The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, two photograph albums and photographs, and one scrapbook. Correspondents include family members, Witter Bynner, Ann and Eric Gugler, Leon Kroll, Isabel Manship, James Johnson Sweeney, Maxfield Parrish and others. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Scope and Content Note:
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, photograph albums and photographs, and one scrapbook. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Biographical materials include biographical sketches, awards, and records documenting Faulkner's military service. Also found are a list of medications, a list of Faulkner's writings, party guest lists, an address book, a calendar, and materials related to the posthumous publication of Sketches From an Artist's Life. Of special interest are oversized architectural drawings by Eric Gugler for Faulkner's Keene, New Hampshire house.
Correspondence includes letters from Faulkner's friends, family, fellow artists, and art organizations and institutions. Faulkner's correspondence with his parents document his 1900-1901 trip to Italy with the Thayer family. Of special interest is his correspondence with writer Witter Bynner about Faulkner's daily life in New Hampshire, his travels through Europe, his artistic practice and career, Bynner's writings, his opinions on artistic and literary works, and his service in World War One. Many of the letters to Bynner include sketches by Faulkner of Abbott Handerson Thayer, Rockwell Kent, Augustus Saint-Gaudens, Homer Saint-Gaudens, George de Forest Brush, Kahlil Gibran, and Mark Twain. Additional correspondents include sculptor Frances Grimes, architect Eric Gugler, painter Leon Kroll, and museum director James Johnson Sweeney.
Faulkner's writings are about art, artists, and the New Hampshire art community. Found are essays on Gifford Beal, George de Forest Brush, James Earle Fraser, Harriet Hosmer, Paul Manship, Charles Adams Platt, Hiram Powers, Edward Willis Redfield, Joseph Lindon Smith, Mary Lawrence Tonetti, Mark Twain, Lawrence Grant White, and Mahonri Young. Other writings discuss Faulkner's mural commissions, various aspects of New Hampshire history, and the history of the Dublin and Cornish art colonies whose inhabitants included George de Forest Brush, Augustus Saint-Gaudens, and Abbott Handerson Thayer. Of special interest is a manuscript for Faulkner's posthumously published memoir Sketches From an Artist's Life, and an unpublished manuscript titled A Neighborhood of Artists about the history and culture of the Connecticut River Valley.
Four sketchbooks by Faulkner contain drawings of landscapes, city scenes, architecture, people, nature, and studies of artwork by others. Also found are two loose sketches.
Five diaries document Faulkner's 1922-1924 trip through Europe, Africa, and Asia including stops in France, Italy, Egypt, and Turkey. Diaries record Faulkner's thoughts on architecture, tourist sites, and travel amenities. Found is one diary from 1956 that discusses social events, the Saint-Gaudens Memorial, the MacDowell Colony of artists, and various artists including Gifford Beal, Maxfield Parrish, Paul Manship, and Eric Gugler.
The bulk of printed material consists of clippings which document published writings by Faulkner, obituaries and published rememberances of Faulkner, local events in Keene, New Hampshire, and reproductions of Faulkner's artwork. Also found are exhibition catalogs of other artists, an announcement of Faulklner's death from the American Academy of Arts and Letters, and a publication illustrated with reproductions of Faulkner's murals for the National Archives.
Photographs include formal and informal images of Faulkner throughout his life, and photographs of his family and friends, his studio, and reproductions of his artwork. Also included are two photograph albums, one of which contains photographs of Faulkner during his youth and one that contains photographs primarily from the 1930s of Faulkner's Keene, New Hampshire house, himself, and his friends and family.
The collection also includes a scrapbook prepared for Faulkner's seventieth birthday containing photographs, cards, telegrams, and placecards with hand drawn illustrations which show the "taste and characteristics" of Faulkner.
