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Eileen Cowin papers

Creator:
Cowin, Eileen, 1947-  Search this
Names:
California State University, Fullerton -- Faculty  Search this
Franconia College -- Faculty  Search this
Chiarenza, Carl  Search this
Curran, Darryl, 1935-  Search this
Gonzalez, Maria  Search this
Heinecken, Robert, 1931-  Search this
Korsower, Ellen  Search this
Larson, William  Search this
Siskind, Aaron  Search this
Extent:
14.7 Linear feet
29.56 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Transcriptions
Sketchbooks
Video recordings
Sound recordings
Interviews
Visitors' books
Drawings
Photographs
Date:
1961-2015
Summary:
The papers of Los Angeles photo and video artist Eileen Cowin measure 14.7 linear feet and 29.56 GB and date from 1961 to 2015. The papers include biographical materials, correspondence, writings, teaching files, project files, exhibition files, printed and digital material, video artwork and sketchbooks, sound and video recordings, and photographic material.
Scope and Contents:
The papers of Los Angeles photo and video artist Eileen Cowin measure 14.7 linear feet and 29.56 GB and date from 1961 to 2015. The papers include biographical materials, correspondence, writings, teaching files, project files, exhibition files, printed and digital material, artwork and sketchbooks, sound and video recordings, and photographic material.

Biographical material consists of diplomas, passports, rolodexes, faculty identification cards, legal papers, interview transcripts, and miscellaneous documents in hard copy and digital formats.

Personal and professional correspondence is with family, friends, artists, collectors, gallery owners, museums, and universities. Notable correspondents include Carl Chiarenza, Darryl Curran, Maria Gonzalez, Robert Heinecken, Ellen Korsower, William Larson, and Aaron Siskind.

Writings include notebooks, annotated appointment calendars and wall calendars, lectures, essays, drafts and notes, artists statements, guest registers, and some writings by others. A few lectures and one essay are on sound and digital video recordings.

Teaching files are mostly related to material from California State University, Fullerton. There are a few documents from Franconia College and other universities where Eileen Cowin taught workshops or had faculty appointments. The files include student evaluations, promotion notifications, and limited correspondence.

Project files include professional files, such as grant applications, artist residencies, and symposiums. Also found are art project proposals, publication agreements for art projects, and commissions,. Files contain correspondence, printed and digital material, application forms, research notes, and photographic material.

Exhibition files include announcements, catalogs, reviews, correspondence, price lists of artwork, and assorted material for Eileen Cowin's group and solo shows.

Printed material consists primarily of clippings, exhibition catalogs, announcements, books, periodicals, and clippings.

Artwork includes 26 videocassettes of Cowin's artwork, 1 sketchbook, drawings, 4 digital audio recordings, and a few college art projects.

Photographic material includes press prints, digital photographs, proofs, contact sheets, slides, negatives, transparencies, and test shots. There are photographs of installations and artwork as well as images for exhibition mock-ups. There are also batches of "research photographs" which were used for reference. There is one folder of photographs of Eileen Cowin.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1961-2015 (0.8 linear feet; Box 1, ER01; 0.016 GB)

Series 2: Correspondence, 1969-2015 (3 linear feet; Boxes 1-4, ER02-ER03; 0.199 GB)

Series 3: Writings, 1963-2014 (1.6 linear feet; Boxes 4-6, ER04-ER06; 11.88 GB)

Series 4: Teaching Files, 1974-2008 (0.3 linear feet, Box 6, ER07; 0.171 GB)

Series 5: Project Files, 1979-2010 (0.6 linear feet; Boxes 6-7, ER08; 9.35 GB)

Series 6: Exhibition Files, 1979-2011 (1.1 linear feet; Boxes 7-8, ER09; 0.001 GB)

Series 7: Printed Material, 1966-2014 (2.6 linear feet; Boxes 8-10, 17, OV 20, ER10; 0.011 GB)

Series 8: Artwork and Sketchbooks, 1964-2003 (3.2 linear feet; Boxes 10-13, 17, ER11; 0.076 GB)

Series 9: Photographic Material, 1968-2015 (2.5 linear feet; Boxes 13-16, 18-19, OV 21, ER12-ER13; 7.86 GB)
Biographical / Historical:
Eileen Cowin (1947-) is a photographer and video artist who lives in Los Angeles, California.

Eileen Cowin was born in Brooklyn, New York in 1947. She graduated from the State University of New York, New Paltz in 1968 and received her master's degree in photography from the Institute of Design at Illinois Institute of Technology (IIT) in Chicago in 1970. At IIT, she studied with Aaron Siskind and Arthur Siegel.

Cowin was involved in the L.A. experimental photography scene that began in the mid-1970s led by Robert Heinecken and Darryl Curran. In the early 1980s, Cowin gained initial prominence with staged photographs of family and friends in various roles, work in keeping with The Pictures Generation emerging at the same time on the East Coast.

From 1971-1975, Cowin taught photography at Franconia College in New Hampshire, and later became a professor at California State University, Fullerton, where she continued to teach until retiring in 2008.

Cowin's artwork has been featured in over 40 solo exhibitions and over 165 group exhibitions in the United States and abroad. She has received numerous awards for her art and worked on many public art projects.
Provenance:
The Eileen Cowin papers were donated to the Archives of American Art by Eileen Cowin in 2015.
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 with no duplicate access copy requires advance notice.

One box of correspondence with Michael Dorris and Louise Erdrich and one box of correspondence with Robert Fichter are ACCESS RESTRICTED; use requires written permission.
Rights:
The Eileen Cowin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Video artists -- California  Search this
Photographers -- California  Search this
Topic:
Women artists -- California  Search this
Art -- Study and teaching  Search this
Genre/Form:
Transcriptions
Sketchbooks
Video recordings
Sound recordings
Interviews
Visitors' books
Drawings
Photographs
Citation:
Eileen Cowin papers, 1961-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cowieile
See more items in:
Eileen Cowin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cowieile

Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
56.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2007
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.
Arrangement:
The collection is arranged as eight series:

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism  Search this
Art critics  Search this
Minimal art  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Priscilla Cunningham papers regarding Sue Fuller

Creator:
Cunningham, Priscilla  Search this
Names:
Atelier 17  Search this
Fuller, Sue (1914-2006)  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1982-2006
Summary:
Priscilla Cunningham papers regarding Sue Fuller measure 0.2 linear feet and are dated 1982-2006. The friendship between Cunningham and Fuller and Fuller's sculpture are documented by letters and photographs. Also included is a written version of Fuller's reminiscences of Atelier 17 in New York City that she presented at the Pollock-Krasner House and Study Center in 1993.
Scope and Content Note:
Priscilla Cunningham papers regarding Sue Fuller measure 0.2 linear feet and are dated 1982-2006. The friendship between Cunningham and Fuller and Fuller's sculpture are documented by letters and photographs. Also included is a written version of Fuller's reminiscences of Atelier 17 in New York City that she presented at the Pollock-Krasner House and Study Center in 1993.
Arrangement:
The collection is arranged as 4 series:

Series 1: Letters, 1982-2006 (Box 1; 0.1 linear ft.)

