Papers documenting Stryker's career as the head of the Farm Security Administration's photographic section, including correspondence with John Collier, Jack Delano, Walker Evans, Dorothea Lange, Russell Lee, Edwin Locke, Arthur Rothstein, John Vachon, Marion Post Wolcott and others; reports; articles on Stryker and the FSA; publications; speeches; photographs and miscellaneous materials.
Biographical / Historical:
Director of the Farm Security Administration Historical Section; Washington, D.C. Under Stryker the Photographic project of the FSA documented the drought, poverty and despair of rural and urban America during the Depression.
Provenance:
Papers lent for microfilming 1963-1966 by Roy Stryker.
United States -- Social conditions -- 1933-1945 -- New Mexico
Date:
[undated] and 1914-1970
Scope and Contents:
Correspondence with John Sloan and others, writings, poems, original art works, scrapbooks, photographs, and Shuster's own descriptions of his work.
Reel NDA 3: Instructions, releases, speeches, manuscripts notes, photographs of Shuster's PWAP murals in New Mexico; and a typescript of a comedy written by Shuster.
Reels 169-177: 400 letters, 1917-1968, including correspondence with Robert Henri, Edgar Varese, John S. Velie, Walter Karig, and family members. Other materials consist of diaries, 1918, 1928, 1933-1934, 1937-1962, and 1964-1969; photographs of Shuster, family, and friends, and his work; original drawings, watercolors, oils and etchings; sketchbooks; poems, lectures, and stories by Shuster; a record of his works; scrapbooks, 1920-1928, 1923-1935, and 1935-1963; and material relating to John Sloan, who was Shuster's close friend and his teacher in 1920.
Reel 277: Materials relating to John Sloan, including letters from him 1922-1951; notes by Winifield Townley Scott recording conversations with Helen Shuster and Mrs. Sloan after Sloan's death and commenting on Sloan's work, tributes by Oliver LaFarge and others, and clippings. Additional correspondents are John Sheridan, Robert Henri, Warren Wheelock, Willard Nash, and the Veterans Administration, concerning Shuster's medical disability after having his lungs damaged by poisoned gas during the World War, 1914-1918. Also included are poems by Shuster, 1925-1939, and other Santa Fe residents, including Scott; and correspondence and printed material relating to Shuster's participation in various Santa Fe festivals.
Reel 4283: Five letters from Sloan to Shuster. Three letters are illustrated and contain detailed instructions and advice on etching technique. A fourth letter, dated Jan 2, 1922, includes a recipe for gesso preparation and an offer from Sloan to pay Shuster's entry fee to "show in the Independents." Sloan in his two page letter, dated January 3, 1947, comments on the pace of his work; his participation in a "Mr. & Mrs. Exhibition" at the Laurel Gallery; a production of Eugene O'Neill's "The Ice Man Cometh"; and the Whitney Annual.
Arrangement:
Letters arranged chronologically.
Biographical / Historical:
Painter, printmaker, and writer active in Santa Fe, N.M.; b. 1893; d. 1969
Provenance:
The material borrowed from Will Shuster in October 1964 (reel NDA 3) was part of a project of AAA to document New Deal art projects throughout the U.S. The bulk of the Will Shuster papers (reels 169-177, 277) were lent by his widow, Selma Dingee Shuster. Five letters from John Sloan (Reel 4283) were lent in 1989 by her estate.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United States -- Politics and government -- 1933-1945
United States -- Social conditions -- 1933-1945
Date:
1902-1960
bulk 1932-1942
Summary:
The Edward Bruce papers measure 8.9 linear feet and date from 1902 to 1960, with the bulk of the material dating from 1932 to 1942. The collection documents Bruce's work as an artist, art collector, exhibition juror, and federal government art administrator, particularly his tenure as Director of the U. S. Treasury Department's Section of Fine Arts. Well over one-half of the collection consists of extensive correspondence with artists, art collectors and dealers, arts associations, galleries, and government officials, including President and Mrs. Franklin D. Roosevelt.