Series 2: Correspondence, 1900-1973 (Box 1; 0.5 linear feet)
Series 3: Writings, 1912-1966 (Boxes 1-2; 1.0 linear foot)
Series 4: Sketchbooks and Sketches, circa 1910s-1930s (Boxes 2-3; 8 folders)
Series 5: Diaries, 1922-1956 (Box 2; 6 folders)
Series 6: Printed Materials, circa 1858-1966 (Boxes 2-3; 8 folders)
Series 7: Photographs, 1892-1960s (Boxes 2-3; 15 folders)
Series 8: Scrapbook, 1951 (Box 3; 2 folders)
Francis Barrett Faulkner was born on July 12, 1881 in Keene, New Hampshire. He attended Phillips Exeter Academy and went on to study at Harvard College. Around this same time, Faulkner began an apprenticeship with his cousin and painter Abbott Handerson Thayer and painter George de Forest Brush. He also met sculptors James Earle Fraser and Augustus Saint-Gaudens, both of whom became Faulkner's lifelong friends.
In 1901, Faulkner traveled to Italy for the first time with Thayer and his family. He returned to New York in 1902 and studied at the Art Students League and Chase School. He also completed illustration work for Century magazine.
In 1907, Faulkner won the Rome Prize Fellowship from the American Academy in Rome. shortly thereafter, he left to study in Italy for three years, studying with George de Forest Brush and befriending sculptor Paul Manship. Upon his return in 1910, he started working on his first mural, commissioned by the wife of railroad executive E.H. Harriman. Having found his niche, Faulkner continued taking mural commissions until his career was interrupted by World War I and his service in the camouflage section of the army. Shortly after the war, he completed a mural for the marine headquarters in Quantico, Virginia.
Between 1923-1924, Faulkner worked in collaboration with Eric Gugler and Paul Manship to create the American Academy in Rome war memorial. Also following the war, Faulkner completed murals for the Eastman School of Music in 1922, the Rockefeller Center in 1932, and the National Archives in 1936. That same year, Faulkner bought and refurbished a house named "The Bounty" in Keene, New Hampshire, and built a studio nearby. In 1930, he was elected as a trustee of the American Academy in Rome.
During the 1940s, Faulkner created murals for numerous public buildings and sites around New Hampshire including the Senate Chambers in Concord, the Elliot Community Hospital, Keene National Bank, and the Cheshire County Savings Bank in Keene. During his final decades, Faulkner wrote an unpublished manuscript on the history of art in the Connecticut River Valley entitled A Neighborhood of Artists, and his posthumously published memoirs, Sketches of an Artist's Life. Faulkner died in 1966, in Keene, New Hampshire.
Found in the Nancy Douglas Bowditch papers at the Archives of American Art is correspondence, photographs, and printed materials related to Barry Faulkner. The Library of Congress, Manuscript Division also holds a small collection of Barry Faulkner's papers. Additional correspondence from Faulkner is found in the papers of Witter Bynner at the University of New Mexico and at Harvard University.
The collection was donated by Francis Faulkner, Barry Faulkner's nephew, in 1974. An addition to the collection was donated by Jocelyn Faulkner Bolle in 2014.
The bulk of this collection has been digitized and is available online via AAA's website.
10 Linear feet ((partially microfilmed on 13 reels))
Scope and Contents:
Photographs, correspondence, exhibition materials, sketchbooks, diaries, scrapbooks, slides, and an untranscribed interview.
REEL NDA 14: Photographs of Jonson's murals for the Public Works of Art Project in Albuquerque, N.M. and a chart showing the relative sizes of the murals.
REELS RJ 1-RJ 10: Biographical data; correspondence with family members, artists, and others, including Josef Albers, Emil Bisttram, Albert Bloch, Sheldon Cheney, Andrew Dasburg, Elaine de Kooning, Hilaire Hiler, Beatrice S. Levy, B.J.O. Nordfeldt, Eliot O'Hara, Georgia O'Keeffe, Agnes Pelton, Cady Wells, Jean Xceron, and others; diaries, 1919-1926, with sketches; notebooks; scrapbooks; lectures; photographs; and exhibition records.
