The art of Carol Janeway a tile & ceramics career with Georg Jensen Inc. and Ossip Zadkine in 1940s Manhattan Victoria Jenssen, forward [sic] by Pat Kirkham
Kwali, Ladi, d. 1984 (Nigerian potter) Search this
Extent:
1 Postcard (halftone., col., 10.5 x 15 cm.)
Container:
Volume 1
Type:
Archival materials
Postcards
Postcards
Picture postcards
Place:
Nigeria
Nigeria -- Federal Capital Territory -- Abuja
Date:
[ca. 1980]
Scope and Contents:
Printed caption on recto reads: "Woman Potter, Abuja, Northern Nigeria."
Additional printed text on recto reads: "Colour Photo by John Hinde, F.R.P.S."
Printed caption on verso describes the culture, climate, and landscape of Northern Nigeria.
Additional printed text on verso reads: "Printed and Published by John Hinde Limited, Cabinteely, Co. Dublin, Republic of Ireland; Published by the Ministry of Information, Kaduna, Northern Nigeria." Item number on verso: "2 NN 5." Publisher's logo on verso: "John Hinde Original."
Local Numbers:
EEPA NR-04-08
General:
Title source: Postcard caption.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
An interview of Toshiko Takaezu conducted 2003 June 16, by Gerry Williams, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Quakertown, N.J.
Takaezu describes growing up in Hawaii in a large family; her first work as a commercial potter; working with Claude Horan; how religion factors into her work; studying ceramics at Cranbrook Academy of Art with Maija Grotell; the role of universities and apprenticeships in the craft movement; teaching at Princeton and the Cleveland Institute of Art; visiting artists in Japan; setting up a studio in Clinton, N.J.; her teaching philosophy; the evolution of her work from functional to closed vessels; the inside of her large pots; the importance of color and glazes; her career highlights; the inspiration she finds in nature; her role in political and social activities; her relationship with galleries, including Perimeter and Charles Cowles Gallery; her exhibition history; and the changing face of the American craft movement. She also recalls Claude Horan, Maija Grotell, Otagaki Rengetsu, Kaneshige, Rosanjin, Jeff Schlanger, and others.
Biographical / Historical:
Toshiko Takaezu (1922-2011) was a Japanese American ceramist of Quakertown, New Jersey. Gerry Williams (1926- ) is the co-founder and former editor of Studio Potter in Dunbarton, New Hampshire. Takaezu's birth date is also cited as 1929.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 38 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.
The papers of New Jersey-based ceramicist Toshiko Takaezu measure 24.4 linear feet and 12.65 gigabytes and date from circa 1925 to circa 2010. The papers document Takaezu's career as an educator and ceramicist in Hawaii and Quakertown, New Jersey, through biographical material, correspondence, interviews, documentaries, artist files, organization files, personal business records, studio practice files, printed material, and photographic material.
Scope and Contents:
The papers of New Jersey-based ceramicist Toshiko Takaezu measure 24.4 linear feet and 12.65 gigabytes and date from circa 1925 to circa 2010. The papers document Takaezu's career as an educator and ceramicist in Hawaii and Quakertown, New Jersey, through biographical material, correspondence, interviews, documentaries, artist files, organization files, personal business records, studio practice files, printed material, and photographic material.
Biographical materials include Toshiko Takaezu's biographical summaries, resumes, awards, engagement calendars, honorary degrees, business cards, and other miscellany. There are also some writings by others about Takaezu and writings by her students on various subjects.
The correspondence series consists of personal and professional correspondence with friends, family, and other artists. Noteworthy correspondents include Dan Anderson, Olen Bryant, Maryette Charlton, Maija Grotell, Ivabell Harlan, Joseph Hurley, Nobuko Ise, Ernestine Kozuma, Isamu Noguchi, Hideo Okino, Alice Parrott, Carol and Francois Rigolot, Ann Shaner, Brooke Shields, Gladys Sonomura, Barbara Tiso, Carol and Katsunari Toyoda, and Lois Wittich. There is also a great deal of correspondence with Toshiko Takaezu's siblings and mother. Also included are Takaezu's letter drafts, letters of recommendations for students, greeting cards, and correspondence related to exhibitions.