Scope and Content Note:
The Edward Bruce papers measure 8.9 linear feet and date from 1902 to 1960, with the bulk of the material dating from 1932 to 1942. The collection documents Bruce's work as an artist, art collector, exhibition juror, and federal government art administrator, particularly his tenure as Director of the U. S. Treasury Department's Section of Fine Arts. Well over one-half of the collection consists of extensive correspondence with many notable artists and government officials. Also found is scattered biographical material, office diaries and speeches, personal financial material, printed material, four scrapbooks, and photographs.
A small amount of biographical material includes birth records and many awards and certificates. Bruce's correspondence files comprise over half of this collection, containing correspondence with family, friends, artists, art organizations, political figures, museums, art galleries, and government agencies. Found within the files is extensive correspondence with friend and art critic Leo Stein and artist friend Maurice Sterne. Additional artists Bruce corresponded with include George Biddle, Adrian Dornbush, and Olin Dows. Also included is correspondence documenting his career as Chief of the Treasury Department's Section of Fine Arts with government colleagues and officials, much of it concerning his role on various federal arts committees, including the Commission of Fine Arts. There is also extensive correspondence with Franklin and Eleanor Roosevelt concerning federal and public art projects.
Writings include office diaries and notebooks containing notes, addresses, lists of Section of Fine Arts projects, and dated work entries. There are copies of numerous written speeches given by Bruce on the importance of art, public art projects, and political issues. Financial material consists of a small number of items documenting Bruce's financial activity such as tax and insurance records, bills, a cash book, and house leases. Printed material documents Edward Bruce's career as an artist and federal arts projects and programs. Found are news clippings and magazine articles, exhibition catalogs, brochures, bulletins from the Section of Fine Arts, published speeches, and miscellaneous publications. Four scrapbooks contain news clippings, letters, photographs, and other printed material highlighting Bruce's career.
Extensive photographs include photographs of Bruce's artwork, portraits of Bruce, the Bruces with family and with friends and at many special events, including an NBC radio broadcast and at an exhibition with Eleanor Roosevelt. There are also photographs taken by Bruce during his travels and while living in Anticoli Carrado, Italy.
Arrangement:
The Edward Bruce collection is arranged into 7 series:
Missing Title
Series 1: Biographical Material, circa 1904-1938 (Box 1, OV 11; 3 folders)
Series 2: Correspondence, circa 1921-1957 (Boxes 1-6; 5.5 linear feet)
Series 3: Writings, circa 1931-1942 (Box 6; 0.3 linear feet)
Series 4: Financial Material, circa 1909-1913, circa 1928-1943(Box 6, 0.3 linear feet)
Series 5: Printed Material, circa 1919, circa 1926-1943, 1960 (Box 7, 0.5 linear feet)
Series 6: Scrapbooks, 1922-1941 (Box 7-8; 0.8 linear feet)
Series 7: Photographs, circa 1902-1943 (Box 7, 9-10; 1.0 linear foot)
Although the collection no longer matches the exact filmed order, large groups of materials have been maintained in film order, particularly the correspondence. Microfilm reel and frame number notations are provided at the folder level when known.
Biographical Note:
Edward Bruce was born in 1879 in Dover Plains, New York. Though he enjoyed painting at a young age, he pursued a career in law and graduated from Columbia Law School in 1904. He practiced law in New York and in Manila, Philippines and was actively involved in international issues. He became president of the Pacific Development Corporation of California, was a lobbyist for the Philippine Independence Bill, and, in 1933, attended the London Economic Conference as a silver expert.
In 1923 Bruce gave up his career in law and business and began to paint, particularly landscapes. He and his wife Peggy spent the next six years in Anticoli Carrado, Italy where he studied painting from his friend and fellow artist Maurice Sterne. Bruce returned to the United States in 1929 and settled in California, exhibiting his artwork to much public and critical praise. In addition, Bruce was an avid collector of Chinese art.
In 1933 Bruce was appointed Chief of the newly established Public Works of Art Project, a federal government New Deal program within the U.S. Treasury Department, that employed artists to decorate numerous public buildings and parks. Though this federal program lasted less than a year, Bruce worked with Secretary of the Treasury Henry Morgenthau, Jr., to establish the Treasury Department's Section of Painting and Sculpture in 1934 - later renamed the Section of Fine Arts in 1938. Bruce was appointed Director of the department and played a primary role in securing federal government support for American artists. In 1940 he was appointed to the Commission of Fine Arts by President Franklin Delano Roosevelt.
