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William Meyerowitz and Theresa F. Bernstein papers

Creator:
Meyerowitz, William, 1887-1981  Search this
Bernstein, Theresa  Search this
Names:
Arms, John Taylor, 1887-1953  Search this
Blashfield, Edwin Howland, 1848-1936  Search this
Bluemner, Oscar, 1867-1938  Search this
Holmes, Oliver Wendell, Jr., 1841-1935  Search this
Karolik, Maxim  Search this
Phillips, Duncan, 1886-1966  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Ward, Lynd, 1905-1985  Search this
Weichsel, John, 1870-1946  Search this
Extent:
1.2 Linear feet ((on 4 microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1915-1978
Scope and Contents:
Biographical accounts, letters, notes, writings, art work, scrapbooks, printed material, and photographs document the careers of William Meyerowitz and his wife Theresa Bernstein, both painters and printmakers.
REELS D285-D285a: Letters, 1918-1967, from patrons and colleagues, including John Taylor Arms, Edwin Blashfield, Maxim Karolik, Duncan Phillips, and John Weichsel; exhibition announcements and catalogs, 1920-1967; 35 photographs of art works; a scrapbook, 1923-1944, containing exhibition announcements and catalogs, a clipping, and a photograph of an art work; 16 drawings; 3 prints; a list of Bernstein's work; 2 poems; a 4-page typescript "Reflections on the Art Status" by Bernstein; a typescript concerning painting in America by Oscar Bluemner; miscellaneous manuscripts, undated and 1964; 2 receipts for gifts of art work, 1927 and 1957; and a copy of the by-laws of the Cape Ann Arts Council, 1955.
REEL N69-137: Three exhibition catalogs, 1969, for works of Meyerowitz and Bernstein.
REEL 4866: Biographical accounts; 2 award certificates for Bernstein; letters, 1921-1978, from patrons and colleagues, including Oliver Wendell Holmes, Homer Saint-Gaudens, and Lynd Ward; 3 lists of Bernstein's works; 7 poems; a manuscript "On Portraiture"; a typescript by Bernstein about Meyerowitz' work; 22 drawings; 1 print; a scrapbook of clippings, 1915-1918; a scrapbook, undated and 1931, containing a clipping, a photograph of an art work, and exhibition catalogs; clippings, 1929-1978; a reprint "On the Need of Art" by Meyerowitz, 1944; exhibition announcements and catalogs, 1921-1977; reproductions of art works; a card advertising a summer art course taught by Meyerowitz and Bernstein; 10 photographs of the artists, 1930-1962; and 19 photographs of art works.
Biographical / Historical:
Painters and printmakers; New York, N.Y. William Meyerowitz was born in Russia in either 1889 or 1898. Moving to New York in 1908, he studied at the National Academy of Design from 1912-1916. He married Theresa Bernstein in 1918, and travelled in Europe from 1922-1923. During his exhibition at the Corcoran in 1930, he met Oliver Wendell Holmes, who became a patron and a subject for later work. Theresa Bernstein was born in Philadelphia and studied at the Philadelphia School of Design, the Pennsylvania Academy of the Fine Arts, and continued her studies at the Art Students League in New York. She died on Feb. 13, 2002, and was generally believed to be 111, though she could have been as old as 116.
Provenance:
Donated 1966-1978 by Mr. and Mrs. William Meyerowitz. Microfilmed 1994 with funding provided by the Henry and Lucy Moses Fund, the Lucius N. Littauer Foundation, the Goldie-Anna Charitable Trust, the Samuel Bronfman Foundation, and the Louis and Anne Abrons Foundation.
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:
Etchers  Search this
Painters  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Etching -- New York (State) -- New York  Search this
Jewish artists  Search this
Genre/Form:
Drawings
Identifier:
AAA.meyewill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meyewill

The Zorach Family papers

Creator:
Zorach Family  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976  Search this
Ipcar, Dahlov Zorach, 1917-  Search this
Newman, Arnold, 1918-2006  Search this
Partridge, Roi, 1888-1984  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, Tessim  Search this
Zorach, William, 1887-1966  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Date:
1900-1987
Summary:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals requires an appointment.
Rights:
The Zorach 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:
Weavers  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Artist couples  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Works of art  Search this
Genre/Form:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zorazora
See more items in:
The Zorach Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zorazora

Oral history interview with Dorothy Varian, 1980 December 6-7

Interviewee:
Varian, Dorothy, 1895-1985  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Women painters -- New York (State) -- New York -- Interviews  Search this
Painters -- New York (State) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11734
(DSI-AAA_SIRISBib)214155
AAA_collcode_varian80
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214155

Oral history interview with Ethel Magafan, 1964 Nov. 5

Interviewee:
Magafan, Ethel, 1915 or 6-1993  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Subject:
Federal Art Project (N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- New York (State)  Search this
Muralists -- New York (State) -- Interviews  Search this
Painters -- New York (State) -- Interviews  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)12460
(DSI-AAA_SIRISBib)213648
AAA_collcode_magafa64
Theme:
New Deal
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213648

Oral history interview with Jennifer Bartlett, 1987 June-September

Interviewee:
Bartlett, Jennifer, 1941-  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Subject:
Murray, Elizabeth  Search this
Serra, Richard  Search this
Tworkov, Jack  Search this
Mills College  Search this
Yale University  Search this
Type:
Sound recordings
Interviews
Topic:
Women painters -- New York (State) -- New York -- Interviews  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12304
(DSI-AAA_SIRISBib)215656
AAA_collcode_bartle87
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215656