REEL 76: Catalogs; photographs; slides and schedule of exhibits, 1922-1962, of the Jonson Gallery, University of New Mexico; and photographs of Jonson.
UNMICROFILMED: Photocopies of correspondence with administrators of the WPA Federal Art Project in New Mexico and the Treasury Section of Fine Arts regarding the design and execution of murals by Jonson and Willard Nash for the Library of the University of New Mexico; an untranscribed tape of an interview of Jonson conducted by Ed Garman, undated; and two color charts, one a color circle and the other showing the main colors Jonson used, both used by Jonson to illustrate a lecture delivered at the Chili Club, December 6, 1948 [lecture is on reel RJ 9, fr. 6343-6346.]
Biographical / Historical:
Painter; Albuquerque, N.M. Painted murals for the WPA Federal Art Project and other New Deal art programs. He taught at the University of New Mexico where the Jonson Gallery was erected in his honor, housing the most complete permanent collection of Jonson's work.
Raymond Jonson papers also at Syracuse University.
Material on reels RJ 1-10 was lent for microilming by Jonson c/o the Jonson Gallery, 1964-1965; all other material donated, 1966-1975, by Jonson and his brother Arthur, through the gallery.
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.
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.
Dorothy Dehner papers, 1920-1987. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the digitization of this collection was provided in part by The Walton Family Foundation.
Biographical material, correspondence, subject and teaching files, photographs, works of art, financial records, motion picture film and video recordings, and printed material concerning Suttman and his career as a sculptor and educator.
Biographical material includes address books, resumes, diplomas, awards, academic records, health records, obitutaries for Paul Suttman and a guest book from his funeral, 1993. Correspondence is with dealers, galleries and artists. Included are one illustrated letter from Mimi Gross and Red Grooms to Elisse and Paul Suttman and Edward C. Flood, ca. 1968 and one illustrated letter from Mimi Gross and Red Grooms to Elisse and Paul Suttman, Sept. 19, 1971. Subject and teaching files concern Cranbrook Academy of Art, the University of Michigan, Italy (1962-1965), the American Academy in Rome (1965-1968), Roswell, Rome and Pieve (1970-1975), University of New Mexico (1975-1979), Texas A & M, Columbia University.
Photographs are of Suttman as well as slides of works of art. Works of art include studies, sketches and sketcbhooks. Financial material includes expense and income records. Motion picture and videos consist of 3 reels of 16mm film by Paul Suttman, 1965, including one untitled art film shot at the American Academy of Rome, and 1 VHS copy of the 16mm film; 1 VHS tape of an exhibition and the Suttman house and studio; and 1 VHS biography of Suttman composed by his son Mark Bertin, 1993-1995. Printed material includes press books, 1958-1995, exhibition catalogs, brochures and newspaper clippings. Also found are material regarding the Paul Suttman memorial fund, memorial projects, and the Paul Suttman catalog raisonné, organized by Virginia Bush Suttman.
Biographical / Historical:
Sculptor and educator. b. 1933; d. 1993 Suttman studied at the Cranbrook Academy of Art, The American Academy in Rome.
Donated 2005 by Virginia Bush Suttman, Suttman's widow.
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 papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.
The Lee Marmon photographs collection contains 94 color and black and white photographic prints. Subjects include Laguna and Acoma elders (1950-1965), publicity images of celebrities (1967-1973), Native American portraiture (circa 1987), the New Mexico pueblos and landscape, and the potter Lucy M. Lewis, her daughters, and their pottery (1987). The photographs were shot by Lee Marmon (Laguna Pueblo), circa 1950-1987.
Scope and Contents:
The Lee Marmon photographs collection contains 94 color and black and white photographic prints that were shot by Laguna Pueblo photographer Lee Marmon, circa 1950-1987. Subjects include people, sites, and landscapes around Laguna Pueblo and Acoma Pueblo (1950-1965) in New Mexico; publicity images of celebrities (1967-1973) including Bob Hope and Dean Martin; Native American portraiture (circa 1987);and the potter Lucy M. Lewis, her daughters, and their pottery (1987).