Bruce received many honors and awards during his lifetime both for his work as an artist and for his capable and dedicated administration of federal arts programs. Despite poor health, he continued his work for the Section of Fine Arts until shortly before his death in 1943.
Related Material:
Other resources in the Archives relating to Edward Bruce include an oral history interview with Margaret (Peggy) Bruce on October 11, 1963 conducted by Harlan Phillips. Miscellaneous Manuscript Collections include one file of material, 1933-1960, concerning Edward Bruce that was donated by the U.S. General Services Administration in 1986 and microfilmed on reel 3960.
Also available at the Archives are two collections of records loaned by the U.S. National Archives from their Public Buildings Administration records and the records of the Public Works of Art Project for microfilming by the Archives. Microfilm reels DC1-DC 13 and DC116-DC128 contain Edward Bruce's files and correspondence, respectively.
Separated Material:
A book Art in Federal Buildings by Forbes Watson and Edward Bruce was donated to AAA with Bruce's papers and microfilmed with the rest of collection on Microfilm Reel D91-D92, and then transferred to the Smithsonian American Art Museum Library.
Provenance:
The Edward Bruce papers were donated by Margaret (Peggy) Bruce, Edward Bruce's wife, in 1962. Additional printed material, financial records, and photographs of artwork were donated by Mrs. Bruce's niece, Maria Ealand in 1979.
Restrictions:
The collection is open for research. The collection is partially microfilmed. Use of material not microfilmed 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.
Correspondence of Roosevelt, Edward Bruce, Nelson Rockefeller, Hopkins, George Biddle, William Zorach, Olin Dows, Rockwell Kent and others regarding the Public Works of Art Project, the Federal Theater Project, and the Federal Art Project; reports on regional Federal Art Project offices in Florida, Massachusetts, North Carolina and Pennsylvania; shipping receipts for works of art; clippings; photographs of works of art; correspondence between White House staff and members of the American Institute of Architects concerning federal architecture, 1934; correspondence of Edgar Chambless regarding his urban design, "Roadtown"; and miscellaneous correspondence.
Biographical / Historical:
President of the United States of America, 1933-1945. Instituted the Works Progress Administration (WPA) and its programs. Harry L. Hopkins was the Director of the WPA. The Federal Art Project was one of five projects in Federal Project No. 1 of the WPA. Holger Cahill was director.
Provenance:
The Franklin D. Roosevelt Library donated the microfilm copies of these papers to AAA in 1982. The microfilming was done by the donor.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Franklin D. Roosevelt Library, Hyde Park N.Y. 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.
United States. Work Projects Administration Search this
United States. Works Progress Administration Search this
Extent:
4.4 Linear feet ((on 12 microfilm reels))
Type:
Collection descriptions
Archival materials
Place:
United States -- Economic conditions -- 1918-1945
United States -- Social conditions -- 1933-1945
Date:
1935-1942
Scope and Contents:
Records documenting activities of the Survey to inventory portraits in America done before 1860 in the states of Connecticut, Maine, Massachusetts, New Hampshire, New York, Rhode Island, and Vermont.
Included are research documents; correspondence; interoffice memoranda; survey manuals; press releases; clippings; photographs of works of art; short biographies of sitters and artists; ca. 15,000 of the original survey cards; first drafts of checklists and catalogs; and lists of portraits received too late to be included in the final version of the catalog.
Biographical / Historical:
The Historical Records Survey (HRS) had its origins in the Federal Emergency Relief Administration and the Civil Works Administration. In 1935 it came under the auspices of the Works Progress Administration Federal Writers' Project and eventually was designated as an independent program under Federal Project No. One. The projects, ideally suited for white collar workers, employed individuals to survey, classify and collect historical records. One program of the HRS was to document American portraits (sculpture, prints and paintings) done before 1860.
Provenance:
Lent for microfilming by the Massachusetts State Library, A. Hunter Rineer, State Librarian, Boston, Mass., 1977.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United Office and Professional Workers of America Search this
Extent:
340 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Place:
United States -- Economic conditions -- 1918-1945 -- New York (N.Y.)