Oral history interview with Rosalyn Drexler, 2017 May 17-June 2

Interviewee:
Drexler, Rosalyn, 1926-  Search this
Interviewer:
Lyon, Christopher, 1949-  Search this
Subject:
Alloway, Lawrence  Search this
Baraka, Amiri  Search this
Barthelme, Donald  Search this
Basquiat, Jean-Michel  Search this
Bruce, Lenny  Search this
Carmines, Al  Search this
Cornell, Joseph  Search this
De Kooning, Elaine  Search this
De Kooning, Willem  Search this
Dine, Jim  Search this
Doyle, Tom  Search this
Drexler, Sherman  Search this
Geldzahler, Henry  Search this
Gilman, Richard  Search this
Hess, Thomas B.  Search this
Hesse, Eva  Search this
Hirshhorn, Joseph H.  Search this
Karp, Ivan C.  Search this
Katz, Alex  Search this
Kent, Allegra  Search this
Klein, William  Search this
Kline, Franz  Search this
Kroll, Jack  Search this
Marx, Chico  Search this
Monroe, Marilyn  Search this
Neel, Alice  Search this
Newman, Barry  Search this
Perelman, S. J. (Sidney Joseph)  Search this
Rosenberg, Harold  Search this
Samaras, Lucas  Search this
Sontag, Susan  Search this
Teer, Barbara Ann  Search this
Warhol, Andy  Search this
Youskevitch, Igor  Search this
Garth Greenan Gallery  Search this
Hunter College  Search this
Kornblee Gallery  Search this
Reuben Gallery  Search this
Type:
Interviews
Sound recordings
Topic:
Happenings (Art)  Search this
Women wrestlers  Search this
Wrestling  Search this
Segregation -- United States  Search this
Women artists  Search this
Women sculptors  Search this
Women painters  Search this
Record number:
(DSI-AAA_CollID)17499
(DSI-AAA_SIRISBib)389604
AAA_collcode_drexle17
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_389604
Online Media:

Alice Trumbull Mason papers

Creator:
Mason, Alice Trumbull, 1904-1971  Search this
Names:
American Abstract Artists  Search this
Kelpe, Paul, 1902-1985  Search this
Lassaw, Ibram, 1913- -- Photographs  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Poetry
Date:
1921-1977
Summary:
The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.
Scope and Content Note:
The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.

Biographical material consists of resumes, passports, exhibition files, as well as documentation of her membership and active participation in art organizations, including her work as an officer in the American Abstract Artists group. Also found here are scattered personal financial and legal records. Personal and professional correspondence is with family members, including many detailed letters between her and her husband Warwood, fellow artists, including Paul Kelpe, art organizations, curators, museums, galleries, and others. Professional correspondence generally discusses selection of exhibition and awards, sale of artwork, and art events. Writings and notes, mostly from the 1920s and 1930s, consist of Mason's notes on art history and her creative writings, including poetry and "abstract writing." Also found are a few writings about abstract art and various notes and lists.

Printed material includes news clippings on topics of interest to Mason, and other miscellaneous items such as brochures, and exhibition announcements. Photographs include several portraits of Mason with her artwork, photographs of friends including artist Ibram Lassaw, photographs of an American Abstract Artists exhibition, and artwork by her and others. Original artwork found in this collection includes five sketchbooks belonging to Mason, including two that document her travels through Greece and Italy, and other loose drawings.
Arrangement:
The collection is arranged into 6 series:

Series 1: Biographical Material, 1925-1968 (Box 1, OV 3; 0.2 linear feet)

Series 2: Correspondence, 1922-1977 (Box 1; 0.4 linear feet)

Series 3: Writings and Notes, 1921-1965 (Box 1; 6 folders)

Series 4: Printed Material, 1936-1974 (Box 1; 2 folders)

Series 5: Photographs, 1920s-1967 (Box 1, OV 3; 5 folders)

Series 6: Artwork, 1924-1963 (Box 1-2, OV 3; 0.4 linear feet)
Biographical Note:
Alice Trumbull Mason was born in 1904 in Litchfield, Connecticut. Her mother, Anne Leavenworth Train, was an accomplished artist before she met Alice's father, William Trumbull, a descendent of the Revolutionary War era painter, John Trumbull. Alice spent much of her childhood in Europe with her family. From 1921 to 1922 they lived in Florence and Rome where she studied at the British Academy. In 1923 she continued her studies with painter Charles W. Hawthorne at the National Academy of Design in New York and from 1927 to 1928 attended courses at the Grand Central Art Galleries taught by Arshile Gorky. Gorky inspired her interest in abstract painting, and Mason painted her first non-objective works in 1929. In 1928 she returned to Italy and Greece and was greatly influenced by ancient art, Byzantium, and Italian primitives. She married Warwood Mason, a merchant seaman, in 1930 and her daughter Emily was born in 1932 and her son Jonathan in 1933. During this period she stopped painting and devoted her creative energy to writing poetry inspired by American avant-garde writers.

