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Whitney Museum of American Art artists' files and records

Creator:
Whitney Museum of American Art  Search this
Names:
Whitney Studio Club  Search this
Whitney Studio Galleries  Search this
Baziotes, William, 1912-1963  Search this
Bellows, George, 1882-1925  Search this
Benton, Thomas Hart, 1889-1975  Search this
Bloom, Hyman, 1913-  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Burlin, Paul, 1886-1969  Search this
Cadmus, Paul, 1904-1999  Search this
Cassatt, Mary, 1844-1926  Search this
Curry, John Steuart, 1897-1946  Search this
Davis, Stuart, 1892-1964  Search this
De Creeft, José, 1884-1982  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Evergood, Philip, 1901-1973  Search this
Feininger, Lyonel, 1871-1956  Search this
Gatch, Lee, 1902-1968  Search this
Glackens, William J., 1870-1938  Search this
Gorky, Arshile, 1904-1948  Search this
Graves, Morris, 1910-  Search this
Gross, Chaim, 1904-1991  Search this
Grosz, George, 1893-1959  Search this
Harnett, William Michael, 1848-1892  Search this
Hartley, Marsden, 1877-1943  Search this
Henri, Robert, 1865-1929  Search this
Hofmann, Hans, 1880-1966  Search this
Hopper, Edward, 1882-1967  Search this
Inness, George, 1825-1894  Search this
Karfiol, Bernard, 1886-1952  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lachaise, Gaston, 1882-1935  Search this
Lawson, Ernest, 1873-1939  Search this
MacIver, Loren, 1909-1998  Search this
Marin, John, 1870-1953  Search this
Marsh, Reginald, 1898-1954  Search this
Motherwell, Robert  Search this
Mount, William Sidney, 1807-1868  Search this
Nevelson, Louise, 1899-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Pollock, Jackson, 1912-1956  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Pène Du Bois, Guy, 1884-1958  Search this
Reder, Bernard, 1897-1963  Search this
Rimmer, William, 1816-1879  Search this
Rivers, Larry, 1925-2002  Search this
Rothko, Mark, 1903-1970  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sheeler, Charles, 1883-1965  Search this
Sloan, John, 1871-1951  Search this
Smith, David, 1906-1965  Search this
Stella, Joseph, 1877-1946  Search this
Tobey, Mark  Search this
Twachtman, John Henry, 1853-1902  Search this
Tworkov, Jack  Search this
Walkowitz, Abraham, 1880-1965  Search this
Weber, Max, 1881-1961  Search this
Wyant, A. H. (Alexander Helwig), 1836-1892  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Zorach, William, 1887-1966  Search this
Extent:
78 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1914-1966
Scope and Contents:
REELS N591-N597: Photographs of the Museum, Juliana Force, Herman Moore; scrapbooks on the Whitney Studio Club, Whitney Studio Galleries and the Museum, 1927-1965.
REELS N599-N604: Notebooks of Edwin W. Dickinson; photographs and provenance information for works by Philip Evergood; a catalog of information and some photographs of Chinese ink drawings and other works by Reginald Marsh; and photographs and information on Bernard Reder, Jack Tworkov, Max Weber (portions also microfilmed on reel NY59-8 (fr. 497-658), reel NY59-9 (fr. 1-51), and William Zorach.
REELS N604-N609: Exhibition catalogs, 1946-1966, for artists and groups shows at the Museum, including Robert Feke, William Rimmer, Ralph Blakelock, Albert Maurer, Albert Pinkham Ryder, Yasuo Kuniyoshi, Thomas Cole, Max Weber, Arshile Gorky, Mark Tobey, John Sloan, Loren MacIver, I. Rice Pereira, George Grosz, Reginald Marsh, Charles Burchfield, Morris Graves, Theodore Roszak, John Marin, Hans Hofmann, Bradley Tomlin, Stuart Davis, Milton Avery, Lee Gatch, Jose De Creeft, Maurice Prendergast, Edward Hopper, Hyman Bloom, Robert E. Jones, Balcomb Greene, Karl Zerbe, Arthur G. Dove, William Zorach, Philip Evergood, Bernard Reder, Herbert Feber, Oliver O'Connor Barrett,Arthur B. Davies, Jose De Rivera, Paul Burlin, Joseph Stella, Jack Tworkov, Ivan Albright, Stuart Davis, Edwin Dickinson, John Quidor, and Niles Spencer.