United States -- Social conditions -- 1933-1945 -- New York (N.Y.)
Date:
1937-1941
Scope and Contents:
Correspondence; mimeographed letters; bulletins; pamphlets; press releases; form letters; minutes; newsletters; and other printed materials relating to artists's organizations and unions in New York City, particularly United American Artists, United Office and Professional Workers of America, and the Federal Art Project.
Biographical / Historical:
Painter, printmaker; Queens, New York. Graham appears to have been involved as an activist for greater federal support for the arts. She painted for the Federal Art Project.
Provenance:
The relation of the lender, Lew Greenfield, to F. Wynn Graham is uncertain.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Topic:
Art and state -- New York (State) -- New York Search this
United States -- Economic conditions -- 1918-1945 -- California -- San Francisco
United States -- Social conditions -- 1933-1945 -- California -- San Francisco
Date:
1934-1964
Scope and Contents:
Miscellaneous correspondence of Walter Heil, regional director of PWAP, 1934; form letters from Edward Bruce, national director; and a typescript reminiscence of the PWAP and a letter from Ray Strong addressed to Mary McChesney and dated 1964.[Microfilm title, "Ray Strong"]
Biographical / Historical:
Federally funded art project of the Treasury Department initiated in order to provide jobs for unemployed artists during the Depression. Under the PWAP the country was divided into 16 regions each of which had its own director who answered to the national director in Washington, D.C. The PWAP was succeeded by the Section of Painting and Sculpture, which subsequently became the Section of Fine Arts.
Provenance:
Lent for microfilming 1964 by the M.H. De Young Museum.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
New Deal, 1933-1939 -- California -- San Francisco Search this
Federal aid to the arts -- California -- San Francisco Search this
Federal aid to the public welfare -- California -- San Francisco Search this
Art and state -- California -- San Francisco Search this
United States. Dept. of the Treasury. Section of Fine Arts Search this
Milliken, William Mathewson, 1889-1978 Search this
Extent:
1 Linear foot ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Place:
United States -- Economic conditions -- 1918-1945
United States -- Social conditions -- 1933-1945
Date:
1933-1939
Scope and Contents:
Correspondence; financial reports; project reports and bulletins of the Public Works of Art Project; correspondence with William Milliken, Director of Region 9 of the PWAP, relating to the administration of PWAP and Treasury Relief Art Project; applications; work reports and letters from aritsts about their projects, analyses of their work in questionnaire format; minutes; photographs; clippings; and miscellaneous papers relating to Treasury Department art projects in Indiana.
Biographical / Historical:
Wilbur D. Peat (1898-1966) was the Divisional Manager of the Public Works of Art Project in Region 9, which included Ohio, Michigan, Indiana, and Kentucky. He was also the director of the John Herron Museum of Art in Indianapolis (later the Indianapolis Museum of Art), from 1929-1965.
Provenance:
Donated 1965 by Wilbur D. Peat.
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.
The papers of Holger Cahill (1887-1960) date from 1910 to 1993, with the bulk of the material dating from 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the Works Progress/Projects Administration's (WPA) Federal Art Project (FAP) in addition to series documenting his work as a writer and art critic. Material includes correspondence, reports, artist files, scrapbooks, printed material, and photographs.
Scope and Content Note:
The papers of Holger Cahill (1887-1960) date from 1910 to 1993, bulk 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the FAP in addition to series documenting his work as a writer and art critic. FAP records include national and state administrative reports, records of community art centers, photographic documentation of state activities, artist files, divisional records about teaching, crafts, murals, and poster work, files concerning the Index of American Design, scrapbooks, and printed material.
Arrangement:
The collection is arranged into nine series:
Missing Title
Series 1: Biographical Material and Personal Papers, 1931-1988 (Box 1; 19 folders)
Series 2: Correspondence Files, 1922-1979, 1993 (Boxes 1-2; 1.5 linear ft.)
Series 3: Works Progress Administration Federal Art Project, 1934-1970 (Boxes 2-14, 18, MMs009; 10.75 linear ft.)
Series 4: Writings, Lectures and Speeches, 1916-1960 (Boxes 14-15, 18; 1.0 linear ft.)