Mason began painting again in 1934 and was recognized as a key figure of American abstraction. In 1935 she met and became close friends with fellow artist Ibram Lassaw, and they, along with several other artists, began to meet on a regular basis which led to the first American Abstract Artists group exhibition in 1937. Mason remained very active in the group and served as treasurer in 1939, secretary from 1940 to 1945, and president from 1959 to 1963. She was also an activist for abstract art, protesting the decisions of the Museum of Modern Art several times for excluding abstract artists from exhibitions. During the 1940s her paintings and concept of "architectural abstraction" was influenced by the arrival of Piet Mondrian in New York. Also in the 1940s she had two one-woman shows, but throughout her career she felt there was a bias against women in the New York art world and most often she participated in AAA group shows. Her work would be viewed as an important bridge for future abstract and conceptualist artists. In 1958 her son died, and though she continued to paint and participate in exhibitions, she never recovered from this tragedy and in the late 1960s withdrew into seclusion until her death in 1971.
Related Material:
Also found in the Archives of American Art is a collection of interviews by Ruth Bowman of members of the American Abstract Artists group conducted between 1963-1965, that includes an interview with Alice Trumbull Mason. The Archives of American Art also houses 2.3 linear feet of the records of the American Abstract Artists group.
Separated Material:
A portion of the material donated by Alice Trumbull Mason in 1969 relating to her involvement with the American Abstract Artists was separated and filed with the American Abstract Artists records at the Archives of American Art. Files of news clippings and exhibition catalogs were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library after microfilming.
Provenance:
A portion of this collection was donated by Alice Trumbull Mason in 1969. Additional material was donated from 1972 to 1977 by Mason's daughter, Emily Mason Kahn.
Restrictions:
The collection is partially microfilmed. Use of material not microfilmed requires an appointment.
Rights:
The Alice Trumbull Mason 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 painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketchbooks
Poetry
Citation:
Alice Trumbull Mason papers, 1921-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.masoalic
See more items in:
Alice Trumbull Mason papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-masoalic
Online Media:

Oral history interview with Rosalyn Drexler

Interviewee:
Drexler, Rosalyn  Search this
Interviewer:
Lyon, Christopher  Search this
Names:
Garth Greenan Gallery  Search this
Hunter College -- Students  Search this
Kornblee Gallery  Search this
Reuben Gallery  Search this
Alloway, Lawrence, 1926-1990  Search this
Baraka, Amiri, 1934-2014  Search this
Barthelme, Donald  Search this
Basquiat, Jean-Michel, 1960-1988  Search this
Bruce, Lenny  Search this
Carmines, Al  Search this
Cornell, Joseph  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Dine, Jim, 1935-  Search this
Doyle, Tom, 1928-  Search this
Drexler, Sherman  Search this
Geldzahler, Henry  Search this
Gilman, Richard, 1923-2006  Search this
Hess, Thomas B.  Search this
Hesse, Eva, 1936-1970  Search this
Hirshhorn, Joseph H.  Search this
Karp, Ivan C., 1926-2012  Search this
Katz, Alex, 1927-  Search this
Kent, Allegra  Search this
Klein, William  Search this
Kline, Franz, 1910-1962  Search this
Kroll, Jack  Search this
Marx, Chico, 1887-1961  Search this
Monroe, Marilyn, 1926-1962  Search this
Neel, Alice, 1900-1984  Search this
Newman, Barry  Search this
Perelman, S. J. (Sidney Joseph), 1904-1979  Search this
Rosenberg, Harold, 1906-1978  Search this
Samaras, Lucas, 1936-  Search this
Sontag, Susan, 1933-2004  Search this
Teer, Barbara Ann, 1937-2008  Search this
Warhol, Andy, 1928-1987  Search this
Youskevitch, Igor, 1912-1994  Search this
Extent:
82 Pages (Transcript)
5 Items (Sound recording: 5 sound files (3 hr., 26 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 May 17-June 2
Scope and Contents:
An interview with Rosalyn Drexler conducted 2017 May 17 and June 2 by Christopher Lyon, for the Archives of American Art, at Garth Greenan Gallery in New York, New York.
Drexler discusses her childhood in the Bronx; her experiences studying dance and music; her higher education at Hunter College; attending films and the Yiddish Theater; meeting her husband Sherman Drexler; her time as a professional wrestler; her memories of traveling to the South and encountering Jim Crow segregation; she describes learning about art from Sherman Drexler and her joint exhibition with Sherman; her early work in sculpture; participating in Happenings with Jim Dine; joining Anita Reuben's gallery; her debut as a playwright; her experience writing "I am the Beautiful Stranger;" the changing public perception of her and being classified as an artist; her decision to become a painter and appropriating images for her work; the influence of S. J. Perelman on her plays; her play about Joseph Cornell and ballerina Allegra Kent, and interviewing Allegra Kent; her recent artwork and preparing for her 2017 show at Garth Greenan Gallery; her artwork from the 1980s and 1990s; her comedy writing and sense of humor. Drexler also recalls Chico Marx, Jack Newfield, Igor Youskevitch, Ivan Karp, Anita Reuben, Lucas Samaras, Richard Gilman, Al Carmines, Amiri Baraka, Barbara Ann Teer, Franz Kline, Elaine De Kooning, Bill de Kooning, Andy Warhol, Jack Kroll, Lawrence Alloway, Tom Hess, Barney Newman, Harold Rosenberg, Susan Sontag, Joe Hirshhorn, Henry Geldzahler, Donald Barthelme, Kornblee Gallery, Eva Hesse, Tom Doyle, William Klein, Marilyn Monroe, Alex Katz, Alice Neel, Basquiat, Saturday Night Live, and Lenny Bruce, among others.
Biographical / Historical:
Rosalyn Drexler (1926- ) is a sculptor, playwright, and novelist in New York, New York. Christopher Lyon (1949- ) is a writer in Brooklyn, New York.
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.
Occupation:
Authors -- New York (State) -- New York  Search this
Playwrights -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Happenings (Art)  Search this
Women wrestlers  Search this
Wrestling  Search this
Segregation -- United States  Search this
Women artists  Search this
Women sculptors  Search this
Women painters  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.drexle17
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-drexle17

