lenor Larsen, 2004 February 6-8

Interviewee:
Larsen, Jack Lenor, 1927-2020  Search this
Larsen, Jack Lenor, 1927-2020  Search this
Interviewer:
Fisch, Arline M.  Search this
Subject:
Rossbach, Ed  Search this
Adamson, Glenn  Search this
University of Washington  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Textile crafts  Search this
Textile industry -- Japan  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)13092
(DSI-AAA_SIRISBib)247149
AAA_collcode_larsen04
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_247149
Online Media:

Dorothy W. Liebes, San Francisco, California letter to Elizabeth McCausland, New York, NY

Creator:
Liebes, Dorothy, 1899-1972  Search this
McCausland, Elizabeth, 1899-1965  Search this
Liebes, Dorothy, 1899-1972  Search this
Subject:
Liebes, Dorothy  Search this
Type:
Correspondence
Date:
1946 August 05
Topic:
Textile design  Search this
Textile industry  Search this
Record number:
(DSI-AAA)16577
See more items in:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16577

Dorothy Liebes papers, circa 1850-1973, bulk 1922-1970

Creator:
Liebes, Dorothy, 1899-1972  Search this
Liebes, Dorothy, 1899-1972  Search this
Subject:
Morin, Relman  Search this
Wright, Frank Lloyd  Search this
Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this
Bigelow-Sanford Carpet Company  Search this
E.I. du Pont de Nemours & Company. Textile Fibers Department  Search this
Type:
Sound recordings
Scrapbooks
Diaries
Drawings
Interviews
Topic:
Women artists  Search this
Women textile designers  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Craft  Search this
Record number:
(DSI-AAA_CollID)9143
(DSI-AAA_SIRISBib)211337
AAA_collcode_liebdoro
Theme:
Women
Lives of American Artists
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211337
Online Media:

Trude Guermonprez collection

Creator:
Guermonprez, Trude, 1910-1976  Search this
Names:
Akron Art Institute  Search this
American Crafts Council. Museum of Contemporary Crafts  Search this
American Institute of Architects  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
California College of Arts and Crafts  Search this
Cooper-Hewitt Design Archive  Search this
Holland Amerika Lijn  Search this
Johnson Wax -- Art collections  Search this
Municipal School of Arts and Crafts (Halle an der Saale, Germany)  Search this
Oakland Art Museum  Search this
Owens-Corning Fiberglas Corporation  Search this
Pasadena Art Museum  Search this
Pond Farm Workshop  Search this
San Francisco Folk Art Museum  Search this
Staatliche Galerie Moritzburg Halle, Landeskunstmuseum Sachsen-Anhalt  Search this
Guermonprez, Paul.  Search this
Guermonprez, Trude, 1910-1976  Search this
Herr, Gordon.  Search this
Herr, Jane.  Search this
Larson, Jack Lenor.  Search this
Mendelsohn, Erich, 1887-1953  Search this
Oud, J. J. P. (Jacobus Johannes Pieter), 1890-1963  Search this
Wildenhain, Frans, 1905-1980  Search this
Wildenhain, Marguerite  Search this
Extent:
3 Boxes
Type:
Collection descriptions
Archival materials
Posters
Patterns (design elements)
Designs (textile)
Blueprints
Awards
Proposals
Postcards
Announcements
Brochures
Photographs
Exhibition catalogs
Slides (photographs)
Journals (periodicals)
Clippings
Financial records
Lecture notes
Articles
Business cards
Correspondence
Textiles
Sketches
Date:
1950-1976
Summary:
This archive includes interesting documents related to Trude Guermonprez's life and work as a weaver. The archives are especially related to the designer's work for her major clients, like Holland America Line and Owens Corning Fiberglass; other pieces in this archive are related to Guermonprez's work for custom curtains made for major synagogues and her designs, interior fabrics, screens and rugs realized in conjunction with J.P. Oud, Architects Associated, New York; Eric Mendelsohn, Warren Callister, etc. The correspondence and the photographs in this collection provide insight into the designer's private life. Included in this collection are press articles, brochures, correspondence, postcards, photographs, color slides, notebooks, textiles, and textile wood patterns.
Arrangement note:
Unprocessed; Included in this collection are press articles, brochures, correspondence, postcards, photographs, color slides, notebooks, textiles, and textile wood patterns.
Biographical/Historical note:
Trude Guermonprez is an experienced weaver as well as a designer, artist, craftsman and teacher. She has executed architectural commissions and has done interior design for industry. Her work is of great variety in character and form. Guermonprez started weaving in Halle, Germany at the Municipal School of Arts and Crafts. Six years of weaving in a Dutch rug shop preceded her coming to America, at the invitation of Anni Albers, to teach at Black Mountain College, and later to northern California to join her friend Marguerite Wildenhain, at Pond Farm Workshops in a producing-teaching cooperative. She served as Chairman of the Craft Department at The California College of Arts and Crafts. Though she designed fabrics for New York textile manufacturers, her works were mainly custom produced for architects and individuals. In 1970 she was honored the Craftsmanship Medal from the American Institute of Architects.

Guermonprez published works in Art and Architecture, 1949; Shuttlecraft Weaving Magazine, 1957; and Research in Crafts, 1961.

She also participated in the following exhibitions: de Young Museum; American Wallhangings, London; Oakland Art Museum; Pasadena Art Museum; U.S. Information Agency State Department Show, traveling Europe exhibition; "Craftsmen of the West", "Fabrics International" and "10 American Weavers" at the Victoria and Albert Museum in London. In 2000 at Staatliche Galerie Moritzburg Halle Landeskunstmuseum, Halle (Salle), Germany: "From Bauhaus to the Pacific: The Impact of Emigration on Marguerite Wildenhain and Trude Guermonprez".
Location of Other Archival Materials Note:
The North Carolina State Archives web site has material in its collection related to Guermonprez as a teacher and artist-in-residence at Black Mountain College.
The Archives of American Art hasoral history interviews of Merry Renk conducted 2001 Jan. 18-19 by Arline M. Fisch for Nanette L. Laitman's, Documentation Project for Craft and Decorative Arts in America. Guermonprez is only mentioned.
Provenance:
All materials were donated to the museum by Mr. Eric and Mrs. Sylvia Elsesser in 1993.
Restrictions:
Unprocessed; access is limited. Permission of Library Director required. Policy.
Occupation:
Textile designers -- United States  Search this
Weavers -- United States  Search this
Topic:
Weaving -- History -- 20th century -- Sources  Search this
Genre/Form:
Posters
Patterns (design elements)
Designs (textile)
Blueprints
Awards
Proposals
Postcards
Announcements
Brochures
Photographs
Exhibition catalogs
Slides (photographs)
Journals (periodicals)
Clippings
Financial records
Lecture notes
Articles
Business cards
Correspondence
Textiles
Sketches
Identifier:
SIL-CH.1993-121-118
Archival Repository:
Smithsonian Libraries
GUID:
https://n2t.net/ark:/65665/sc247b57727-0a2f-4aea-bd90-1520aa2ca039
EDAN-URL:
ead_collection:sova-sil-ch-1993-121-118

Modify Your Search







or


Narrow By