Series 5: Minutes of Meetings and Panel Discussions, Non-FAP, 1939-1947 (Box 15; 5 folders)
Series 6: Notes and Research Material, 1935-1970 (Boxes 15-16; 0.25 linear ft.)
Series 7: Artwork, undated (Boxes 16, 18; 2 folders)
Series 8: Printed Material, 1910-1985 (Boxes 16-17; 1.8 linear ft.)
Series 9: Photographs, circa 1917-1960 (Box 17; 6 folders)
Biographical Note:
Holger Cahill was born Sveinn Kristjan Bjarnarson in Iceland in a small valley near the Arctic Circle, on January 13, 1887. His parents, Bjorn Jonson and Vigdis Bjarnadottir, immigrated to the United States from Iceland sometime later in the 1880s. In 1904, his father deserted the family, forcing Sveinn to be separated from his mother and sister to work on a farm in North Dakota. He ran away and wandered from job to job until settling in an orphanage in western Canada, where he attended school and became a voracious reader.
As a young man, he worked at many different jobs and attended night school. While working on a freighter, he visited Hong Kong, beginning his life-long interest in the Orient. Returning to New York City, he eventually became a newspaper reporter, continued his studies at New York University, and changed his name to Edgar Holger Cahill. In 1919 he married Katherine Gridley of Detroit. Their daughter, Jane Ann, was born in 1922, but the couple divorced in 1927.
Cahill met John Sloan circa 1920, and they shared a residence. Cahill also wrote publicity (until 1928) for the Society of Independent Artists, through which he made many friends in the arts. From 1922 to 1931, he worked under John Cotton Dana at the Newark Museum, where he received his basic experience in museum work, organizing the first large exhibitions of folk art.
From 1932 to 1935, he was the director of exhibitions for the Museum of Modern Art. In 1935, Cahill was appointed director of the Works Progress/Projects Administration (WPA) Federal Art Project (FAP), until its end in June 1943. In 1938, Cahill organized a countrywide exhibition "American Art Today" for the New York World's Fair. He also married MoMa curator Dorothy Canning Miller in that year.
Profane Earth, Cahill's first novel, was published in 1927, followed by monographs on Pop Hart and Max Weber, miscellaneous short stories, and a biography of Frederick Townsend Ward, entitled A Yankee Adventurer: The Story of Ward and the Taiping Rebellion. Following the end of the Federal Art Project, Cahill wrote two novels, Look South to the Polar Star (1947) and The Shadow of My Hand (1956).
Holger Cahill died in Stockbridge, Massachusetts in July 1960.
Provenance:
The Holger Cahill papers were donated to the Archives of American Art through a series of gifts by Cahill's widow, Dorothy C. Miller, between 1964 and 1995.
Restrictions:
The microfilm of 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.
2 Reels (ca.20 items (on partial microfilm reels))
Type:
Collection descriptions
Archival materials
Reels
Place:
United States -- Economic conditions -- 1918-1945 -- California -- Oakland -- Photographs
United States -- Social conditions -- 1933-1945 -- California -- Oakland -- Photographs
Date:
1934-1958
Scope and Contents:
Photographs and clippings.
Reel NDA 1: Photographs of marble panels for the Alameda County Courthouse in Oakland, California done for the Federal Art Project.
Reel NDA 3(frames 21-30): Newpaper clippings from San Francisco, Oakland and Los Angeles papers on Simpson's murals and mosaics, 1934 and 1958.[untitled on microfilm]
Biographical / Historical:
Marian Simpson (1899-1978) was a painter and mosaicist from Berkeley, Calif. Worked on the Federal Art Project of the Work Projects Administration.
Provenance:
Material on reel NDA 1 lent for microfilming 1964 by Marian Simpson; and material on reel NDA 3 lent 1964 by Lewis Ferbrache.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United States -- Economic conditions -- 1918-1945 -- California
United States -- Social conditions -- 1933-1945 -- California
Date:
1939-1942
Scope and Contents:
Typescripts, correspondence, clippings, photographs, and building plans.