Series 2: Writing, 1993 (Box 1; 1 folder)

Series 3: Printed Material, 1982-2004 (Box 1; 1 folder)

Series 4: Photographs, 1983-2005 (Box 1; 1 folder)
Biographical Note:
Art historian and art collector Priscilla Cunningham is the daughter of art museum director Charles Cunningham. For over twenty years, she was a close friend of Sue Fuller. Ms. Cunningham lives in Hampton Bays, New York.

Sue Fuller (1914-2006) was a printmaker and sculptor in New York City and Southampton, New York. She served as Stanley William Hayter's assistant at Atelier 17 in New York City in the mid 1940s. Fuller later became known for three-dimensional constructions composed of string and in the 1960s patented a method for embedding thread constructions in plastic.
Related Material:
Oral history interview with Sue Fuller conducted by Paul Cummings for the Archives of American Art in 1975.
Provenance:
Gift of Priscilla Cunningham, 2007.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Priscilla Cunningham papers regarding Sue Fuller are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Sculptors -- New York (State) -- New York  Search this
Women printmakers  Search this
Women artists -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Priscilla Cunningham papers regarding Sue Fuller, 1982-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cunnpris
See more items in:
Priscilla Cunningham papers regarding Sue Fuller
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cunnpris

Anna Richards Brewster papers

Creator:
Brewster, Anna Richards, 1870-1952  Search this
Names:
Brewster, W. T. (William Tenney), 1869-1961  Search this
Richards, Anna M. (Anna Matlock)  Search this
Richards, William Trost, 1833-1905  Search this
Extent:
0.8 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Date:
1887-1964
Scope and Contents:
Certificates, letters, legal material, writings, sketchbooks, art works, photographs, printed material, and a scrapbook.
REEL 3796: A scholarship certificate for Cowles Arts School, 1888; a certificate for the National Academy of Design's Dodge Prize, 1890; 7 letters from Brewster's father William Trost Richards, in which he discusses his lodgings in Germany, Anna's paintings, the publication of A NEW ALICE IN WONDERLAND, illustrated by Brewster and written by her mother Anna Matlock Richards, and other matters; letters from Brewster's brothers and husband William; writings by Brewster; a book of poems by Anna Matlock Richards[?], and a book of poetry, LETTER AND SPIRIT: DRAMATIC SONNETS OF INWARD LIFE by Richards, illustrated by Brewster, published by George Allen, 1898 (57 p.); 3 poems by William Brewster;
sketchbooks, undated, one of which contains a photograph of a young woman; 19 pencil and ink illustration sketches; an etching of a stone gate; reproductions of Brewster's art work for A NEW ALICE IN THE OLD WONDERLAND and for miscellaneous greeting cards; clippings; THE HILLS OF MATUNUCK AND THE OLD POST ROAD by Carder H. Whaley, 1964; a photograph of Brewster; and 2 photographs of William T. Brewster.
Also included is a 7-page book LETTER AND SPIRIT: DRAMATIC SONNETS OF INWARD LIFE by Anna Matlock Richards, illustrated by Anna Richards Brewster (1898).
UNMICROFILMED: Marriage certificate, 1905; a passport affidavit, 1918; and a certificate of commendation from the French government, 1920; legal material concerning William Tenney Brewster, including a will, cremation certificate, estate papers, and copyright certificates, 1954-1961; correspondence with Brewster's father William Trost Richards, her husband William, William's brother Edwin, and other family members, 1887-1919; and fourteen letters concerning art related matters, including 3 thank you notes from Dwight Eisenhower (1919-1959); lists of recipients of Brewster's books; reviews of the William Trost Richards memorial exhibition;
8 clippings, 1955-1961; a scrapbook LIBER POKERI created for Brewster by her brother Herbert and her husband containing a drawing and clippings about poker; and a photograph album of Herbert Richards Brewster, 1906-1910.
Biographical / Historical:
Illustrator, painter, writer; New York and Pennsylvania. Collaborated as an illustrator with her mother, poet and author Anna Matlock Richards. Brewster's father, William Trost Richards, was a well-known marine painter. Her brother Theodore William Richards was a professor of chemistry at Harvard and a Nobel Prize winner, and another brother, Herbert Maule Richards, was a professor of botany at Barnard College, Columbia University. Brewster lived nine years in London.
Provenance:
Material on reel 3796 donated 1985 by Susan Brewster McClatchy, Brewster's grandniece except for fr. 5-75, which were returned to McClatchy. Donor of the 1986 gift, Martha Santiago, is the aunt of Susan Brewster McClatchy.
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:
Marine painters  Search this
Illustrators  Search this
Painters  Search this
Topic:
Marine painting, American  Search this
Illustration -- United States  Search this
Women artists  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Identifier:
AAA.brewanna
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brewanna

Raymond Baxter and Anne Ophelia Todd Dowden papers

Creator:
Dowden, Raymond Baxter, 1905-1982  Search this
Dowden, Anne Ophelia Todd, 1907-  Search this
Louis Comfort Tiffany Foundation  Search this
Names:
Cooper Union for the Advancement of Science and Art. Art School -- Faculty  Search this
Yale Summer Art School (Norfolk, Conn.) -- Faculty  Search this
Arnheim, Rudolf  Search this
Starr, Floyd Elliot, 1883-1980  Search this
Thomas, Byron, 1902-1978  Search this
Extent:
0.8 Linear feet ((microfilmed on 2 partial reels))
12 Items (Addition)
Type:
Collection descriptions
Archival materials
Date:
1937-1996
Scope and Contents:
Correspondence, letter essays, writings, project files, printed material, works of art, and photographs primarily regarding Dowden's positions as head of the Design Department at Cooper Union Art School (CUAS) for 32 years and Director of the Yale summer art school in Norfolk, Connecticut. Also included are papers of Anne Ophelia Todd Dowden.
REELS 4884-4885: Biographical material consists of memorial tributes and obituaries, 1982. Correspondence, 1952-1980, is with friends and colleagues, primarily concerning the Cooper Union Art School and it's publications and projects, calligraphy, and the Yale-Norfolk art school, 1952-1982. Among the correspondents are Rudolf Arnheim, painter Byron Thomas, and Floyd Starr of the Starr Commonwealth for Boys, where Dowden had gone as a boy. Letters, written in essay form, 1955-1978, by Dowden regard Anne Ophelia's botanical drawing publications, his health concerns, travel plans, and general thoughts. Writings, ca. 1960, concern Dowden's philosophy of art in relation to CUAS.
Also included are files regarding CUAS publications, Green Camp, Dowden's participation as an art juror, the Yale summer art school, and Byron Thomas's death and memorial service, 1978. Printed material, 1940-1976, includes exhibition announcements and catalogs, CUAS publications, newspaper and magazine clippings, and reproductions of Dowden's art work. Original art work by Raymond and Ophelia include ink drawings and pencil sketches. Photographs are of family and friends, works of art and exhibition installations, and friends while Dowden was a resident fellow at the Tiffany Foundation in 1929 and 1932.
Unmicrofilmed addition: Biographical material, writings, an outline of a book on design, exhibition announcements, printed material, and photographs.
Biographical / Historical:
Painters; New York, N.Y. Raymond Dowden taught design at Cooper Union Art School, New York, N.Y., and is known also for his calligraphy work. His wife, Anne Ophelia Todd Dowden, was a botanical artist. Anne Ophelia Todd Dowden died in 2007.
Provenance:
Donated 1978-1982 by Raymond Baxter Dowden and Anne Ophelia Dowden; and in 1990 and 2004 by Anne Dowden.
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:
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Botanical artists  Search this
Topic:
Women artists -- New York (State) -- New York  Search this
Identifier:
AAA.dowdraym
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dowdraym

Lois Dodd papers

Creator:
Dodd, Lois, 1927-  Search this
Interviewer:
Mainardi, Patricia  Search this
Extent:
6.82 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Date:
1945-2013
Summary:
The papers of New York City painter, educator, gallery owner, and activist Lois Dodd date from 1945 to 2013 and measure 6.82 linear feet. The papers focus on Dodd's personal work and contain little documentation of her involvement with Tanager Gallery. Found are biographical materials, including an interview conducted by Pat Mainardi in 1973; personal business records; professional correspondence; project and teaching files for Artist Housing Projects and various teaching positions; scattered writings and notes; printed materials including exhibition catalogs and announcements; and photographs.