Oral history interview with Claudia DeMonte

Interviewee:
DeMonte, Claudia, 1947-  Search this
Interviewer:
Kirwin, Liza  Search this
Names:
Gracie Mansion Gallery  Search this
McGowin, Ed, 1938-  Search this
Extent:
54 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1991 February 13- April 24
Scope and Contents:
An interview of Claudia DeMonte conducted 1991 February 13-1991 April 24, by Liza Kirwin, for the Archives of American Art.
DeMonte recalls her childhood and growing up in Astoria, New York; her Italian heritage and Catholic education; her early work including the "trade pieces"; the calendar she produced for the Corcoran Gallery show "Five Plus One" in 1976; her marriage to artist Ed McGowin; moving from Washington, D.C. to New York; the making and meaning of her "Claudia dolls"; exhibiting at the Gracie Mansion Gallery; the art community in the East Village in the early 1980's; the dealer Gracie Mansion; gallery representation outside of New York; critical acceptance of her art; collecting the work of Southern self-taught artists and the influence of Sister Gertrude Morgan and James Son Ford Thomas; work methods and techniques; autobiographical and feminist themes; teaching at the university of Maryland from 1972 to the present; and new directions in her art.
Biographical / Historical:
Claudia DeMonte (1947- ) is a painter, mixed-media artist, and instructor of College Park, Maryland and New York, New York.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 22 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Art -- East Village (New York, N.Y.)  Search this
Educators -- Maryland -- College Park -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.demont91
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-demont91

Oral history interview with Jennifer Bartlett

Interviewee:
Bartlett, Jennifer, 1941-  Search this
Interviewer:
Berman, Avis  Search this
Names:
Mills College -- Students  Search this
Yale University. School of Fine Arts -- Students  Search this
Murray, Elizabeth, 1940-  Search this
Serra, Richard, 1939-  Search this
Tworkov, Jack  Search this
Extent:
4 Cassettes (Sound recording: (5 hrs. 20 min.), analog.)
168 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Cassettes
Pages
Sound recordings
Interviews
Date:
1987 June-September
Scope and Contents:
An interview of Jennifer Bartlett conducted 1987 June-September, by Avis Berman, for the Archives of American Art.
Bartlett discusses her family background and the dynamics within the family; her childhood interest in art; growing up in suburban Long Beach, California; attending Mills College and Yale School of Fine Arts; and her teachers and co-students there. She remembers in particular Elizabeth Murray, Jack Tworkov, and Richard Serra. She speaks about themes and intentions in her work, especially "Rhapsody" and various commissions including works created for ISI, Saatchi, Volvo, and Battery Park. Bartlett speaks about her writings "Cleopatra" and "History of the Universe" and their relationship to her painting. She concludes the interview with philosophical musings about art and taste.
Biographical / Historical:
Jennifer Bartlett (1941- ) was a painter, writer, and art instructor in New York, New York.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 15 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.
Topic:
Women painters -- New York (State) -- New York -- Interviews  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bartle87
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bartle87

Oral history interview with Dorothy Varian

Interviewee:
Varian, Dorothy, 1895-1985  Search this
Interviewer:
Berman, Avis  Search this
Extent:
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1980 December 6-7
Scope and Contents:
An interview of Dorothy Varian conducted 1980 December 6-7, by Avis Berman, for the Archives of American Art.
Biographical / Historical:
Dorothy Varian (1895-1985) was a painter from New York, N.Y.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 56 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Use requires an appointment.
Topic:
Art, American  Search this
Women painters -- New York (State) -- New York -- Interviews  Search this
Painters -- New York (State) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.varian80
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-varian80

Eugenie Gershoy papers

Creator:
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Federal Art Project (N.Y.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Yaddo (Artist's colony)  Search this
Baker, Mildred, 1905-  Search this
Blanch, Arnold, 1896-1968  Search this
Blanch, Lucile, 1895-1981  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Dehn, Virginia  Search this
Force, Juliana, 1876-1948  Search this
Fruhauf, Aline, 1909-1978  Search this
Gottlieb, Harry, 1895-  Search this
Hart, Agnes, 1912-1979  Search this
Knight, Frederic C., 1898-1979  Search this
Marantz, Irving, 1912-1972  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Nakian, Reuben, 1897-1986  Search this
Picken, George, 1898-  Search this
Pollet, Joseph C., 1897-1979  Search this
Presser, Josef, 1906-1967  Search this
Refregier, Anton, 1905-  Search this
Scaravaglione, Concetta, 1900-1975  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Thomson, Virgil, 1896-  Search this
Varda, Jean  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Christmas cards
Photographs
Sketchbooks
Sketches
Place:
Woodstock (N.Y.)
Date:
1914-1983
Summary:
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.

Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.

Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)

Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)

Series 3: Business Records, 1952-1978 (box 6; 5 folders)

Series 4: Notes, 1967-1970, undated (box 6; 3 folders)

Series 5: Writings, 1970, undated (box 6; 2 folders)

Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)

Series 7: Printed Material, 1932-1983, undated (boxes 7, 9; 19 folders)

Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.

With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.

Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.

In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.

Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Eugenie Gershoy 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:
Painters -- New York (State) -- New York  Search this
Federal aid to the arts  Search this
Artists -- New York (State) -- Woodstock  Search this
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Women painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Women sculptors -- New York (State) -- New York  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Prints
Christmas cards
Photographs
Sketchbooks
Sketches
Citation:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gerseuge
See more items in:
Eugenie Gershoy papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gerseuge