Reel NDA 10: Clippings, photographs, building plans, and blueprints relating to the mural decoration of Fort Ord, California, Enlisted Men's Club for the Federal Art Project by artists Carlton Lehman and Merlin Hardy; and a report from Florence Kerr and a document relating to work of the supervisors of WPA and FAP projects [The report and document are under the microfilm title Florence Kerr];
and a FAP publication, WPA GOVERNMENT AID DURING THE DEPRESSION TO PROFESSIONAL, TECHNICAL, AND OTHER SERVICE WORKERS, 1936, by Grace Overmyer [Microfilm title Grace Overmyer].
Reel NDA 14: Typescript of an article by Adele Stackpole, "Relief Again? What Will You Get for What They Give?" in which she is critical of the WPA; and CALIFORNIA'S MEDICAL STORY IN FRESNO, anon., 1939, which includes illustrations of Bernard Zakheim's murals for the medical school in Fresno; a clipping, and articles by him and his wife; and group photograph of supervisors, artists and assistants in the FAP in San Francisco, April 1936.[Microfilm titles Adele Stackpole, Bernard Zakheim, and WPA-FAP, San Francisco]
Biographical / Historical:
Supervisor, Federal Art Project, Northern California. Supervised the decoration of the Fort Ord's Enlisted Men's Club, which was the last large Federal Art Project and WPA building project in Northern California.
Other Title:
WPA-FAP, San Francisco [microfilm title]
Overmyer, Grace [microfilm title]
Stackpole, Adele [microfilm title]
Zakheim, Bernard [microfilm title]
Provenance:
Lent for microfilming 1964 by Dorothy Collins.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United States -- Economic conditions -- 1918-1945 -- California -- San Francisco
United States -- Social conditions -- 1933-1945 -- California -- San Francisco
Date:
1938-1941
Scope and Contents:
Publicity, correspondence, clippings, photographs, travel receipts, and telegrams relating to the dedication of the Noah's Ark murals by Dorothy Puccinelli and Helen Forbes at Fleishacker Mother's House in San Francisco Zoo; and correspondence, field reports, committee lists, publicity, photographs relating to National Art Week in Northern California.
Biographical / Historical:
Director of Information, Federal Art Project; Northern California.
Provenance:
The materials microfilmed are from the files of Arthur Painter, but were loaned to AAA through Lewis Ferbrache who was a collector for AAA's "New Deal and the Arts" project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
New York World's Fair (1939-1940 : New York, N.Y.) Search this
United States. Federal Emergency Relief Administration Search this
United States. Work Projects Administration Search this
United States. Works Progress Administration Search this
Extent:
1,500 Items ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Place:
United States -- Economic conditions -- 1918-1945
United States -- Social conditions -- 1933-1945
Date:
1934-1950
Scope and Contents:
Correspondence and records regarding the Index of American Design, Federal Art Project, Federal Recreation Project, National Symphony Orchestra Summer Concerts, Washington Summer Concerts Association; New York World's Fair, National Fact Finders Exhibition, Federal Writer's Project, Federal Music Project, Federal Theater Project, and the movement for permanent government art programs.
Biographical / Historical:
Administrator for the Section of Professional and non-Manual Projects of Federal Emergency Relief Administration (FERA), Washington, D.C. Became publicist for the Information Service of the Works Progress Administration (WPA). FERA was the forerunner of the WPA.
Provenance:
Lent for microfilming by Nina Perera Collier.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Arts administrators -- Washington (D.C.) Search this
Reels 3028-3030: Biographical data; correspondence with Ernest Blumenschein, Adolf Dehn, Loren Mozley, Georgia O'Keeffe and others; a transcript of an interview with Hunter's widow, Virginia Hunter Ewing, Janaury 7, 1964, regarding Hunter's tenure as State Director for the Federal Art Program of WPA in New Mexico; illustrated typescripts of Hunter's manuscripts; price lists and appraisals of his work; 4 undated sketchbooks of figure studies; annotated drawings of furniture, interior designs and mural studies; a scrapbook, 1925-1960, of newspaper clippings and other printed material; exhibition catalogs; magazine clippings; photos of Hunter, his paintings and murals, and his interior design for the Officer's Club, Army Air Base, Clovis, New Mexico.
Reel NDA 1: Press clippings and a memorial bulletin from the Roswell Museum in New Mexico where he was an administrator.