The 2014 and 2015 additions date from 1945-2013 and provide additional material related to Dodd's career as a painter and educator. Found here are biographical material; correspondence with friends and artists; writings by others; project and teaching files; personal business records; printed material; photographical material of artwork and Dodd; eleven travel sketchbooks; and a few pieces of artwork by George Schneeman.
Scope and Content Note:
The papers of New York City painter, educator, gallery owner, and activist Lois Dodd date from 1945 to 2013 and measure 6.82 linear feet. The papers focus on Dodd's personal work and contain little documentation of her involvement with Tanager Gallery. Found are biographical materials, including an interview conducted by Pat Mainardi in 1973; personal business records; professional correspondence; project and teaching files for Artist Housing Projects and various teaching positions; scattered writings and notes; printed materials including exhibition catalogs and announcements; and photographs.

The 2014 and 2015 additions date from 1945-2013 and provide additional material related to Dodd's career as a painter and educator. Found here are biographical material; correspondence with friends and artists; writings by others; project and teaching files; personal business records; printed material; photographical material of artwork and Dodd; eleven travel sketchbooks; and a few pieces of artwork by George Schneeman.

Notable correspondents in the collection include Charles Cajori, Dave and Kathy Dewey, Lucien Day, Rackstraw Downes, William King, James L. Lentz, James McGarrell, Zalmar Perlin, Sidney Simon, Paul Smith, and Tom Wesselmann.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Information, 1949-1989 (Box 1; 9 folders)

Series 2: Personal Business Records, 1950-1990 (Box 1; 0.1 linear feet)

Series 3: Correspondence, 1952-1991 (Box 1; 0.7 linear feet)

Series 4: Project and Teaching Files, 1969-1983 (Box 1-2; 0.2 linear feet)

Series 5: Writings and Notes, circa 1970-1990 (Box 2; 5 folders)

Series 6: Printed Material, circa 1970-2001 (Box 2; 0.6 linear feet)

Series 7: Photographs, 1952-circa 1990 (Box 2; 0.3 linear feet)

Series 8: Addition to the Lois Dodd Papers, 1945-2013 (Box 3-8; 4.8 linear feet)
Biographical Note:
Lois Dodd (1927- ) is an observational painter, educator, activist, and co-founder of the Tanager Gallery. She is active in New York City and Maine.

Lois Dodd was born in 1927 in Montclair, New Jersey. Beginning in 1945, Dodd commuted from Montclair to New York City to attend The Cooper Union, from which she graduated in 1948. She married fellow student and sculptor William King with whom she had one child, Eli. King and Dodd, among others, established the Tanager Gallery in 1952.

Dodd worked for various organizations in New York City promoting affordable housing for artists, especially the renewal of Cooper Square. She continues to exhibit her paintings at both individual and group exhibitions.
Related Material:
Among the collections of the Archives of American Art are the Tanager Gallery records, 1952-1972 and an oral history interview with Lois Dodd by Barbara Shikler conducted in 1988.
Provenance:
Lois Dodd donated her papers to the Archives of American Art in several increments between 1981-2007. Dodd donated an additional 4.8 linear feet of material in 2014 and 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Lois Dodd papers papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art teachers -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Artists -- Housing -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Political activists -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Interviews
Citation:
The Lois Dodd papers, 1945-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.doddlois
See more items in:
Lois Dodd papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-doddlois

Sari Dienes papers

Creator:
Dienes, Sari  Search this
Extent:
9 Items ((on one partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
[ca.1960-1970]
Scope and Contents:
A brief biographical sketch, "Notes on Art" by Dienes, 1960; a clipping, 1970, and six sketches for paintings.
Biographical / Historical:
Painter; New York City. Born in 1898. Died 1992.
Provenance:
Much of Diene's archival material was lost in a fire at her studio in 1974.
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
Topic:
Women artists  Search this
Identifier:
AAA.diensari
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-diensari

Thomas Wilmer Dewing and Dewing family papers

Creator:
Dewing, Thomas Wilmer, 1851-1938  Search this
Names:
Dewing, M. O. (Maria Oakey), 1855-1927  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1876-1963
bulk 1890-1930
Summary:
The papers of Thomas Wilmer Dewing and the Dewing family measure 0.3 linear feet and date from 1876-1963. Found within the papers are biographical materials on Thomas Dewing; personal correspondence from Dewing, his wife Maria Oakey, and other family members; writings; printed materials; and photographs of Dewing, his family, and his work.
Scope and Contents:
The papers of Thomas Wilmer Dewing and the Dewing family measure 0.3 linear feet and date from 1876-1963. Found within the papers are biographical materials on Thomas Dewing; personal correspondence from Dewing, his wife Maria Oakey, and other family members; writings; printed materials; and photographs of Dewing, his family, and his work.
Arrangement:
The collection is arranged as 1 series:

Series 1: Thomas Wilmer Dewing and Dewing Family Papers, 1876-1963 (0.3 linear feet; Box 1, OV 2)
Biographical / Historical:
Painters Thomas Wilmer Dewing (1851-1938) and Maria Oakey Dewing (1855-1927) lived and worked in New York, N.Y. and Cornish, New Hampshire. A native of Boston, Thomas Dewing began his art studies at the Boston Museum of Fine Arts and traveled to Paris in 1876 to study at the Académie Julian under Gustave Boulanger and Jules Lefebvre. He returned to Boston in 1877 and moved to New York City in 1880 where he met and married his wife, Maria Oakey, in 1881. Known for his tonalist style, Dewing taught at the Art Students League from 1881 to 1888, and was elected to the National Academy of Design in 1888. Dewing was also a member of the Ten American Painters, an exhibiting group that included Childe Hassam and William Merritt Chase. Prominent patrons of his work include the architect Stanford White and the art collectors Charles Lang Freer and John Gellatly.