Weir family papers

Creator:
Weir family  Search this
Names:
McGuigan, John F., Jr. (John Fuller)  Search this
McGuigan, Mary K.  Search this
Perry, Edith Weir, 1875-  Search this
Weir, John F. (John Ferguson), 1841-1926  Search this
Weir, Julian Alden, 1852-1919  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1809-circa 1961
bulk 1830-1920
Summary:
The papers of the prominent New York and Connecticut Weir family of artists measure 0.8 linear feet and date from 1809-circa 1961, with the bulk of the material dating from 1830-1920. The papers are a collection of correspondence and photographs that constitute a small but vivid record of the influence and relationships of this family of Hudson River School, landscape, and miniature painters. Correspondence consists primarily of letters to painter John Ferguson Weir when he was director of the Yale School of Fine Arts, with scattered letters to his daughter Edith Weir (Perry), and a small amount of correspondence of Robert Weir, his daughter Carrie M. Mansfield, son-in-law Lewis William Mansfield, and Julia Bayard. Letters to John F. Weir are from many late-19th century artists, as well as actors, poets, lawyers, scholars, and clergymen, often concerning arrangements for visiting lectures at the school. Photographs are of Robert Walter Weir, Susan Bayard Weir, Julian Alden Weir, and artwork.
Scope and Contents:
The papers of the prominent New York and Connecticut Weir family of artists measure 0.8 linear feet and date from 1809-circa 1961, with the bulk of the material dating from 1830-1920. The papers are a collection of correspondence and photographs that constitute a small but vivid record of the influence and relationships of this family of Hudson River School, landscape, and miniature painters. Correspondence consists primarily of letters to painter John Ferguson Weir when he was director of the Yale School of Fine Arts, with scattered letters to his daughter Edith Weir (Perry), and a small amount of correspondence of Robert Weir, his daughter Carrie M. Mansfield, son-in-law Lewis William Mansfield, and Julia Bayard. Letters to John F. Weir are from many late-19th century artists, as well as actors, poets, lawyers, scholars, and clergymen, often concerning arrangements for visiting lectures at the school. Photographs are of Robert Walter Weir, Susan Bayard Weir, Julian Alden Weir, and artwork.

There are approximately 275 letters to John Ferguson Weir, some of which enclose sketches, photographs, and printed writings. The letters of Hudson River School artists including Frederic Edwin Church, Thomas Cole, Sanford Robinson Gifford, Jervis McEntee, and Worthington Whittredge, capture a sense of the intense ties those artists felt to the landscape and to each other. Often the correspondents mention their fellow artists in their letters in personal as well as professional terms, writing of family, friendships, visits to each other's homes, practical arrangements for delivering, retrieving, and exhibiting artwork, and their shared artistic aspirations, successes, and disappointments.

Many of the letters are responses from lawyers, scholars, clergymen, writers, and educators in reply to Weir's requests to speak at the Yale School of Fine Arts. Taken together the letters, which often go beyond routine matters to extend to more personal affairs, reveal the warm esteem in which Weir was held, not only in his capacity as director of the school but as an artist and a friend. The letters, such as those from Laura Hills, Lucia Fairchild Fuller, Adele Herter, and Candace and Dora Wheeler, also document the Weir family's friendships with and encouragement of women artists, at a time of limited support for women in the arts. Also of note are letters from actors Edwin Booth and Joseph Jefferson, who were both friends of John F. Weir.

Letters of Robert Weir and extended Bayard and Mansfield family members relate primarily to family affairs. Photographs of Julian Alden Weir, Robert W. Weir, and Susan Bayard Weir include professional portraits and candid family shots, as well as photographs of two sketches of Julian Alden Weir and two miscellaneous photos of artwork.
Arrangement:
Due to the small size of the collection, the Weir family papers are arranged as one series.
Biographical / Historical:
The New York and Connecticut Weir family of artists included painter and West Point professor Robert Walter Weir (1803-1889), his sons John Ferguson Weir (1841-1926) and Julian Alden Weir (1852-1919), and granddaughter Edith Weir (Perry) (1875-1955).

Julian Alden Weir was a renowned American Impressionist painter and a founding member of "The Ten," a loosely allied group of American artists dissatisfied with some of the established professional art organizations of the time who exhibited their work as a unified group. He also taught at the Women's Art School of the Cooper Union in New York.

John Ferguson Weir became acquainted with many of the rising young artists of his day when he took a room in the Tenth Street Studio in his early twenties and developed proficiency in landscape and still life painting. Like his brother, he then studied art abroad and returned to become director and later dean of the School of Fine Arts at Yale University from 1869-1913.

John Ferguson Weir married Mary Hannah French in 1866. Their daughter, Edith Weir Perry, was a noted miniature painter who studied under Lucy Fairchild Fuller.
Related Materials:
The Archives of American Art also holds the microfilm (Reels 70-71, 125-126, 577) for the Julian Alden Weir papers, 1869-1966, including correspondence (mostly typed transcripts); scrapbooks; photographs; sketches; notebooks and scrapbooks and clippings compiled by Dorothy Weir Young in preparation for her book, The Life and Letters of J. Alden Weir (1960, Yale University Press).

Additional Weir family records are held by the Yale University Archives. The records form part of the material previously lent to the Archives of American Art for microfilming by Reverend DeWolf Perry, and described above as separated materials.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming by Reverend DeWolf Perry. Included on reels 529-531 are correspondence of John Ferguson Weir, much of it with his brother Julian Alden Weir, with his future wife which he wrote while serving in the Civil War, and with artists; 77 letters, 1823-1881, of Robert W. Weir with members of the Congress and War Dept. regarding commissions, and with artists and others, including Horatio Greenough, William Page, Thomas Cole, William Cullen Bryant, and George P. Morris; a pocket diary of John F. Weir, 1860, with occasional poems and sketches; 2 sketchbooks, and 71 drawings, watercolors, and oils by John F. Weir; 3 sketchbooks and 165 original drawings, lithographs, watercolors and oils by Robert Weir; 4 portraits of John F. by others; sheet music with words and lithograph on the cover by Robert; 81 photographs of John and Robert, family, and work; exhibition material of Robert; a list of John F. Weir's paintings with prices; drafts of Robert W. Weir, Artist by Irene Weir (1947); and a typescript of a biography of John F. Weir by his daughter, Edith Weir (Perry); genealogical material; and clippings. Reel 533 includes a typescript of "The Story of My Life: The Inner Life of a Human Soul," by Mary French Weir, ca. 1920 (94 p.), and a typescript of a biography of her mother, Clara Miller-French, ca. 1920 (28 p.). Reel 565 contains family correspondence, 1866-1927, of Mary French Weir; an excerpt from the French family genealogy; and an obituary of Mary French Weir written by her daughter Edith Weir Perry. Reel 936 contains a sketchbook, 1826, by Robert Weir, of figures, statues, and buildings in Rome done while a student. The drawings are in pencil, ink wash, and pen and ink. (111 p.); reel 949 contains three sketchbooks, 1869-1902, by John F. Weir, done in watercolor, pencil and ink wash. (69 p.), of landscapes, figures, and heads of individuals in Italy, Switzerland, Dordricht, Holland, and France.

Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Photographs were given to the Archives of American Art in 2019 by Mary and John McGuigan, Jr. Letters to John Ferguson Weir were donated by Harold O. Love in 1961. Material on reels 529-531, 533, 565, 936 and 949 was lent for microfilming 1973-1975 by Rev. DeWolf Perry, grandson of John F. Weir. He also donated two photographs in 1975. The donor and date of acquisition of the manuscript draft of Julian Alden Weir's biography are unknown.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
Occupation:
Landscape painters -- New York (State) -- New York  Search this
Miniature painters -- New York (State) -- New York  Search this
Topic:
Women painters  Search this
Hudson River School  Search this
Genre/Form:
Drawings
Citation:
Weir family papers, 1809-circa 1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.weirweir
See more items in:
Weir family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-weirweir
Online Media:

Oral history interview with Claudia DeMonte, 1991 February 13- April 24

Interviewee:
DeMonte, Claudia, 1947-  Search this
Interviewer:
Kirwin, Liza, 1957-  Search this
Subject:
McGowin, Ed  Search this
Gracie Mansion Gallery  Search this
Type:
Sound recordings
Interviews
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Art -- East Village (New York, N.Y.)  Search this
Educators -- Maryland -- College Park -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11864
(DSI-AAA_SIRISBib)214555
AAA_collcode_demont91
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214555
Online Media:

Wilna Hervey and Nan Mason papers

Creator:
Hervey, Wilna, 1894-1979  Search this
Names:
Heckman, Albert  Search this
Klitgaard, Georgina, 1889-1977  Search this
Komroff, Manuel, 1890-  Search this
Kroll, Leon, 1884-1974  Search this
Lee, Doris, 1905-1983  Search this
Marsh, Fred Dana, 1872-1961  Search this
Mason, Dan, 1853-1929  Search this
Mason, Nan, 1896-1982  Search this
McFee, Henry Lee, 1886-1953  Search this
Pachner, William, 1915-  Search this
Rohland, Caroline  Search this
Rohland, Paul, 1884-1953  Search this
Ruellan, Andrée, 1905-2006  Search this
Speicher, Elsie, d. 1959  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Varian, Dorothy, 1895-1985  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1883-1985
Summary:
The papers of artist and silent film actress Wilna Hervey and her lifelong companion painter Nan Mason date from 1883 through 1985 and measure 4.9 linear feet. The collection is comprised mostly of letters to Hervey and Mason from friends, colleagues, and Mason's father, Dan Mason, also a silent film actor. Also found are personal photographs and snapshots, Hervey's handwritten memoirs, as well as twelve folders of Dan Mason's papers.
Scope and Content Note:
The papers of artist and silent film actress Wilna Hervey and her lifelong companion painter Nan Mason date from 1883 through 1985 and measure 4.9 linear feet. The collection is comprised mostly of letters to Hervey and Mason from friends, colleagues, and Mason's father, Dan Mason, also a silent film actor. Also found are personal photographs and snapshots, Hervey's handwritten memoirs, as well as twelve folders of Dan Mason's papers.

Biographical materials include a personal narrative, notes on family history, newspaper clippings related to family, legal and financial records, and Wilna Hervey's notes on artwork.

Hervey and Mason were friends with many artists and their correspondence includes letters from artists such as Albert Heckman, Georgina Klitgaard, Manuel Komroff, Leon Kroll, Doris Lee, Fred Dana Marsh, Henry Lee McFee, William Pachner, Caroline and Paul Rohland, Andrée Ruellan, Eugene Speicher, and Dorothy Varian. There are very few letters written by Hervey or Mason, and the correspondence is mostly personal in nature. There are over 250 letters from Elsie Speicher, wife of portrait artist Eugene Speicher. Correspondence to Dan Mason has been separated and is filed in a separate series.

Wilna Hervey wrote a a number of handwritten memoirs of her days in the The Toonerville Trolley film series. She had hopes of publishing these one day and worked with writer Karin Whiteley on the project. Although her memoirs were never published, Hervey and Whiteley wrote and compiled materials for the book. Included in the Memoir Book Production series are handwritten memoirs by Hervey chronicling her years prior to and during the 1920s (many of the handwritten memoirs have been typed by Karin Whiteley). It also includes research materials, such as two typed synopses of The Toonerville Trolley scripts from Fontaine Fox's files, newspaper clippings, and playbills, seemingly intended to provide background and verification of the memoirs.

This collection also includes a few pieces of artwork; three small watercolor sketches by an unidentified artist, and a print by Edward Chavez.

Photographs are mostly snapshots of friends and family, life in Woodstock, New York and Anna Maria, Florida. Negatives originally housed in an un-postmarked envelope with a return address labeled "Betzwood Film Co.," appear to be from the filming of The Toonerville Trolley. In several of the negatives Wilna Hervey is dressed as The Powerful Katrinka, and in one negative Dan Mason is The Skipper.