Interviews and documentaries include a wide variety of audiovisual formats from videocassettes to sound cassettes, 16mm film reels, U-matic tapes, and born digital recordings, along with transcripts. The transcripts and recordings feature Takaezu's artwork, exhibitions, workshops, and award ceremonies, but they are mostly interviews. A few recordings are about other artists or ceramics in general.
Artist files include biographical information, resumes, limited correspondence, clippings, exhibition catalogs, slides and photographs on various artists. There is also a small amount of artwork by various artists in the form of sketches, etchings, prints, and watercolors.
Organization files document Toshiko Takaezu's long relationship with various museums, galleries, universities, colleges, art schools, and other institutions across the country and in Japan. The series contains a mixture of exhibition files, project files, teaching files, and gallery records. These records document exhibitions, workshops, commissions, conferences, fellowships, and donations of artwork. The Princeton University, where Toshiko Takaezu taught for over two decades, are especially noteworthy.
Personal business records consist of documents related to Toshiko Takaezu's financial and legal affairs. There are art appraisals, contracts and invoices, inventories of artwork on Takaezu's property, price lists, shipping and transportation records, ceramic restoration reports, deeds for various properties, and other material.
Studio practice files include information on kiln construction and other equipment. There are manuals, designs, contracts, instructions, regulations, and printed material related to looms, stoves, kilns, septic tanks, oil tanks, and wells for Toshiko Takaezu's New Jersey home and studio. Other miscellaneous materials include art supplies receipts, guest books, and writings by others on the subject of pottery.
Most of the printed material is about Toshiko Takaezu, but there are a few folders on other artists and subjects, such as mycology and mushroom gathering, that interested her. Printed material consists of books, clippings, exhibition catalogs and announcements, magazines, books, and posters, etc.
Photographic material includes photographs of Toshiko Takaezu in her studio, teaching workshops, and attending various events. There are many photographs of Takaezu's artwork as well as exhibition installations and opening receptions. There are a few photographs of artists such as Lenore Tawney and Lee Nordness. Most of the series consists of photographs and snapshots, but there are some slides and transparencies as well. This series also includes born digital photographs.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1937-circa 2010 (0.9 linear feet; Box 1)
Series 2: Correspondence, circa 1950-2010 (6.7 linear feet; Boxes 1-8, OV 25)
Series 3: Interviews and Documentaries, 1970-2009 (2.2 linear feet; Boxes 8-10, FC 34-36, ER01-ER02)
Series 4: Artist Files, circa 1940-2010 (1.9 linear feet; Boxes 10-12, OV 26)
Series 5: Organization Files, 1952-2010 (5 linear feet; Boxes 12-16, OV 27-28, ER03)
Series 6: Personal Business Records, 1966-2009 (0.4 linear feet; Box 17)
Series 7: Studio Practice Files, circa 1956-circa 2010 (0.7 linear feet; Boxes 17, 24, OV 29
Series 8: Printed Material, 1949-2012 (2.9 linear feet; Boxes 17-20, OV 30-32)
Series 9: Photographic Material, circa 1925-2010 (3.7 linear feet; Boxes 20-23, OV 33, ER04-ER19)
Biographical / Historical:
Toshiko Takaezu (1922-2011) was a Japanese American ceramicist who was primarily based in Quakertown, New Jersey. Takaezu was born in Pepeekeo, Hawaii, on June 17, 1922. Her parents Shinsa and Kama Takaezu were Japanese immigrants and she was one of eleven children.