An artist in her own right, Maria Oakey Dewing began her studies at Cooper Union in 1866 and continued at the National Academy of Fine Arts in 1881. She was also a founding member of the Art Students League and a member of the Society of American Artists. Maria Dewing exhibited works at the National Academy of Design and continued to exhibit still life paintings after her marriage to Dewing, receiving awards at the 1893 Columbian Exposition and the 1901 Pan American Exposition. From 1885 to 1905, the Dewings summered at the artist colony in Cornish, New Hampshire and had one child, Elizabeth Dewing Kaup. Maria died at her home in New York in 1927 and Thomas died in New York in 1938.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1818, 2077, and 2083) including correspondence, writings and diaries, sketchbooks, and photograph albums. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Thomas and Maria Dewing's daughter, Elizabeth Dewing Kaup, donated the papers in separate accessions beginning in 1959. In 1979-1980, ten additional letters were given by Mary Morain, the Dewings' granddaughter, through Susan Hobbs. Material was lent for microfilming by Mrs. Pete A. Gunther in 1980 and by Hugh Franklin in 1981. In 2009, an additional handful of correspondence and photographs were anonymously donated to the Archives.
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.
Rights:
The Thomas Wilmer Dewing and Dewing family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Women artists -- New Hampshire  Search this
Topic:
Painters -- New Hampshire  Search this
Painters -- New York (State) -- New York  Search this
Painting, American -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Thomas Wilmer Dewing and Dewing family papers, 1876-1963, bulk 1890-1930. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dewithom
See more items in:
Thomas Wilmer Dewing and Dewing family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dewithom
Online Media:

Margaret De Patta papers

Creator:
De Patta, Margaret, 1903-1964  Search this
Names:
California College of Arts and Crafts (San Francisco, Calif.)  Search this
California Labor School  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Nanny's Design Gallery  Search this
Oregon State System of Higher Education  Search this
San Francisco Metal Arts Guild  Search this
Barson, Fred  Search this
Bielawski, Eugene  Search this
Davis, Adelle  Search this
Designs Contemporary  Search this
Fleisher, Janet  Search this
Flory, Alice  Search this
McHendrie, Janet  Search this
Ries, Victor, 1907-  Search this
Untracht, Oppi  Search this
Extent:
3.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Designs
Drawings
Date:
circa 1930-2012
Summary:
The papers of California jewelry designer Margaret De Patta measure 3.7 linear feet and date from circa 1930 to 2012. The papers include correspondence, writings, teaching files, exhibition files, personal business records, printed material, artwork and sketchbooks, and photographs.
Scope and Contents:
The papers of California jewelry designer Margaret De Patta measure 3.7 linear feet and date from circa 1930 to 2012. The papers include correspondence, writings, teaching files, exhibition files, personal business records, printed material, artwork and sketchbooks, and photographs.

Personal and professional correspondence is with family, friends, artists, galleries, museums, and universities. Notable correspondents include Fred Barson, Adelle Davis, Janet Fleisher, Alice Flory, Janet McHendrie, Victor Ries, Oppi Untracht, and Nanny's Design Gallery.

Writings include essays, personal statements, and notes. There is also an outline for a book on design and an annotated calendar.

Teaching files consist of course materials, administrative records, meeting minutes, and limited correspondence from the California Labor School. There are also a few folders from the California College of Arts and Crafts and the Oregon State System of Higher Education.

Exhibition files include announcements, correspondence, inventories, price lists, loan forms, and other material for Margaret De Patta shows at museums and galleries.

Personal business records consist of financial, legal, and administrative records on Margaret De Patta's jewelry designs and sales, as well as material related to Designs Contemporary, the jewelry production business created and managed by De Patta and her husband Eugene Bielawski. There is also material on large gifts and loans to museums and universities, and files relating to the San Francisco Metal Arts Guild.

Printed materials are mostly clippings about Margaret De Patta and other subjects, along with a few magazines and periodicals, including the San Francisco Metal Arts Guild newsletters, 1952-1964.

There is one sketchbook and several folders of drawings, jewelry designs, and flatware designs.

The bulk of the photographs are of jewelry and other objects designed by Margaret De Patta. There are a few photographs of Margaret De Patta working on jewelry and other subjects, such as a trip to Japan and her house on Laidley Street in California.
Arrangement:
This collection is arranged as 8 series.

Series 1: Correspondence, 1946-2011 (0.4 linear feet; Box 1)

Series 2: Writings, circa 1935-1963 (0.1 linear feet; Box 1)

Series 3: Teaching Files, 1944-1969 (0.2 linear feet; Box 1)

Series 4: Exhibition Files, 1948-2012 (0.4 linear feet; Boxes 1-2)

Series 5: Personal Business Records, 1943-2001 (0.9 linear feet; Box 2)

Series 6: Printed Material, 1938-1981 (0.1 linear feet; Box 3)

Series 7: Artwork and Sketchbook, circa 1930-circa 1960 (0.2 linear feet; Box 3)

Series 8: Photographs, circa 1935-1967 (0.4 linear feet; Boxes 3-4, OV 5)
Biographical / Historical:
San Francisco contemporary jewelry designer Margaret De Patta, née Strong, was born in Tacoma, Washington in 1903 and raised in San Diego, California. She was among the first contemporary studio jewelers and a proponent of modernism. De Patta studied painting at the San Diego Academy of Fine Arts from 1921-1923, the California School of Fine Arts from 1923-1925, and the New York Art Students League from 1926-1929.

Margaret De Patta began to create jewelry when she designed her own modernist wedding ring for her marriage to Sam De Patta in 1929. By the mid-1930s, she had become an accomplished jeweler whose work was frequently shown in galleries and museums. Her jewelry was featured in the 1939 Golden Gate International Exposition in San Francisco. Around 1939, De Patta also started collaborating with Francis Sperisen, a noted San Francisco lapidary. De Patta designed the shapes of the jewelry using Lucite and wood, and Sperisen would use her models as a reference for the actual gem cutting.

From 1940-1941, De Patta attended the Chicago Bauhaus (now the Institute of Design) where she studied under Laszlo Moholy-Nagy. De Patta's time at the school was formative and Moholy-Nagy was tremendously impressed with her work. She also met her future second husband Gene Bielawski while she was a student in Chicago.

In 1941, De Patta returned to San Francisco, divorced Sam De Patta, and renovated her Laidley Street house in Glen Park. In 1946, she married Eugene Bielawski. The couple taught at the California Labor School. They also moved to Napa and founded Designs Contemporary, a business for producing jewelry that was as high quality as De Patta's handcrafted pieces at more affordable prices. Since all aspects of the business were conducted by the two of them, the workload became overwhelming and Designs Contemporary closed in 1957.

