Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with William Underhill, 2002 June 8. Archives of American Art, Smithsonian Institution.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Annamae Barlup Myers & Stephen Harriman Diaries, 1883-1894, Archives Center, National Museum of American History.
Two songs for a boy named Mark. Little bitty baby (3:15) ; Soliloquy to a man-child (2:25) / C. Moorehead --Coltrane / B. Lee (4:55) --Chick chick / B. Lee (3:04) --Well done, Weldon / C. Moorehead (3:07) --A spirit speaks / C. Moorehead (3:07) --Attica / C. Lee (5:00) --Take my hand, precious Lord / T. Dorsey ; arr. C. Moorehead (4:25) -- Boll weevil / trad. ; arr. and adapted by Bill Lee (2:00) -- Don't be a stranger / B. Lee (2:00) --Too little, too late / B. Lee (4:10)
Local Numbers:
FW-ASCH-LP-0910
Strata East.19744
Publication, Distribution, Etc. (Imprint):
Strata East 1974
General:
Songs and jazz ensembles. Program notes by Howard A. Mims on container. Performer(s): Performed by the Descendants of Mike and Phoebe (A. Grace Lee Mims, soprano ; Clif Lee, fluegelhorn ; Consuela Lee Moorehead, piano ; Bill Lee, double bass) with Sonny Brown and Billy Higgins, percussion. Production notes: Recorded Dec. 19-21, 1973 at Minot Studios, White Plains, N.Y.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The collection includes drafts of chapters and sections (some hand written) of Nygaard's book Hemorrhagic Diseases.
Scope and Contents:
The collection includes drafts of chapters and sections (some hand written) of Nygaard's book Hemorrhagic Diseases. A twenty-two page typed draft represents a chapter of a book (title and date unknown) on "The photoelectric principle and its application to problems of medical interest." Also included are a large number of file cards recording Nygaard's handwritten notes on patient's cases and his research.
Biographical / Historical:
Kaare K. Nygaard (1903 1989) was a native of Norway who received an M.D. from Royal Frederiks University, Oslo, in 1929. He immigrated to the United States, where he spent a 5 year residency at the Mayo Clinic as a surgeon and researcher on blood. During World War II he organized a wing of the White Plains (N.Y.) Hospital to care for sick and wounded Norwegian merchant seamen at minimal costs; he operated on 4,000 of them. He continued as a general surgeon at White Plains for 40 years, retiring in 1979.
Dr. Nygaard was the author of Hemorrhagic Diseases; Photoelectric Study of Blood Coagulability (published in 1941) and also of over 50 professional papers, mostly on his research on blood. While at the Mayo Clinic he invented and patented the first machine to use photoelectric principles in blood analysis.
Before his medical career began, Dr. Nygaard was a sculptor; he continued his art work throughout his life, with public exhibitions and sales of his work. The United Nations honored his sculpture with a commemorative stamp. He published an autobiography, Knife, Life and Bronzes, in 1986.
Provenance:
olletion donated by Gail Delgado Nygaard, May 1990.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Paul Hollister papers, circa 1883-2004, bulk 1947-1996. Archives of American Art, Smithsonian Institution.
An interview of William Underhill conducted 2002 June 8, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Wellsville, N.Y.
Underhill speaks of being born in Berkeley, California, to parents who were art teachers; the differences between the West Coast Bay Area arts and crafts movement and that of the east coast; attending California College of Arts & Crafts for two years and then transferring to the University of California at Berkeley, in 1953, to enter the architecture program; building a dome out of aluminum for the city of Oakland's parks department with other students during the summer of 1956; being drafted into the Army in 1957; working for the U.S. Army headquarters in Germany as a draftsman; prominent and influential craft artists that he knew; marrying Linn Baldwin [Underhill], a fellow classmate, in 1957, and starting a family; re-entering UC Berkeley, finishing his B.A. degree in 1960 and completing his M.A. in 1961; his studies with Peter Voulkos; making bronze bowls, which led to his idea of casting wax, modeling wax fabrication, using sheet wax, and making textured sculpture and geometric shapes; having one of his bowl pieces in the Museum of Contemporary Crafts; the Oakland Museum buying a piece of his work; his teaching position at Highlands University in Las Vegas, N.M.; being in the "Young Americans" exhibit and receiving the "Best of Show" award in 1962; most teachers trying to "emulate" the style of Peter Voulkos; moving to New York; showing at the Blumenfeld Gallery; sharing a studio next to the Clay Arts Center in Port Chester, N.Y.; building a foundry and a melting facility; teaching part-time at a community adult art center in White Plains, N.Y.; his financial difficulties; teaching part-time at Pratt Institute in 1965; J. Gordon Lippincott, of the industrial firm Lippincott and Margolies, commissioning him to do large scale steel sculptures for major corporations; working as a draftsman in an architect's office in New York City to pay for rent and groceries in 1966; teaching a summer session at Columbia's Teacher's College; teaching full-time as an instructor at New York University in 1967; teaching a workshop at Alfred University, in 1963; interviewing for a teaching position at Alfred at the College Art Association meeting, in Boston, in 1968; moving in the summer of 1969 to Alfred to teach; his counter-culture lifestyle and consequent decrease in his artistic production; showing at the Lee Nordness Gallery in the 1960s; exhibiting at the Perimeter Gallery, Helen Drutt Gallery, Twining Gallery, and Garth Clark Gallery in the 1980s; creating the bronzed statue of King Alfred for Alfred University and selling his copyright to them; his signature stamp; having pieces in the American Craft Museum and in the San Francisco Museum of Modern Art's collection; teaching at Haystack Mountain School of Crafts, the Anderson Ranch, and the Mendocino Art Center; various craft magazines including Craft Horizons and Metalsmith; being a member of the American Craft Council [ACC]; his retirement in 1997; and working at the Berkeley Art Foundry in the summer of 2002. Underhill also recalls Robert Arneson, Josephine Blumenfeld, Diane Cox, Val Cushing, Peter Dodge, Jack Earl, Andrew Jevremovic, Manuel Neri, Bill Parry, Ted Randall, Dan Rhodes, Glenn Zweygardt, and others.
Biographical / Historical:
William Underhill (1933- ) is a metalsmith from Wellsville, N.Y. Margaret Carney is an art historian from New York.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 7 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.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