Small prints organized in photo folders; and larger prints are stored in oversize boxes.
Lee Howard Marmon was born as the second son of Lily and Henry "Hank" Marmon on September 25, 1925 in Laguna, New Mexico. Marmon's interest in photography was sparked when he took his first photograph at the age of 11 of an automobile accident on Route 66. Initially planning to attend the University of New Mexico to study geology, Marmon dropped out after several semesters to begin his World War II career as a Sergeant-Major on Shemya Island, Alaska in 1943. Marmon's service to the United States in the Aleutian chain lasted until 1946, after which he returned to Laguna.
Marmon retained an interest in photography and purchased his first professional camera, a 2¼ x 2¾ Speed Graphic. Later in his career, he would use a 4x5 Speed Graphic, a Rolleiflex, a Hasselblad Superwide, and a Hasselblad C model. When Marmon began photographing, he favored Kodachrome sheet film (ASA 8) and super speed B&W (ASA 100). As Marmon was learning this new hobby, his civilian life included employment as the Laguna postmaster and as a worker in his father's store, The Laguna Trading Post. Photography escalated from a hobby to a more serious pursuit after Marmon's father suggested that his son bring a camera along while making store deliveries in order to take portraits of the Laguna elders. These early black and white photographs, taken using fixed-lens cameras and natural light, became some of Marmon's most well-known images.
While Marmon mainly focused on documenting the traditions and lifestyles of the Laguna and Acoma Pueblos, a departure from this theme occurred when he moved from New Mexico to Palm Springs, California in 1966. As the official photographer for the Bob Hope Desert Classic Golf Tournament from 1967 until 1973, Marmon took publicity photographs of golfers participating in the competition along with celebrity entertainers and guests at the accompanying Bob Hope Ball. Marmon also worked as a freelance photographer throughout this time, contributing to publications such as Time Magazine and The Saturday Evening Post, working as a still photographer for Columbia Pictures, and completing a commission from President and Mrs. Nixon to photograph a collection of New Mexican Puebloan pottery.
Marmon moved back to Laguna in 1982, and in the following years he showed his work in a variety of venues, opened a bookstore called The Blue-Eyed Indian, and won an ADDY award for his contribution to the PBS documentary series, Surviving Columbus: The Story of the Pueblo People. In 2003, Marmon published a book, The Pueblo Imagination: Landscape and Memory in the Photography of Lee Marmon, in collaboration with his daughter, author Leslie Marmon Silko, and poets Joy Harjo and Simon Ortiz. The book was heralded as a success, collecting first place awards from The Mountains and Plains Bookseller's Association and from Independent Publisher Online.
After the publication of his book, Marmon's photographic activity began to diminish. His final show, Pueblo Faces and Places, was held in 2007 at the Sky City Cultural Center in Acoma, New Mexico. In recognition for achievements in the photographic field, Marmon was honored as the 88th Annual Inter-Tribal Ceremonial's "Living Treasure" of 2009, the first photographer to be given the award. Throughout his life, Marmon produced a great volume of work. In May of 2009, he donated his personal papers and over 65,000 photographs to the Center for Southwest Research and Special Collections (CSWR) at the University of New Mexico. From a humble beginning of taking photographs of village elders, Marmon eventually built a career out of saving the memories of the Laguna and Acoma tribes and is now one of the country's best-known Native American photographers.
Lee Marmon passed away in March 2021 at age 95.
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: firstname.lastname@example.org).
Copyright held by the Center for Southwest Research and Special Collections at the University of New Mexico.
Identification of specific item; Date (if known); Lee Marmon photographs, image #, NMAI.AC.054; National Museum of the American Indian Archives Center, Smithsonian Institution.