In 1951, Margaret De Patta was a founding member of the San Francisco Metal Arts Guild, established to promote the metal arts and specifically address the unique needs of studio jewelers. During her lifetime, she befriended many artists and continued to create jewelry, teach, and lecture. De Patta committed suicide in 1964. Her innovative jewelry designs continue to be influential today.
Provenance:
The Margaret De Patta papers were donated in two installments in 2003 and 2015 by Martha Bielawski, the second wife of Margaret De Patta's second husband, Eugene Bielawski. These papers were collected 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.
Rights:
The Margaret De Patta papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Jewelers -- California  Search this
Jewelry making -- Study and teaching  Search this
Design -- Study and teaching  Search this
Topic:
Designers -- California  Search this
Women artists  Search this
Genre/Form:
Photographs
Sketchbooks
Designs
Drawings
Citation:
Margaret De Patta papers, circa 1930-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.depamarg
See more items in:
Margaret De Patta papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-depamarg
Online Media:

Agnes Denes papers

Creator:
Denes, Agnes  Search this
Extent:
185 Items ((on one microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1968-1971
Scope and Contents:
Correspondence and drafts of letters, catalogues, blueprints, clippings.
Biographical / Historical:
Environmental artist, sculptor, painter; New York, N.Y.
Provenance:
Lent for microfilming 1971 by Agnes Denes.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Environmental artists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Identifier:
AAA.deneagne
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-deneagne

Helen DeMott papers

Creator:
DeMott, Helen, 1920-1997  Search this
Names:
Art Students League (New York, N.Y.) -- Photographs  Search this
Bland, Celia  Search this
Burkhardt, Rudy  Search this
Chester, Alfred, 1928-1971  Search this
Eastman, Max, 1883-1969  Search this
Finkelstein, Miriam  Search this
Johnson, Ray, 1927-  Search this
Ponsot, Marie  Search this
Rolick, Esther G., 1922-  Search this
Schloss, Edith, 1919-  Search this
Wright, Clifford, 1919-  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Notes
Sketches
Photographs
Poems
Sound recordings
Watercolors
Video recordings
Scrapbooks
Manuscripts
Drawings
Travel diaries
Date:
1896-1997
Summary:
The papers of painter Helen DeMott measure 7.9 linear feet and date from 1896-1997. DeMott's painting career from 1940-1996 is documented through her numerous sketchbooks and original artwork. Also found is biographical material, correspondence, writings and poems, scrapbooks, printed material, photographic material, audio and video recordings, and scattered material from collagist Ray Johnson.
Scope and Content Note:
The papers of painter Helen DeMott measure 7.9 linear feet and date from 1896-1997. DeMott's painting career from 1940-1996 is documented through her numerous sketchbooks and original artwork. Also found is biographical material, correspondence, writings and poems, scrapbooks, printed material, photographic material, audio and video recordings, and scattered material from collagist Ray Johnson.

The scattered biographical material contains official documents, DeMott's resume, circulars and receipts from the Art School of the National Academy of Design, and two obituaries. Correspondence includes letters from publishers regarding DeMott's book proposal "Geography into Landscape," correspondence with universities and scientific institutions regarding her Wave series, and personal correspondence including letters from photographer, filmmaker, and painter Rudy Burckhardt, writer Alfred Chester, painter Clifford Wright, and collagist Edith Schloss.

The bulk of the writings is DeMott's poetry, as well as some artist's statements, loose notes, a speech, travel diaries, and handwritten, typed, and edited manuscripts, including a typed manuscript of "Geography into Landscape." Writings by others include poetry by Celia Bland, Miriam Finkelstein, and Marie Ponsot. Scrapbooks document DeMott's research and artwork related to waves and includes clippings, photographs of artwork, sketches and notations, and typed notes on painting waves. Printed material includes magazine and newspaper articles about Helen DeMott and various other artists, and many articles related to water waves.

Photographic material includes black and white photographs of DeMott's artwork and personal photographs. Of interest is a 1943 photograph of a group at the Art Students League which includes Ester Rolick, Edith Schloss, Max Eastman, and Helen DeMott. Also found are slides and transparencies of artwork and slides for lectures on waves. Audiovisual Recordings include one reel-to-reel tape and five videotapes, some related to DeMott's study of waves.

There is one folder of material from collagist Ray Johnson containing scattered letters and mail art, exhibition fliers, and collages. Measuring 4.2 linear feet, the bulk of DeMott's papers are sketchbooks and original artwork spanning her artistic career. There are numerous loose sketches, notes, sketchbooks, holiday cards, watercolors, and oversized drawings in pencil, ink, and oil pastels, much of which is related to waves. Original artwork by others includes Esther Rolick and Edith Schloss.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Material, 1911-1997 (Boxes 1, 9; 7 folders)

Series 2: Letters and Correspondence, 1896, 1930-1995 (Boxes 1-2; 1.1 linear feet)

Series 3: Writings, 1950-circa 1996 (Boxes 2-3; 1.0 linear feet)

Series 4: Scrapbooks, 1967-1989 (Box 3; 2 folders)

Series 5: Printed Material, 1961-1996 (Boxes 3, 9; 0.2 linear feet)

Series 6: Photographic Material, circa 1920s-1996 (Boxes 3-4, 9; 0.8 linear feet)

Series 7: Audiovisual Recordings, 1975, 1978, undated (Box 4; 0.4 linear feet)

Series 8: Ray Johnson, 1947, 1963, undated (Box 4; 1 folder)

Series 9: Artwork, 1941-1996 (Boxes 4-9, OV 10-13; 4.2 linear feet)
Biographical Note:
Helen DeMott (1920-1997) was a New York City based painter and poet and well-known East Village community activist.

In the 1940s, DeMott attended the National Academy of Design and Art Students League. In the late 1960s, DeMott began focusing her work on the scientific study of waves, specifically the structure of water wave surfaces, a theme that remained in her work for the rest of her career. In 1974-1975, DeMott completed two building murals of water wave structures in New York City: Wave Spill, located at 155 First Avenue and 10th Street; and River Wave, at 509 Amsterdam Avenue. She had a solo exhibition at the Green Mountain Gallery in 1969, and exhibited at the ground-breaking alternative space, 112 Workshop/112 Greene Street in 1979. DeMott was received a number of grants and awards throughout her career including National Community Arts Competition winner in 1974, a grant from the New York State Council on the Arts (CAPS) in 1976, a National Endowment for the Arts Fellowship in 1978, and a Gottleib Foundation grant in 1983. She passed away in 1997.
Provenance:
The Helen DeMott papers were a bequest to the Archives of American Art in 2003 by James Goldiner, executive for the estate of Helen DeMott.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Helen DeMott papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Women artists  Search this
Genre/Form:
Notes
Sketches
Photographs
Poems
Sound recordings
Watercolors
Video recordings
Scrapbooks
Manuscripts
Drawings
Travel diaries
Citation:
Helen DeMott papers, 1896-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.demohele
See more items in:
Helen DeMott papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-demohele
Online Media:

Elaine de Kooning papers

Creator:
De Kooning, Elaine  Search this
Names:
Chessman, Caryl, 1921-1960  Search this
De Kooning, Willem, 1904-1997  Search this
Kennedy, John F. (John Fitzgerald), 1917-1963  Search this
Extent:
1.1 Linear feet
0.003 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Transcripts
Interviews
Scrapbooks
Sound recordings
Date:
circa 1959-2013
Summary:
The scattered papers of Abstract Expressionist painter Elaine de Kooning are dated circa 1959-2013 and measure 1.1 linear feet and 0.003 GB. Found within the papers are letters, writings, a sketch of John F. Kennedy, notes, a sound recording, a few documents regarding Willem de Kooning, transcripts of interviews of de Kooning, transcripts of recorded conversations between de Kooning and others, and transcripts of lectures by de Kooning and others. There are a few photographs of de Kooning and of de Kooning with others, including John F. Kennedy, artist James Bohary, and Ad Reinhardt, and of artwork. Most of the transcripts and few photographs are digitized. Also found are printed materials and two scrapbooks containing a variety of documents about de Kooning's protest against the death penalty and efforts to save the life of convicted criminal Caryl Chessman.
Scope and Contents:
The scattered papers of Abstract Expressionist painter Elaine de Kooning are dated circa 1959-2013 and measure 1.1 linear feet and 0.003 GB. Found within the papers are letters, writings, a sketch of John F. Kennedy, notes, a sound recording, a few documents regarding Willem de Kooning, transcripts of interviews of de Kooning, transcripts of recorded conversations between de Kooning and others, and transcripts of lectures by de Kooning and others. There are a few photographs of de Kooning and of de Kooning with others, including John F. Kennedy, artist James Bohary, and Ad Reinhardt, and of artwork. Most of the transcripts and few photographs are digitized. Also found are printed materials and two scrapbooks containing a variety of documents about de Kooning's protest against the death penalty and efforts to save the life of convicted criminal Caryl Chessman.
Arrangement:
The collection is arranged as 5 series:

Series 1: Personal Papers, circa 1960s-1989 (Boxes 1, 3; 0.2 linear feet)

Series 2: Interviews, Conversations, and Lectures, 1978-1988 (Box 1, ER01; 0.3 linear feet, 0.001 GB)

Series 3: Photographs, circa 1960s (Box 2, ER02; 4 folders, 0.002 GB)

Series 4: Printed Material, 1961-1982 (Boxes 2-3; 5 folders)

Series 5: Scrapbooks, circa 1959-1962 (Boxes 2-3: 0.3 linear ft.)
Biographical / Historical:
Elaine de Kooning (1918-1989) was an Abstract Expressionist painter, teacher and writer who lived and worked in New York City and East Hampton, N.Y.

Born in Brooklyn, New York, de Kooning studied briefly at Hunter College before enrolling at the Leonardo da Vinci Art School in New York City. She had her first solo exhibition in 1952 at the Stable Gallery in New York and has paintings in the permanent collections of the Museum of Modern Art, the Solomon R. Guggenheim Museum and other institutions. She taught at Yale University, Carnegie Mellon Institute, University of Pennsylvania and other colleges and art schools. Elaine de Kooning died of lung cancer in 1989 at Southampton Hospital in Southampton, New York. Willem de Kooning, her husband of 48 years, survived her.
Related Materials:
Among the holding of the Archives is an oral history interview conducted in 1981 by Phyllis Tuchman, for the Archives of American Art's Mark Rothko and His Times oral history project. Also found is a collection of Elaine and Willem de Kooning financial records.
Provenance:
The collection was donated to the Archives of American Art in 2003 by Denise Lassaw, de Kooning's goddaughter and her mother Ernestine Lassaw, and in 2013-2015 by Denise Lassaw. Interview transcripts and lectures were donated in 2015 by Doris Aach, a friend who transcribed them for de Kooning.
Restrictions:
Use of original materials requires an appointment.
Rights:
The Elaine de Kooning papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art teachers -- New York (State)  Search this
Women artists -- New York (State)  Search this
Topic:
Artists -- Political activity  Search this
Capital punishment  Search this
Abstract expressionism -- New York (State)  Search this
Painters -- New York (State)  Search this
Genre/Form:
Photographs
Transcripts
Interviews
Scrapbooks
Sound recordings
Citation:
Elaine de Kooning papers, circa 1959-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dekoelas
See more items in:
Elaine de Kooning papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dekoelas
Online Media:

Vera Chopak de Champlain papers

Creator:
De Champlain, Vera Chopak, 1928 or 9-  Search this
Names:
Dickinson, Edwin Walter, 1891-1978  Search this
Extent:
135 Items
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1965-1981
Scope and Contents:
A résumé; correspondence, with letters from Edwin Dickinson; exhibition catalogues and announcements; clippings and printed material; sketchbooks; photographs; and miscellany.
Biographical / Historical:
Painter and printmaker (New York City).
Provenance:
Donated 1981 by Vera Chopak de Champlain.
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.
Topic:
Women artists  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.dechvera
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dechvera

Worden Day papers

Creator:
Day, Worden, 1916-1986  Search this
Names:
Hans Hofmann School of Fine Arts  Search this
Montclair Art Museum  Search this
State University of Iowa  Search this
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Dehner, Dorothy, 1901-1994  Search this
Fish, Alice  Search this
Foster, Betty  Search this
Fuller, Sue (1914-2006)  Search this
Hofmann, Hans, 1880-1966  Search this
Lasansky, Mauricio, 1914-  Search this
Minewski, Alex, 1917-1979  Search this
Moy, Seong  Search this
Peterdi, Gabor  Search this
Rupprecht, Edgar A.  Search this
Rupprecht, Isabell  Search this
Sarton, May, 1912-  Search this
Schrag, Karl  Search this
Thurn, Ernest  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
3.5 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Woodcuts
Date:
circa 1935-1992
Summary:
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.

There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Scope and Contents:
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.

Included are biographical material consisting of resumes and an address book. Correspondence is with colleagues, curators, and museum directors including Will Barnet, Carl Zigrosser, May Sarton, Dorothy Dehner, Louise Bourgeois, Sue Fuller, among others. Writings by Day are about sculpture and painting, among them four unpublished manuscripts "Pop Art as an American Cultural Phenomenon," "What is a Print," "The Found Dimension- Aspects in the Development of Modern American Sculpture," and "New Expressions of Woodcut," and reviews for exhibitions written by Day for Art News. Also found in the collection are printed materials; scrapbooks; photographs of Day, her works and photograph albums; and three sketchbooks. Audiovisual material is arranged with biographical material and includes a taped interview on audio cassette with Day and one reel of motion picture film (also available as digital files), "Printmakers," presented by United States Information Service, 1961, showing American printmakers Mauricio Lasansky, Day, Karl Schrag, Seong Moy and Gabor Petredi at work and students in the School of Graphic Arts at the State University of Iowa, founded by Lasansky. Also arranged with biographical material is a file relating to an exhibition on the work of painter Vaclav Vytlacil organized by Day in 1975 at the Montclair Art Museum containing correspondence; letter fragments from Alex Minewski; writings by Vytlacil regarding his career and work with Hans Hofmann; an audio cassette; photographs of Vytlacil, Hofmann teaching in Munich, Ed and Isabell Rupprecht, Ernest Thurn, Betty Foster, and Alice Fish at the Hofmann School of Fine Arts, Munich; and the exhibition catalog.