The personal files of Dan Mason include letters from Hervey and Nan Mason, the bulk from their trip to Europe and North Africa in 1926-1927. This series also includes Dan Mason's own handwritten and typed memoirs, newspaper clippings, and financial records.
Arrangement:
The collection is arranged into six series:

Series 1: Biographical Material, 1916-1960 (Box 1; 5 folders)

Series 2: Correspondence, 1890-1985 (Box 1-10, OV 13; 3.8 linear feet)

Series 3: Memoir Book Production, 1883-1959 (Box 11, OV 13; 0.4 linear feet)

Series 4: Artwork, 1961, undated (Box 11, OV 13; 2 folders)

Series 5: Photographs, circa 1915 - 1982 (Box 12; 5 folders)

Series 6: Personal Files of Dan Mason, 1919-1928 (Box 12; 0.4 linear feet)
Biographical Note:
Wilna Hervey was born in 1894 and grew up in Far Rockaway, New York. She met Nan Mason (1896-1982), daughter of silent film actor Dan Mason, while on production of The Toonerville Trolley silent film comedies in 1920. They were lifelong companions until Hervey's death in 1979.

As a young woman in the late 1910s, Hervey took art lessons at the Art Students League in New York City, Winold Reiss' studio at 4 Christopher Street, New York City, and during the summer of 1918 in Woodstock, New York. In 1919, she joined the Betzwood Studios in Audubon, Pennsylvania to play the role of "The Powerful Katrinka" in The Toonerville Trolley, a series of silent films based on Fontaine Fox's comic strip. Co-star Dan Mason, who played the Skipper, took Hervey under his wing, and Hervey lived with the Masons while filming the series. After The Toonerville Trolley series ended in 1921, Dan and Nan Mason traveled to Hollywood to start a new company, and Wilna followed shortly after, taking the train across the country in early 1922. The new endeavor, Plum Street Comedies, began at the Paul Gerson Pictures Corporation in San Francisco and was based on The Toonerville Trolley series; the film crew included the young Frank Capra. The Plum Street Comedies were in production for only one year, 1922-1923.

Around 1919-1920, Hervey's father bought Wilna a small studio in Bearsville, New York. From 1922-1929 Hervey and Nan Mason split their time between painting and farming in Woodstock, New York, and pursuing acting while living with Dan Mason in California. In 1926-1927, the women traveled to Europe and North Africa together to see museums, art, and architecture.

After the death of Dan Mason in 1929, Hervey and Nan Mason made Bearsville their permanent home. Beginning in the late 1950s, Hervey and Mason began spending winters in Anna Maria, Florida and summers in New York. Hervey and Mason achieved success as artists in the 1960s - Hervey as an enamel painter, and Mason as a painter and photographer.

Wilna Hervey passed away in 1979, and Nan Mason died in 1982.

Sources consulted include "The Biggest Girl" by Joseph P. Eckhardt (http://faculty.mc3.edu/jeckhard/biggestgirlarticle/thebiggestgirl.html).
Provenance:
The Wilna Hervey and Nan Mason papers were donated to the Archives of American Art by Daniel Gelfand, a friend of Wilna Hervey and Nan Mason, in 2008.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Wilna Hervey and Nan Mason 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:
Motion picture actors and actresses  Search this
Topic:
Women painters -- New York (State)  Search this
Genre/Form:
Photographs
Citation:
Wilna Hervey and Nan Mason papers, 1883-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hervwiln
See more items in:
Wilna Hervey and Nan Mason papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hervwiln

Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983

Creator:
Parsons, Betty, 1900-1982  Search this
Betty Parsons Gallery  Search this
Subject:
George, Thomas  Search this
Feely, Paul  Search this
Janis, Sidney  Search this
Bigelow, Larry  Search this
Congdon, William  Search this
Alloway, Lawrence  Search this
Bess, Forrest  Search this
Baker, Adge  Search this
Pousette-Dart, Richard  Search this
Reinhardt, Ad  Search this
Still, Clyfford  Search this
Reichek, Jesse  Search this
Roberts, Colette  Search this
Parsons, Betty  Search this
Pollock, Jackson  Search this
Liberman, Alexander  Search this
Lipton, Seymour  Search this
Lazzari, Pietro  Search this
Margo, Boris  Search this
Rothko, Mark  Search this
Youngerman, Jack  Search this
Stamos, Theodoros  Search this
Calder, Alexander  Search this
Newman, Barnett  Search this
Betty Parsons Gallery  Search this
Wakefield Gallery  Search this
Mortimer Brandt Gallery (New York, N.Y.)  Search this
Type:
Sketchbooks
Interviews
Video recordings
Drawings
Topic:
Sculptors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Women art dealers  Search this
Women artists  Search this
Abstract expressionist  Search this
Record number:
(DSI-AAA_CollID)7211
(DSI-AAA_SIRISBib)209348
AAA_collcode_parsbett
Theme:
Art Movements and Schools
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209348
Online Media:

