An interview of Ted Hallman conducted 2006 May 23 and 2008 June 3, by Helen Drutt English, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Hallman's home, in Lederach, Pennsylvania.
Hallman speaks of working with transparent materials; teaching at Moore College and the Chicago Institute of Art; family influences in teaching and art; music and his art; interest in the body; traveling; shifts in modern textile art. Hallman also recalls Kenneth Mills, Ida Rolf, Alice Parrott, Michael Barnett, Claire Zeisler, Toshiko Takaezu, Maija Grotell, Aileen O. Webb, Nell Znamerowski, Karen Karnes, Lenore Tawney, and others.
Biographical / Historical:
Ted Hallman (1933- ) is a fiber artist in Lederach, Pennsylvania. Helen Williams Drutt English (1930- ) is a professor, scholar, and founder and director of Helen Drutt Gallery in Philadelphia, Pennsylvania.
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.
Unpublished memoirs of Aileen Osborn Webb. Dates recorded by Webb throughout her memoir may not be consistent with actual, documented dates.
Biographical / Historical:
Art patron, administrator, painter, enamelist; Sharon, Conn. Webb was President of the American Crafts Council, 1932-1955, and served as Chairman of its Board of Directors thereafter.
Provenance:
Donated 1983 by Webb's son, W. Osborn Webb.
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:
Arts administrators -- Connecticut -- Sharon Search this
An interview of Edgar and Joyce Anderson conducted 2002 September 17-19, by Donna Gold, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Morristown, New Jersey.
The interview begins in the home of their frequent patrons, Sandra and Lou Grotta, in Harding Township, New Jersey. The Grottas are not present. They discuss several of their pieces in situ, including tables, beds, a piano bench, the grandfather clock (carved in the shape of Edgar's arm wearing a wristwatch), and the Knight table. Many of these pieces are discussed in detail in terms of their design and construction. They also allude briefly to other pieces in the Grotta's collection by Toshiko Takaezu, Hans Wegner, Bill Wyman, Sam Maloof, and Bob Stocksdale. The Grotta's house, designed by architect Richard Meier, is also discussed. Edgar recalls that Meier designed the house to accommodate the collection. They also talk about the Grotta's participation in the American Craft Council, and the relationship among collectors. The interview continues at the artists' home Harding Township, New Jersey. They discuss several projects for other clients, and they reflect on the relationships that developed. These include: a gaming table for Doug Dayton of Monteath Lumber Company, a jewelry chest for Thelma Newman, collaboration with Newman on a book for Chilton Publishing Company (not published), and a figural chest for Mako Stewart, which is still in the artists' private collection. They reflect on their private and professional partnership and the balance of skills they shared. They recall that their early success was bolstered by a New York Times article by Betty Pepis. This publicity led to new clients, such as Reverend John Mason of the Episcopal Chapel at the University of Maine, who is discussed in detail along with his wife Elizabeth Mason. They explain their expertise in humidity and wood shrinkage, including their work as consultants for the Museum of Contemporary Crafts, before it became the American Craft Museum. There is lengthy discussion of the Andersons' own house, which they designed and built themselves over a period of years. Frank Lloyd Wright was an influence. They discuss other church commissions in general, speaking of the influence of their spirituality. St. Luke's Episcopal Church, Haworth, New Jersey, is discussed in some detail. Edgar briefly talks about a local World Trade Center memorial which he has been working on. They recall the importance of the support of the American Craft Museum, Aileen Osborne (Vanderbilt) Webb, and David Campbell. They discuss in depth their time in Honduras, under the sponsorship of the USAID program, teaching craft techniques to local inhabitants. Joyce describes this as a Kennedy era demonstration program. Other participants in the Honduras program included Dave Chapman, Roy Ginstrom, Bill Wyman, and Emil Milan. They also recall participating in a similar program in Antigua. They also recall Herb and Marje Noyes, Ruth Martin, Patricia Malarcher, John Geraci, Mike Langan, Bob and Rowena MacPhail, Sterling North, Zelda Strecker, Paul Smith, Tom Tibbs, Walker Weed, Lois Moran, Toshiko Takaezu, Tapio Wirkkala, Jack Lenor Larsen, Edward Cooke, Michael Stone, John McPhee, and Dot Blanchard.
Biographical / Historical:
Edgar Anderson (1922- ) and Joyce Anderson (1923- ) are woodworkers from Morristown, New Jersey.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 34 digital wav files. Duration is 5 hr., 56 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.
Topic:
Woodworkers -- New Jersey -- Interviews. Search this
Interview of Aileen O. Vanderbilt Webb conducted 1970 May 7-June 9, by Paul Cummings, for the Archives of American Art.
Biographical / Historical:
Aileen O. Webb (1892-1979) was an art administrator from New York, N.Y. She was president and chairman of the Board of the American Crafts Council.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 59 min.
Provenance:
These interviews are 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 others.
The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material, and photographs.
Scope and Contents:
The papers of arts administrator Margaret Merwin Patch measure 10.9 linear feet and date from 1885 to 1986. The bulk of the collection consists of material from Patch's involvement with the American Craftsmen's Council and the formation and administration of the World Crafts Council. Also found are scattered biographical materials from Patch and the Merwin and Patch families; correspondence; three diaries; writings and notes by Patch and by others; subject files regarding various other organizations and activities with which Patch was involved; printed material; and photographs.