There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Arrangement:
The collection is arranged as eight series

Series 1: Biographical Material, 1960-1986 (Box 1, FC6; 0.5 linear feet)

Series 2: Correspondence, 1953-1977 (Box 1; 1 folder)

Series 3: Writings, 1955-1985 (Box 1; 0.3 linear feet)

Series 4: Printed Material, 1949-1983 (Box 1; 0.3 linear feet)

Series 5: Scrapbooks, 1940-1984 (Boxes 1, 4; 0.5 linear feet)

Series 6: Photographic Material, 1935-1986 (Boxes 2-3; 0.5 linear feet)

Series 7: Sketchbooks, 1960-1986 (Boxes 3, 5; 0.4 linear feet)

Series 8: Unprocessed Addition, circa 1951-1992 (Box 7; 1.0 linear feet)
Biographical / Historical:
Worden Day (1916-1986) was a sculptor, painter, printmaker and curator in Montclair, New Jersey. Born in Columbus, Ohio, Day graduated from Randolph-Macon College in 1934. She then moved to New York City, and over the next few decades, studied drawing with Maurice Sterne and George Grosz; drawing, painting, and printmaking with William Von Schlegell, Harry Sternberg, Hans Hofmann, Will Barnet, and Vaclav Vytlacil at the Art Students League; and etching with Stanley William Hayter at the New School for Social Research. After earning her M.A. from New York University in 1966, Day taught as an instructor and lecturer in color theory, drawing, printmaking, sculpture, design, collage, American art history, modern art theory, and women artists. Her written reviews and essays were featured in publications such as Art News, Art Voices, and Impressions, and she had solo exhibitions throughout the United States, including at the Smithsonian Institution, Baltimore Museum of Art, Cincinnati Art Museum, and Montclair Art Museum.
Provenance:
The papers were donated to the Archives of American Art from 1972-1983 by Worden Day. Additional material was donated in 2017 by Constance Duhamel, Day's friend. Additional material was donated in 2020 by the Maier Museum of Art at Randoph College via Constance Duhamel.
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 with no duplicate access copy requires advance notice.
Rights:
The Worden Day papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art museum curators  Search this
Topic:
Art, American  Search this
Women artists  Search this
Prints -- Technique  Search this
Landscape painters -- Massachusetts -- Provincetown  Search this
Painters -- New Jersey  Search this
Printmakers -- New Jersey  Search this
Sculptors--New Jersey  Search this
Sculpture  Search this
Art, Modern  Search this
Painting  Search this
Pop art  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Woodcuts
Citation:
Worden Day papers, 1935-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dayword
See more items in:
Worden Day papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dayword

Nancy Davidson papers

Creator:
Davidson, Nancy, 1943-  Search this
Names:
Marianne Deson Gallery  Search this
Museum of Contemporary Art (Chicago, Ill.)  Search this
N.A.M.E. Gallery  Search this
Walker Art Center  Search this
White Columns (Gallery)  Search this
Halstead, Richard  Search this
Itatani, Michiko  Search this
Kozloff, Joyce  Search this
Lipton, Eunice  Search this
Mayer, Rosemary  Search this
Moore, Sabra  Search this
Spero, Nancy, 1926-2009  Search this
Yoshida, Ray  Search this
Extent:
5 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Sketchbooks
Photographs
Date:
1970s-2016
Summary:
The papers of New York based interdisciplinary artist Nancy Davidson measure 5 linear feet and date from 1970s-2016. The collection includes biographical material, correspondence, illustrated notebooks and notes, gallery and exhibition files, printed material, photographic material, and two sketchbooks. Nearly one linear foot of correspondence arranged chronologically is both personal and professional. Notable correspondents include Michiko Itatani, Joyce Kozloff, Eunice Lipton, Sabra Moore, and Nancy Spero. Galleries and museums include Marianne Denson Gallery; Museum of Contemporary, Chicago; N.A.M.E. Gallery, of which Davidson was an artist member; the Walker Art Center; and White Columns. Over thirty notebooks capture Davidson's work process, evolution of ideas, related sketches in pen and pencil, reflections from readings and lectures, and notes from critiques with fellow artists Rosemary Mayer, Joyce Kozloff, Ray Yoshida, and Richard Halstead. A large sequence of printed material includes announcements, books, bulletins, newsletters, calendars, clippings, exhibition catalogs, periodicals, press releases, programs, and a few other items of printed matter relating to Davidson's professional career.
Scope and Contents:
The papers of New York based interdisciplinary artist Nancy Davidson measure 5 linear feet and date from 1970s-2016. The collection includes biographical material, correspondence, illustrated notebooks and notes, gallery and exhibition files, printed material, photographic material, and two sketchbooks. Nearly one linear foot of correspondence arranged chronologically is both personal and professional. Notable correspondents include Michiko Itatani, Joyce Kozloff, Eunice Lipton, Sabra Moore, and Nancy Spero. Galleries and museums include Marianne Denson Gallery; Museum of Contemporary Art, Chicago; N.A.M.E. Gallery, of which Davidson was an artist member; the Walker Art Center; and White Columns. Over thirty notebooks capture Davidson's work process, evolution of ideas, related sketches in pen and pencil, reflections from readings and lectures, and notes from critiques with fellow artists Rosemary Mayer, Joyce Kozloff, Ray Yoshida, and Richard Halstead. A large sequence of printed material includes announcements, books, bulletins, newsletters, calendars, clippings, exhibition catalogs, periodicals, press releases, programs, and a few other items of printed matter relating to Davidson's professional career.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, 1978-2015 (0.9 linear feet; Box 1)

Series 2: Correspondence, 1970s-2000s (0.8 linear feet; Box 1-2)

Series 3: Illustrated Notebooks and Notes, 1970s-2010 (1.6 linear feet; Box 2-4)

Series 4: Gallery and Exhibition Files, 1976-2002 (0.3 linear feet; Box 4)

Series 5: Printed Material, 1970s-2010s (1.3 linear feet; Box 4-5)

Series 6: Photographic Material, 1990s (1 folder; Box 5)

Series 7: Sketchbooks, circa 1980, circa 1990 (2 folders; Box 5)
Biographical / Historical:
Nancy Davidson (1943- ) is an interdisciplinary artist working primarily in sculpture and installation in New York, NY. She grew up in Chicago and received a Bachelor's degree from Northeastern Illinois University, a BFA from the University of Illinois, Chicago, and an MFA from the School of the Art Institute of Chicago. After completing her graduate degree in 1975, Davidson began her professional career in Chicago before moving to New York in 1979. While initially working in painting and drawing, Davison has become most well known for her works in sculpture investigating the feminized body. She has exhibited at the Institute of Contemporary Art in Philadelphia, the Corcoran Gallery in Washington, D.C., and in numerous galleries across the country. Davidson was a professor at Purchase College SUNY from 1984-2008.
Provenance:
Donated to the Archives of American Art in 2016 by Nancy Davidson.
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.
Rights:
The Nancy Davidson papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Women artists -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Installations (Art) -- New York -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Sketches
Sketchbooks
Photographs
Citation:
Nancy Davidson papers, 1970s-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.davinanc
See more items in:
Nancy Davidson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-davinanc

Gladys Rockmore Davis papers

Creator:
Davis, Gladys Rockmore, 1901-1967  Search this
Names:
Davis, Charles H. (Charles Harold), 1856-1933  Search this
Extent:
0.4 Linear feet ((on 3 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1925-1966
Scope and Contents:
Correspondence; biographical information; photographs; sketchbook; writings; personal documents; exhibition notices and clippings.
REEL D176: Photographs, writings, and vita information. The writings contain interesting accounts of Mrs. Davis' travels in Europe and the Far East.
REEL D288: Correspondence; biographical information; clippings; personal documents; exhibition notices; photographs; sketchbook (1944); and some business and miscellaneous items.
REEL 2803: Letters to Davis from Agnes George de Mille, October 3, 1963, Walter, November 12, 1963, and Joseph Paolillo, January 17, 1964.
Biographical / Historical:
Painter, writer; New York, N.Y.; b. 1901; d. 1967
Provenance:
Material on reel 2803 donated 1966 by Gladys Rockmore Davis. Material on reels D176 & D288 lent for microfilming 1965-1966 by Davis.
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  Search this
Topic:
Women artists  Search this
Identifier:
AAA.daviglad
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-daviglad