Starting around 1940, Takaezu worked at the Hawaii Potter's Guild in Honolulu. She later took classes at the Honolulu Academy of Arts (now called the Honolulu Museum of Art School) and attended the University of Hawaii (1948-1951) where she studied ceramics with Claude Horan. From 1951 to 1954, Takaezu attended the Cranbrook Academy of Art in Bloomfield Hills, Michigan, where she studied under ceramicist Maija Grotell. In 1957, she participated in the American Craft Council conference in Ansilomar, California, where she befriended fiber artist Lenore Tawney.
Throughout the course of her career, Toshiko Takaezu taught at many places. She taught at the YWCA in Honolulu, Cranbrook Academy; University of Wisconsin, Madison; Honolulu Academy of Art, Cleveland Institute of Art, and Princeton University, and other art schools and institutions. In 1966, she established a studio in Clinton, New Jersey. She taught at Princeton the longest, from 1967 to 1992, and received an honorary doctorate from the university in 1996.
In 1975, Takaezu permanently settled in Quakertown, New Jersey, where she created a home and studio. From 1977 to 1981, Lenore Tawney lived with Takaezu in Quakertown and shared adjoining studio spaces. The two continued to travel together and remained close friends throughout their lives until Tawney passed away in 2007.
Toshiko Takaezu worked with painting, fiber, and even bronze, but she is most well known for her work with ceramics. In 1955, Takaezu traveled and studied ceramics in Japan for eight months. Her work is a testament to her bicultural heritage, reflecting both Japanese influences as well as her Western upbringing, and love of nature. While her early work included many functional objects, her explorations in art led to her signature "closed form" objects, which were hollow and sealed or included tiny openings to release gases during firing.
Takaezu also exhibited widely and had many solo and group exhibitions in the United States as well as Japan. Her work is in the collections of various museums such as the Art Institute of Chicago, Honolulu Museum of Art, Los Angeles County Museum of Art, The Metropolitan Museum of Art, and Smithsonian American Art Museum. Among the many awards and accolades she recieved over the course of her career were the National Endowment for the Arts Fellowship (1980), being named a Living Treasure of Hawaii (1987), and being the recipient of honorary doctorates from multiple universities and colleges.
Takaezu died in Honolulu on March 9, 2011.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Toshiko Takaezu conducted by Gerry Williams, June 16, 2003.
Provenance:
The Toshiko Takaezu papers were donated by Toshiko Takaezu in 1978 and 2006, and by Don Fletcher, a friend of Takaezu's, in 2013 and 2020.
Restrictions:
The glaze recipes in the studio practice files are access restricted; written permission is required to view these documents. Contact Reference Services for more information.
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Business files and records; correspondence; files on commissions, consignments, and exhibitions; day books (16 vols.); order books; ledgers; legal documents; guest books; correspondence regarding inquiries, recipes, and tests for clays and glazes; photographs; information on the Pewabic Pottery building; and miscellaneous papers. Also includes some personal papers of Mary Chase Perry Stratton, such as a scrapbook, teaching records, tax returns, property documents, records, and day books of Revelation Kiln owned by Stratton.
Biographical / Historical:
Pottery center; Detroit, Mich. Founded in the early 1890s by Mary Chase Perry Stratton where she produced "Revelation Pottery." She experimented and developed potters' techniques and used specially developed kilns for firing, called Revelation Kilns. Michigan State University has subsequently acquired Pewabic Pottery.
Provenance:
Lent for microfilming 1975 by Pewabic Pottery.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Video recordings
Date:
1895-2000
bulk 1940s-2000
Summary:
The papers of ceramicists and educators Otto and Vivika Heino measure 2.3 linear feet and date from 1895 to 2002, with the bulk of the records dating from the 1940s to 2000. The material documents the lives and careers of Otto and Vivika Heino through a mix of personal and professional papers, printed material, a video recording of a documentary, and photographs.
Scope and Contents:
The papers of ceramicists and educators Otto and Vivika Heino measure 2.3 linear feet and date from 1895 to 2002, with the bulk of the records dating from the 1940s to 2000. The material documents the lives and careers of Otto and Vivika Heino through a mix of personal and professional papers, printed material, a video recording of a documentary, and photographs.