REELS N646-N694: Artists' files on: Oliver O'Connor Barrett,William Baziotes, George Bellows, Thomas Hart Benton, Peter Blume, James Brooks, Patrick Henry Bruce, Charles Burchfield, Paul Burlin, David Burliuk, Paul Cadmus, Mary Cassatt, Thomas Cole, Glenn Coleman, Jon Corbino, John Steuart Curry, Jo Davidson, Arthur B. Davies, Jose DeCreeft, Charles Demuth, Jose De Rivera, Arthur Dove, Guy Pène du Bois, Stuart Davis, Frank Duveneck, Ralph Earl, Eastman Johnson, The Eight, Philip Evergood, Robert Feke, Lyonel Feininger, Ernest Fiene, George Fuller, Lee Gatch, William Glackens, Arshile Gorky, Balcomb Greene, Chaim Gross, George Grosz, William Harnett, Marsden Hartley, Childe Hassam, John Heliker, Robert Henri, Hans Hofmann, George Inness, Leon Kelly, Franz Kline, Karl Knaths, Leon Kroll, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Robert Laurent, Ernest Lawson, Jack Levine, Seymour Lipton, George B. Luks,
Stanton Macdonald-Wright, Loren MacIver, John Marin, Reginald Marsh, Alfred Maurer, K. H. Miller, Robert Motherwell, William Mount, Jerome Myers, Louise Nevelson, Georgia O'Keeffe (portions also microfilmed on reels NY59-13 (fr. 98-115, 406-424, 586-685), reel NY59-14 (entire), and reel NY59-15 (fr. 1-140, 145-153), I. Rice Pereira, Bernard Perlin, Joseph Pollett, Jackson Pollock, Reginald Pollack, Henry V. Poor, Richard Pousette-Dart, Maurice Prendergast, Abraham Rattner, Bernard Reder, Ad Reinhardt, William Rimmer, Larry Rivers, Hugo Robus, Theodore Roszak, Mark Rothko, Concetta Scarvaglione, Henry Schnakenberg, Ben Shahn, John Sloan, David Smith, Eugene Speicher, Theodoros Stamos, Joseph Stella, Maurice Sterne, Mark Tobey, Bradley Tomlin,Trajan, Allen Tucker, John Twachtman, Jack Tworkov, Abraham Walkowitz (also on reel NY/59-15) , Max Weber, James M. Whistler, Gertrude Whitney, Grant Wood, Alexander Wyant, Mahonri Young, and William Zorach.
REELS NWH 1-NWH 7: Artist files on Charles Sheeler, Bernard Karfiol, Louis Eilshemius; scatterred records of the Whitney Studio Club and Museum, 1914-1945, including minutes, Oct. 15, 1930, and Whitney Studio ledgers, 1928-1931; catalogs of one-man shows, 1932-1945; catalogs of annual painting exhibitions, 1932-1940, sculpture, watercolor and drawing exhibitions, 1933-1945, and group exhibitions, 1932-1945; and clippings, Oct. 1935-1936.
REELS NY59/8 (fr. 256-end)-NY59/10: Files on Max Weber, including biographical material, lists of work, and miscellany. Also found (NY59/8 frames 354-383) are ca.20 letters from Weber to Abraham Walkowitz, 1907-1924.
Biographical / Historical:
Whitney Museum of American Art is an American art museum in New York, New York. Founded by Gertrude Vanderbilt Whitney and formally opened in 1931. Previous to its opening as a museum it was known as the Whitney Studio Club (1914-28) and Whitney Studio Galleries (1928-30).
Provenance:
The Weber files on reels NY59/8-10 were lent for microfilming 1959 by the Whitney Museum of American Art; the remainder was lent 1964-1967; additional material from the Museum was lent at the same time, and subsequently donated, including the papers of Lloyd Goodrich, Juliana Force, Thomas B. Clarke, the American Art Research Council, and Gertrude Vanderbilt Whitney; these have each been cataloged separately. Portions of Weber, and O'Keeffe material that was microfilmed in 1959 were refilmed in 1967.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Modern -- 20th century -- United States  Search this
Artists -- Exhibitions -- New York (State) -- New York  Search this
Art, American  Search this
Function:
Art museums -- New York (State)
Identifier:
AAA.whitmuse
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw990da7b91-a3b8-4ace-b8ba-b5c08cfe3284
EDAN-URL:
ead_collection:sova-aaa-whitmuse