Biographical / Historical:
Painter, administrator and designer; Sante Fe, New Mexico. State director of the Federal Art Project of the Work Projects Administration, a federally aided project to provide employment to artists during the Depression.
Provenance:
The lender, Mrs. Ewing, is the widow of Hunter. Material on reel NDA 1 lent by Mrs. Ewing.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Official correspondence of the Public Works of Art regional committee for New Mexico and Arizona. Correspondents include: Edward Bruce, Jesse L. Nusbaum, Forbes Watson, Emil Bisttram, and others.
Biographical / Historical:
Architect, committee member of Public Works of Art regional committee--Region 13; Santa Fe, New Mexico.
Provenance:
Lent for microfilming 1965 by John Gaw Meem.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United States -- Economic conditions -- 1918-1945 -- New Mexico
United States -- Social conditions -- 1933-1945 -- New Mexico
Date:
1935-1961
Scope and Contents:
Six photographs of Morris' oil paintings done for the Federal Art Project in New Mexico; a list of his works, 1960; a list of collections and exhibitions where his work had appeared, 1960; and a clipping.
Biographical / Historical:
Painter, Santa Fe, New Mexico. Worked on the Federal Art Project in New Mexico during the Depression.
Provenance:
The materials appear to be from a personal scrapbook, perhaps Morris' own, but the origin is uncertain.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Federal Art Project (Calif.) -- Photographs Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Place:
United States -- Social conditions -- 1933-1945
Date:
circa 1937-1941
Scope and Contents:
137 b&w photographs compiled by Ferdinand Perret relating to the WPA Southern California Art Project. Depicted are the WPA-FAP Print Department, Los Angeles; Canoga Park petrachrome in progress, 1940; George Washington High School petrachrome in progress; Long Beach Municipal Auditorium tile mosaic; petrachrome seal of Santa Monica, Santa Monica City Hall, 1941; and works of art by Paul Babcock, Glenn Bannister, Grace Clements, Henry Gilbert de Kruif, Ethel Evans, Miriam Farrington, Lorser Feitelson, Henry Helmle, Donal Hord, E.D. Horsky, Harold Gebhardt, Paul Julian, Albert King, Ludwig Kuszewski, Paul Hambleton Landacre, Henry Lion, Helen Lundeberg, Stanton Macdonald-Wright, Buckley MacGurrin, Benjamin Newton Messick, Marjorie Morse, Jean Swiggett, Harry Mann Waddell, and others. Many of the photographs are duplicates. Also found is a letter from California artist, Benjamin Messick to Perret regarding printed material for Perret's research libary.
Biographical / Historical:
Perret was a painter and art restorer whose work led him to begin serious art research. He amassed a large collection of material relating to California art and artists.
Related Materials:
The Ferdinand Perret research material on California art and artists collection is located at the Smithsonian Institution Smithsonian American Art Museum Library.
Provenance:
Transferred in 1993 and 2015 from the National Museum of American Art Library, where it been received in 1949 as part of the Ferdinand Perret Research Library of the Arts and Affiliated Sciences.
Restrictions:
Use requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Topic:
Art, American -- California -- Photographs Search this
Federal aid to the arts -- California -- Photographs Search this
United States -- Economic conditions -- 1918-1945 -- Texas
United States -- Social conditions -- 1933-1945 -- Texas
Date:
1933-1941
Scope and Contents:
Lists of projects, press clippings, and printed monographs, all concerning government art projects and artists in Texas [microfilm title WPA-FAP, Texas].
Biographical / Historical:
Federally funded art programs of the Depression. Public Works of Art Project fell under the jurisdiction of the Treasury Department and subsequently became the Section of Fine Arts.
Other Title:
WPA-FAP, Texas [microfilm title]
Provenance:
Portions of material on reel NDA 18 lent for microfilming 1965 by Jerry Bywaters; and portions lent 1965 by Esse Forrester-O'Brien.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
![view Roy Emerson Stryker papers [microfilm] digital asset: Finding aid](https://ids.si.edu/ids/deliveryService?max=170&id=https://sirismm.si.edu/siris/findingaid.gif "Finding aid")