Personal and professional papers consist of correspondence, personal business records, exhibition papers, scant financial records, resumes, writings, and a video recording of a documentary titled "You Are the Miracle: Exploring the Creative Process."
Printed material includes newspaper and magazine clippings, mailings and advertisements from The Pottery, announcements, advertisements, and some catalogs from Heino exhibitions, studio events, and sales. Printed material can also be found in two scrapbooks.
Photographs depict Otto and Vivika working and teaching in their studios, exhibitions, professional events, family and friends and friendly gatherings, marionette shows, pets, and properties.
Arrangement:
This collection is arranged as three series.
Series 1: Personal and Professional Papers, 1942-2000 (Box 1; 0.8 linear feet)
Series 2: Printed Material, 1933-2000 (Box 1, 3; 0.7 linear feet)
Series 3: Photographs, 1895-2000, bulk 1940s-1990s (Box 1-3; 0.8 linear feet)
Biographical / Historical:
Vivika and Otto Heino were ceramicists and educators active primarily in California, New Hampshire, and Rhode Island.
Vivika Heino (1910-1995) was born Vivika Place in Caledonia, New York. She attended Rochester Normal School and took a sculpture class, a drawing class at the Memorial Art Gallery, and a design class at the University of Rochester Extension. She then attended Colorado College of Education where she received her BA and became involved with puppeteering. By 1934 she had moved to California, where she apprenticed with a bookbinder, Mr. Bitteroff, making candlesticks, tin trays, and other small crafts. She also apprenticed with wood carver Charlie Sayers in Carmel, carving picture frames and furniture for about seven months, before learning weaving at Swedish Applied Arts in San Francisco.
While at Swedish Applied Arts, Place worked and became friends with Harry Dixon, Armank Harranian, Margaret Gravandar, and Bill Saroyan. She also found time to work as a puppeteer with Ralph Chesse and the Works Progress Administration. She also began studying pottery with Manuel Eugene Jalanivich at California University of Fine Arts, and subsequently focused primarily on pottery for the rest of her career.
Place began working with Glen Lukens at the University of Southern California in 1940. Lukens and Dr. Morley, director of the San Francisco Museum of Modern Art, recommended her for a scholarship at New York State College of Ceramics in Alfred, New York, from which she graduated in 1944. She subsequently took a teaching position at the League of New Hampshire Arts and Crafts where she met Otto Heino.
One of twelve siblings, Otto Heino (1915-2009) was born in East Hampton, Connecticut, to a market gardening family of Finnish descent. The family moved to New Hampshire to sell milk when Otto was 12, and around that time he began apprenticing as a wood turner for Louie Harr. Heino was then drafted into the military and became a gunner in the United States Air Force. Between flying twenty-five missions in Europe, Heino took classes in England, made jewelry, did wood working, traveled to museums, and met individual potters and silversmiths. After visiting Leach's Pottery in Cornwall, and investigating pottery in other parts of Europe, Otto was determined to study pottery on the GI Bill on his return to the United States.
Otto and Vivika met while Otto was a student at the League of New Hampshire Arts and Crafts, where Vivian was an instructor. They married in 1950 and went on to establish their reputations as artists and educators by widely exhibiting their work, leading workshops, conducting studio open houses, consulting on film productions, and teaching at various schools and institutions. They both taught at the University of Southern California, the Chouinard Art Institute, and Rhode Island School of Design; Vivika also taught at the Sheridan School of Design in Ontario, Canada, and New England College in Henniker, New Hampshire. They operated The Potter, a studio and retail store in Ojai, California, from 1973 to 1995.
The work of Otto and Vivika Heino can be found in the collections of many museums, including the Smithsonian's Cooper-Hewitt National Design Museum, the Long Beach Museum of Art, the Los Angeles County Museum of Art, and the Ariana Museum, in Geneva, Switzerland.