Isabel Bishop papers

Creator:
Bishop, Isabel, 1902-1988  Search this
Names:
American Society of Painters, Sculptors and Gravers  Search this
New Society of Artists (New York, N.Y.)  Search this
Arms, John Taylor, 1887-1953  Search this
Bacon, Peggy, 1895-1987  Search this
Blume, Peter, 1906-1992  Search this
Brooks, Van Wyck, 1886-1963  Search this
Canaday, John, 1907-1985  Search this
Chappell, Warren, 1904-  Search this
Ciardi, John, 1916-  Search this
Cunningham, Merce  Search this
Delevante, Sidney, 1894-  Search this
Deutsch, Babette, 1895-1982  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Evergood, Philip, 1901-1973  Search this
Ferber, Edna, 1887-1968  Search this
Folinsbee, John Fulton, 1892-1972  Search this
Force, Juliana, 1876-1948  Search this
Hoffman, Malvina, 1887-1966  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Johnson, Una E.  Search this
Kearns, James  Search this
Kitaj, R. B.  Search this
Kroll, Leon, 1884-1974  Search this
Laning, Edward, 1906-1981  Search this
Lattimore, Richmond Alexander, 1906-1984  Search this
Leighton, Clare, 1899-  Search this
Marsh, Reginald, 1898-1954  Search this
Moore, Marianne, 1887-1972  Search this
Mumford, Lewis, 1895-1990  Search this
Neel, Alice, 1900-1984  Search this
Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this
Porter, Fairfield  Search this
Rattner, Abraham  Search this
Schmidt, Katherine, 1898-1978  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Soyer, Raphael, 1899-1987  Search this
Tooker, George, 1920-2011  Search this
Van Veen, Stuyvesant  Search this
Vonnegut, Kurt  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Westcott, Glenway  Search this
Zorach, William, 1887-1966  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Prints
Sketchbooks
Illustrated letters
Date:
1914-1983
Summary:
The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. There are scattered biographical documents, correspondence with fellow artists such as Peggy Bacon, Warren Chappell, Edward Laning, and R. B. Kitaj, and with writers, curators, museums, galleries, arts organizations, and others. Also found are arts organization files, Bishop's writings about Warren Chappell and friend Reginald Marsh, notes, exhibition catalogs, news clippings, and other printed material, photographs of Bishop and her artwork, and photographs of Reginald and Felicia Marsh. Original artwork includes 8 sketchbooks, loose sketches, prints, and watercolor figure studies.
Scope and Content Note:
The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. Scattered biographical documents include awards and a file on her participation in art juries.

Bishop was friends with many artists and cultural figures and her correspondence includes letters to and from artists such as John Taylor Arms, Peggy Bacon, Peter Blume, Warren Chappell (many letters from Chappell are illustrated), Sidney Delevante, Edwin Dickinson, Philip Evergood, John Folinsbee, Malvina Hoffman, Jo Hopper, James Kearns, Leon Kroll, Clare Leighton, Jack Levine, Alice Neel, Hobson Pittman, Fairfield Porter, Abraham Rattner, Katherine Schmidt, Henry Schnakenberg, Raphael Soyer, George Tooker, Stuyvesant Van Veen, Franklin Watkins, Mahonri Young, and William Zorach. Bishop not only corresponded with artists but also many poets, authors, historians, and dancers, such as Van Wyck Brooks, John Canaday, John Ciardi, Merce Cunningham, Babette Deutsch, Edna Ferber, Richmond Lattimore, Marianne Moore, Lewis Mumford, Kurt Vonnegut, and Glenway Westcott. Also found are letters from many galleries, museums, and schools which exhibited or purchased her work, including curators Juliana Force and Una Johnson.

Bishop kept files from her affiliations with the American Society of Painters, Sculptors, and Gravers and the New Society of Artists, containing mostly membership and financial records, and a file on a UNESCO conference. Unfortunately, files documenting her membership and vice presidency of the National Institute of Arts & Letters are not found here.

A small amount of Bishop's writings and notes include essays about friends and artists Reginald Marsh and Warren Chappell. Printed material consists of exhibition catalogs and announcements, news clippings, magazines, and a design by G. Alan Chidsey for a book about Bishop. Photographs depict Bishop with her husband and in her studio, her artwork, and also include three photographs of her friend, Reginald Marsh.