Margery Ryerson papers

Creator:
Ryerson, Margery  Search this
Names:
Artists for Victory, Inc.  Search this
Beneker, Gerrit A. (Gerrit Albertus), 1882-1934  Search this
Gallagher, Sears, 1869-1955  Search this
Henri, Robert, 1865-1929  Search this
Roberts, Mary Fanton, 1871-1956  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Extent:
0.5 Items (linear ft.(partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1902-1967
Scope and Contents:
Letters, photographs, printed material and reproductions of Ryerson's art work.
REEL 962: Letters from Robert Henri, Augustus Saint-Gaudens, Gerrit A. Beneker and Mary Fanton Roberts; correspondence between Robert and Marjorie Henri and Mary Fanton Roberts concerning Robert's new version of "Touchstone" and rescue of ARTS AND DECORATION, Robert Henri's work, book, his friendships with William Glackens, John Sloan and Randall Davey, and life in New Mexico, California and Spain; printed material; photographs of Henri's class ca. 1918, family and art work, including a triptych; and reproductions of Ryerson's work for Artists for Victory.
REEL 440 AND SCANNED One photograph of Ryerson, demonstrating portrait painting, which was previously microfilmed under Photos of Artists I, has subsequently been scanned and returned to the Ryerson papers.
REEL 3471: A letter to Ryerson from Sears Gallagher, January 26, 1922.
UNMICROFILMED: One photograph of a drawing of Venice; a sketch by an unidentified artist; 1 reproduction of a painting by Robert Henri; 2 publicity posters for THE ART SPIRIT; and a 10 p. transcript of a lecture on Robert Henri delivered by Ryerson to the American Watercolor Society, April 1964.
Biographical / Historical:
Painter, printmaker, illustrator, teacher, writer; New York (N.Y.) Studied at the Art Students League with Frederick Bridgman, Robert Henri and Charles Hawthorne. Editor for Henri's THE ART SPIRIT, 1924, HAWTHORNE ON PAINTING and HINTS TO ARTIST-PAINTERS, by M. Fischer, 1947.
Provenance:
Donated by Margery Austen Ryerson, October 1960 and August 1967.
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:
Editors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women painters -- New York (State) -- New York  Search this
Art, American  Search this
Art schools -- Photographs  Search this
Identifier:
AAA.ryermarg
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ryermarg

Deborah Goldsmith commonplace books

Creator:
Goldsmith, Deborah, 1808-1836  Search this
Names:
Cole, Olive Smith  Search this
Throop, Cordelia, b. 1833  Search this
Throop, George Addison, 1810-1849  Search this
Throop, James A., b. 1835  Search this
Extent:
2 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Drawings
Date:
1826-1933
bulk 1826-1832
Scope and Contents:
Two commonplace books or albums kept by Deborah Goldsmith prior to her marriage to George Addison Throop containing drawings; poems, verses, passages written by Goldsmith, and by her friends; and some later annotations by descendants.
A commonplace book titled "Deborah Goldsmith Album, 1826 to 1830, No. 1," which includes a summary preface by Olive Cole Smith, the granddaughter of Goldsmith, genealogical notations written by James A. Throop, the son of Goldsmith, in 1892; and sentiments, poems and verses by Goldsmith, and by her friends as a remembrance.
A commonplace book, October 19, 1829 through December 27, 1832, which contains fifteen drawings by Goldsmith (the first, "Oliver Goldsmith," according to Jean Lipman, is drawn after a Joshua Reynolds painting), one drawing possibly by George Addison Throop, and the later inclusion of a childhood drawing, circa 1837, by Goldsmith's daughter, Cordelia; sonnets, poems, and prose inscribed by Goldsmith and by her friends, including a lengthy theme by future husband George Addison Throop, "A Thought on Death and the Grave," 1832; and a genealogical outline entered by son James A. Throop, 1894, and intermittant annotations by granddaughter Olive Cole Smith, 1933 and undated. In addition, there is clipping concerning Olive Cole Smith's civic activities, and a brief letter from Jean Lipman (who had consulted Goldsmith's diaries in the course of research for an article) relaying her finding concerning the Oliver Goldsmith portrait in the diary.
Biographical / Historical:
Deborah Goldsmith (1808-1836) was an itinerant portrait and miniature painter in oils from New York state. After her marriage on December 27, 1832 to George Addison Throop (1810-1849), of the artistic Throop family of central New York, she gave up her profession; thus, maiden name Goldsmith appears on the artist's professional work.
Provenance:
The albums were passed down through the Throop family to Mrs. Olive Cole Smith, the granddaughter of Deborah Goldsmith Throop and George Addison Throop - she, in turn, gave it to her son Dan Throop Smith (the great-grandson of Deborah Goldsmith Throop), who has lent it to the Archives of American Art.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Miniature painters -- New York (State)  Search this
Painters -- New York (State)  Search this
Portrait painters -- New York (State)  Search this
Topic:
Women painters -- New York (State)  Search this
Genre/Form:
Drawings
Identifier:
AAA.golddebo
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-golddebo

Eunice Golden papers

Creator:
Golden, Eunice  Search this
Names:
Soho 20 (Gallery)  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-2002
bulk 1963-1979 dates
Scope and Contents:
Notebook, 1963-1979, containing exhibition catalogs, announcements and reviews; correspondence, mainly business, and with the Soho 20 Gallery, 1970-1979; awards; writings; files on Golden's involvement with teaching, filmmaking, dance and women's studies; reproductions of works of art; articles about Golden; and handwritten poem by Golden, 1945, and an exhibition announcement, 2002.
Biographical / Historical:
Eunice Golden is a painter and filmmaker in New York, New York.
Provenance:
Donated 1980 and 2002 by Eunice Golden.
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:
Filmmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women painters -- New York (State) -- New York  Search this
Women motion picture producers and directors -- New York (State) -- New York  Search this
Identifier:
AAA.goldeuni
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-goldeuni

Oral history interview with Doris Emrick Lee, 1964 Nov. 4

Interviewee:
Lee, Doris, 1905-1983  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Subject:
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Illustrators -- New York (State) -- Interviews  Search this
Painters -- New York (State) -- Interviews  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)12289
(DSI-AAA_SIRISBib)213618
AAA_collcode_leed64
Theme:
New Deal
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213618
Online Media:

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