Provenance:
The collection was donated in 2003 and 2004 by Otto Heino as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Otto and Vivika Heino Papers, 1895-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Photographer: [H. T. Cory, Consulting Engineer for the Bureau of Reclamation]. Glass plate negative received (1/1965) from Bureau of Indian Affairs
Local Numbers:
NAA INV 10069700 ; OPPS NEG 4555
Local Note:
Number 116 on BIA list. ; Negative Number 4566 was taken by H. T. Cory, Consulting Engineer of the Bureau of Reclamation, in 1916. It is part of a series of photos., negative Numbers 4553-4568, all of which were taken at the same place and are probably by H. T. Cory, 1916. The same three women appear, separately and together throughout the series.
Peppers are hung drying on the ladder at the foot of which lie various types of finished pots. Photographer: [H. T. Cory, Consulting Engineer for the Bureau of Reclamation]. Glass plate negative received (1/1965) from Bureau of Indian Affairs
Local Numbers:
NAA INV 10069900 ; OPPS NEG 4557
Local Note:
Number 90 on BIA list. ; Negative Number 4566 was taken by H. T. Cory, Consulting Engineer of the Bureau of Reclamation, in 1916. It is part of a series of photos., negative Numbers 4553-4568, all of which were taken at the same place and are probably by H. T. Cory, 1916. The same three women appear, separately and together throughout the series.
Peppers are hung drying on the ladder at the foot of which lie various types of pots. Photographer: [H. T. Cory, Consulting Engineer for the Bureau of Reclamation]. Glass plate negative received (1/1965) from Bureau of Indian Affairs
Local Numbers:
NAA INV 10070000 ; OPPS NEG 4558
Local Note:
Number 84 on BIA list. ; Negative Number 4566 was taken by H. T. Cory, Consulting Engineer of the Bureau of Reclamation, in 1916. It is part of a series of photos., negative Numbers 4553-4568, all of which were taken at the same place and are probably by H. T. Cory, 1916. The same three women appear, separately and together throughout the series.
Photographer: [H. T. Cory, Consulting Engineer for the Bureau of Reclamation]. Glass plate negative received (1/1965) from Bureau of Indian Affairs
Local Numbers:
NAA INV 10070200 ; OPPS NEG 4560
Local Note:
Number 122 on BIA list. ; Negative Number 4566 was taken by H. T. Cory, Consulting Engineer of the Bureau of Reclamation, in 1916. It is part of a series of photos., negative Numbers 4553-4568, all of which were taken at the same place and are probably by H. T. Cory, 1916. The same three women appear, separately and together throughout the series.
Woman at right is Katalsta, daughter of Yanaguski, "Drowning Bear," head chief of the East Cherokee about 1838. Information from caption of this photo, reproduced in Smithsonian Miscellaneous Collections (right half only), 63:8 (SI-EEW for 1913), figure 60, page 62, "Among the East Cherokee Indians of North Carolina." (re Mooney's field work). Holmes, 20th AR, Bureau of American Ethnology, page 53, 56, mentions Mooney's 1888- or 1890 visit to Cherokee, and prints information received from Mooney re Cherokee pottery making. Gives names of three Cherokee women potters as Uhyunli, 75 years of age, Katalsta, about 85 years of age, and Ewi Katalsta, daughter of the last named, about 50 years old. Negative copy from film by James Mooney, 1888 ? Right half only - reproduced in Smithsonian Miscellaneous Collections, 63:8 (SI-EEW for 1913), figure 60, page 62 re Mooney's field work.
Local Numbers:
NAA INV 9400200 ; OPPS NEG 1033
Local Note:
This picture same as 1034-a-2, of series dated on catalog card as 1900.
National Portrait Gallery, Smithsonian Institution; gift of the Abraham and Virginia Weiss Charitable Trust, Amy and Marc Meadows, in honor of Wendy Wick Reaves