Lily Emmet Cushing papers

Creator:
Cushing, Lily Emmet, 1909-1969  Search this
Names:
Maynard Walker Gallery  Search this
Zhonghua fu nu fan gong kang E lian he hui  Search this
Bernstein, Henri  Search this
Chiang, May-ling Soong, 1897-2003  Search this
Frankfurter, Alfred M.  Search this
Graham, Katharine, 1917-  Search this
Kefauver, Nancy, 1912-1967  Search this
Kuhn, Walt, 1877-1949  Search this
Onassis, Jacqueline Kennedy, 1929-1994  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Postcards
Notebooks
Photographs
Typescripts
Paintings
Date:
1929-1972
Summary:
The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.
Scope and Content Note:
The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Biographical material consists primarily of address books and lists of addresses, but also includes miscellaneous resumés and a certificate of participation in the Art in the Embassies program. signed by Nancy Kefauver.

Scattered letters received by Cushing are primarily from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn. There are also letters concerning the Chinese Women's Anti-Aggression League that benefited the charitable and social welfare organizations of the Chinese Navy.

Personal business records include lists of art work and purchasers, price lists, financial and legal documents, and various receipts, including some for art supplies. Papers concerning the Maynard Walker Gallery include letters discussing sales, invoices, and a ledger listing sales of art work by various artists including Lily Cushing Emmet.

Notes and Writings consist of notebooks containing annotations on miscellaneous topics including household items, painting, plants, and recipes. Miscellaneous notes concern art work, fabric, and furnishings. Typescripts by others concern the genealogy of the Clark family.

Art work consists of a schematic drawing, small oil paintings on masonite, and a commercial printing block of a design by Walt Kuhn.

Printed material consists of clippings, exhibition announcements and catalogs, programs, miscellaneous brochures, picture postcards of scenes in the United States, Europe, and Mexico and of Native Americans.

Photographs are of Cushing, her daughters, her third husband Capt. Alston Boyd, friends and colleagues including Mme. Chiang Kai-Shek, various houses, travel scenes, miscellaneous plants, and of art work. There is also a photograph of Jacqueline Kennedy Onassis.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Material, 1953-1967 (Box 1; 14 folders)

Series 2: Letters, 1929-1972 (Box 1-2, OV 7; 1.4 linear feet)

Series 3: Personal Business Records, 1934-1969 (Box 2-3, 6; 0.8 linear feet)

Series 4: Notes and Writings, 1955-1969 (Box 3; 23 folders)

Series 5: Art Work, circa 1940 (Box 3, 6; 3 folders)

Series 6: Printed Material, 1930-1968 (Box 3, 6; 30 folders)

Series 7: Photographs, 1940-1968 (Box 3-6; 0.8 linear feet)
Biographical Note:
Lily Cushing (1909-1969) of New York City was primarily known as a painter of landscapes and still lifes of flowers.

Lily Cushing was born on January 13, 1909 in New York City, the third child of Ethel Cochrane and artist Howard Gardiner Cushing. She studied painting in the studio of Alexandre Jacovleff in Paris from 1926-1927, and with Walt Kuhn in New York City in 1929. Cushing's first solo exhibition was at the Arden Gallery in New York in 1930.

In 1929, Cushing married George Crawford Clark Jr. in Newport, Rhode Island. Following her divorce from Clark, she married William Temple Emmet, Jr. in 1932. They had two daughters, Alexandra and Lily. Cushing's second marriage also ended in divorce. In 1953, she married naval officer Alston M. Boyd in New York.

Cushing's work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and in the private collections of Paul Mellon, John Hay Whitney, and Joseph P. Kennedy, among others.

Lily Cushing died on September 21, 1969, in Fishers Island, New York.
Separated Material:
An unrecorded number of exhibition catalogs were removed from the collection and given to the Smithsonian American Art Museum/National Portrait Gallery Art Library in 1977.
Provenance:
The Lily Emmet Cushing papers were donated in 1972 by the artist's daughters Alexandra Emmet Schlesinger and Lily Emmet West.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Lily Emmet Cushing papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, American -- United States  Search this
Women artists  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Postcards
Notebooks
Photographs
Typescripts
Paintings
Citation:
Lily Emmet Cushing papers, 1929-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cushlily
See more items in:
Lily Emmet Cushing papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cushlily

Kathleen Cooke papers

Creator:
Cooke, Kathleen McKeith, 1908-1978  Search this
Names:
Truman Gallery  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1964-1978
Scope and Contents:
Curriculum vitae, biographical information, and statements by and about Cooke, with regard to her art work; business correspondence with galleries; exhibition announcements, catalogs and publicity notices; clippings; lists of works exhibited; and photographs and slides of works of art.
Biographical / Historical:
Painter, sculptor; New York, N.Y. Exhibited frequently in Truman Gallery, NYC.
Provenance:
Donated 1983 by Jock Truman, director of Truman Gallery (1976-1979) where Cooke exhibited.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Women artists -- New York (State) -- New York  Search this
Women sculptors -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Identifier:
AAA.cookkath
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cookkath

Rosemary Cove papers

Creator:
Cove, Rosemary, 1936-  Search this
Extent:
45 Items
Type:
Collection descriptions
Archival materials
Date:
1976-1980
Scope and Contents:
Resume; business correspondence; lecture notes; exhibition catalogs, announcements and other printed material; photographs of Cove, and her work.
Biographical / Historical:
Sculptor, painter; New York, N.Y. Born January 11, 1936. Cove is best known for her female forms using Corten steel, clay, and wax.
Provenance:
Donated 1981 by Rosemary Cove.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Women artists -- New York (State) -- New York  Search this
Women sculptors -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Citation:
Rosemary Cove papers. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.coverose
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-coverose

Helen Covensky papers

Creator:
Covensky, Helen Ciesla, 1925-2007  Search this
Names:
Detroit Institute of Arts  Search this
Lim Art Gallery (Tel-Aviv, Israel)  Search this
Livingstone-Learmouth Gallery  Search this
London Arts Gallery (Detroit, Mich.)  Search this
Extent:
850 Items ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1942-1981
Scope and Contents:
Biographical data; ca. 120 catalogs; clippings; four files on exhibitions at the Detroit Institute of Art, Lim Art Gallery in Tel-Aviv, Livingstone-Learmouth Gallery in New York City, and London Arts Gallery in Detroit, containing letters, receipts for works of art, loan agreements, price lists, exhibition announcements, newspaper and magazine clippings, press releases, bulletins, and photographs of works of art; miscellany; and photographs of Covensky, her family and friends, her studios in Jerusalem and Detroit, exhibition openings and works of art.
Biographical / Historical:
Painter; Detroit, Michigan and Jerusalem, Israel. Full name Helen Ciesla Covensky.
Provenance:
Lent for microfilming 1982 by Helen Covensky.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Israel  Search this
Painters -- Michigan  Search this
Topic:
Women artists  Search this
Identifier:
AAA.covehele
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-covehele

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