Biographical material includes documents from Margaret Merwin Patch as well as items from Rachel Merwin-Coggeshall, George Patch, Hester Merwin, and Ruth Merwin. One scrapbook contains clippings and photographs from the Patch's time at Cranbrook Academy of Art. Correspondents include Dorothy Johnson, Luba Kruja, Mary and Frances Schimpff, Olga Valkova, and Aileen Webb. Writings by others include unpublished works by Aileen Webb and Beatrice Wood. Family photographs depict the Patch and Merwin families.
The bulk of Patch's papers relate to her involvement with numerous arts organizations including the American Craftsmen's Council, Atlantic Center for the Arts, Shelburne Falls Art Center, and the World Crafts Council. These files may include founding documents, financial material, administrative records, correspondence, notes, printed material, and photographs.
Found is material from the planning, goals, and accomplishments of twenty-five international meetings of various committees and groups of the World Crafts Council.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1903-1976 (0.9 linear feet; Box 1, 12, OV13-14)
Series 2: Correspondence, 1928-1986 (0.6 linear feet; Box 1)
Series 3: Diaries, 1912-1926 (0.2 linear feet; Box 2)
Series 4: Writings and Notes, circa 1919-circa 1980s (0.4 linear feet; Box 2)
Series 5: Subject Files, 1927-1986 (1.4 linear feet; Box 2-3)
Series 6: American Craftsmen's Council Records, 1953-1987 (1.0 linear feet; Box 4)
Series 7: World Crafts Council Records, circa 1960-1986 (5.2 linear feet; Box 5-10)
Series 8: Printed Material, 1930s-1986 (0.4 linear feet; Box 10)
Series 9: Photographs, 1880s-1980s (0.8 linear feet; Box 10-11)
Biographical / Historical:
Margaret Merwin Patch (1894-1987) was an arts administrator in Massachusetts and Florida.
Born in Bloomington, Illinois in 1894, Margaret Stone Merwin graduated from Illinois Wesleyan University in 1915. She attended the University of Chicago Graduate School of Commerce and Administration from 1916 to 1917.
While living in London, Margaret enrolled at the London School of Economics and worked for the American Section of the Allied Maritime Transport Council, attending the Paris Peace Conference. Upon returning to the United States, she was a member of the National Industrial Conference Board and attended Columbia University in the early 1920s. She started a statistical graphic design company, Merwin-Davis Statistical Reports and Charts, which produced illustrated and varied graphs to display statistical information in the mid-1920s.
Margaret Merwin married George Patch in 1930. She and George moved between their summer home in Shelburne Falls, Massachusetts, New York City, where Margaret was a special consultant to the National Broadcasting Company, and Bloomfield Hills, Michigan where she studied painting under Zoltan Sepeshy and Wallace Mitchell at Cranbrook Academy of Art. During World War II, Patch worked for the Office of Price Administration. Upon her husband's death in the 1950s, Patch spent winters in New Smyrna Beach, Florida.
From the 1940s until her death in 1988, Margaret Merwin Patch devoted her time to arts administration in the United States and around the world. Her passion began when she became the art chairman of the Women's Club of Shelburne Falls, Massachusetts. With that role, she helped lead the exhibition, class instruction, and retail support of local crafts. Eventually, her activity led to the formation of the Shelburne Falls Craft Center. Among the many organizations with which she was involved were the Aid to Artisans, American Craftsmen's Council, Atlantic Center for the Arts, Deerfield Valley Art Association, Michigan League of Women Voters, and the Shelburne Falls Art Center. Through her affiliation with the American Craftsmen's Council, Patch embarked on a year-long trip around the world in 1960. This trip helped lay the foundation for the World Crafts Council, which was formally established in 1964, with the aid of her colleague, Aileen Osborn Patch. A UNESCO group, the World Crafts Council sponsored international crafts conferences and cultural assemblies.
Margaret Merwin Patch died in 1988.
Related Materials:
Also in the Archives of American Art is an interview of Margaret Merwin Patch, conducted 1980 October 16-1984 September 25, by Robert F. Brown.
Researchers interested in accessing the audiovisual recording in this collection must use an access copy. Contact References Services for more information.
Provenance:
The Margaret Merwin Patch papers were donated to the Archives of American Art by Linda M. Walker, a personal representative of Patch's estate in 1987.
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 the audiovisual recording in this collection must use an access copy. 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.
Chilton Professional Automotive (Firm) Search this
American Crafts Council. Museum of Contemporary Crafts Search this
United States. Agency for International Development Search this
Type:
Sound recordings
Interviews
Place:
World Trade Center Site (New York, N.Y.)
Honduras -- description and travel
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Edgar and Joyce Anderson, 2002 September 17-19. Archives of American Art, Smithsonian Institution.
Topic:
Woodworkers -- New Jersey -- Interviews. Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ted Hallman, 2006 May 23-2008 June 3. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Aileen O. Vanderbilt Webb, 1970 May 7-June 9. Archives of American Art, Smithsonian Institution.