Original artwork includes eight small sketchbooks, loose pen and ink sketches, intaglio prints, watercolor figure studies, and a drawing of Bishop by Aaron Bohrod.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1943-1975 (Box 1; 4 folders)

Series 2: Correspondence, 1939-1983 (Box 1; 0.6 linear feet)

Series 3: Organization Files, 1924-1937, 1951-1952 (Box 1; 0.2 linear feet)

Series 4: Writings & Notes, 1937-1960s (Box 1; 4 folders)

Series 5: Printed Material, 1930-1979 (Box 2; 0.6 linear feet)

Series 6: Photographs, 1914, circa 1920s-1975 (Box 2, OV 5; 0.2 linear feet)

Series 7: Artwork, circa 1940s-1970s (Box 2-4, OV 5; 0.4 linear feet)
Biographical Note:
Isabel Bishop (1902-1988) was born in Cincinnati, Ohio to John Remsen Bishop and Anna Bartram Newbold Bishop. Shortly after her birth the family moved to Detroit, Michigan. As a child Bishop took art classes and had a growing interest in drawing. In 1918 at the age of 16 she left home and moved to New York City where she enrolled in the School of Applied Design for Women to be an illustrator. However, her real interest was in painting, not the graphic arts, and she enrolled in the Art Students League in 1920. There she studied with Kenneth Hayes Miller and Guy Pene du Bois and met many young artists, including Reginald Marsh and Edwin Dickinson, both of whom became close friends. She took classes until 1924 and rented a studio and living space on 14th Street in a neighborhood where many artists maintained studios at the time.

Bishop began exhibiting her work and participated in artist groups, including the Whitney Studio Club and the New Society of Artists. During the 1920s and 1930s she developed a realist style of painting, primarily depicting women in their daily routine on the streets of Manhattan. Her work was greatly influenced by Peter Paul Rubens and other Dutch and Flemish painters that she had discovered during trips to Europe. In 1932 Bishop began showing her work frequently at the newly opened Midtown Galleries, where her work would be represented throughout her career.

In 1934 she married Harold Wolff, a neurologist, and moved with him to Riverdale, New York. Bishop kept her studio in Manhattan, moving from 14th Street to Union Square. She remained in her Union Square studio for fifty years (1934-1984). From 1936 to 1937 she taught at the Art Students League and in 1940 her son Remsen was born. In 1941 she was named a member of the National Academy of Design and from 1944 to 1946 she was the Vice President of the National Institute of Arts & Letters, the first woman to hold an executive position with that organization. She wrote articles and joined other artists in speaking out in support of realist painting and against the abstract style that was dominating the New York art scene.

During her long career which lasted into the 1980s, Bishop exhibited in numerous group and solo exhibitions, traveled throughout the U. S. as an exhibition juror, and won many awards for her work, including the award for Outstanding Achievement in the Arts presented by President Jimmy Carter in 1979.
Related Material:
Also found at the Archives of American Art are three oral history interviews with Isabel Bishop, April 15, 1959, May 29, 1959, and November 12-December 11, 1987.

The Whitney Museum of American Art and Midtown Galleries loaned additional Bishop papers to the Archives for microfilming on reels NY59-4 and NY59-5. These items were returned to the lenders after microfilming and are not described in the container listing of this finding aid.
Provenance:
The collection was donated in several installments by Isabel Bishop from 1959 to 1983.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Book illustrators -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Realism  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Prints
Sketchbooks
Illustrated letters
Citation:
Isabel Bishop papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bishisab
See more items in:
Isabel Bishop papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9509a0a9a-9a45-4bf3-973e-4699c03f6ed8
EDAN-URL:
ead_collection:sova-aaa-bishisab
Online Media:

Federal Art Project, Photographic Division collection

Creator:
Federal Art Project. Photographic Division  Search this
Names:
Federal Art Project (N.Y.)  Search this
Federal Art Project (Wash.)  Search this
Federal Art Project -- Photographs  Search this
Federal Art Project. Easel Division  Search this
Federal Art Project. Graphic Arts Division  Search this
Federal Art Project. Poster Division  Search this
Federal Music Project (U.S.) -- Photographs  Search this
Federal Theatre Project (U.S.) -- Photographs  Search this
Federal Writers' Project (U.S.) -- Photographs  Search this
Harlem Art Center  Search this
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Abbott, Berenice, 1898-1991  Search this
Alston, Charles Henry, 1907-1977  Search this
Arenal, Luis  Search this
Barthé, Richmond, 1901-1989  Search this
Benson, John Howard, 1901-1956  Search this
Berger, Andrew  Search this
Blanch, Lucile, 1895-1981  Search this
Bloch, Lucienne, 1909-1999  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Brann, Louise, 1906-  Search this
Burke, Selma, 1900-  Search this
Cahill, Holger, 1887-1960  Search this
Calapai, Letterio, 1902-1993  Search this
Chodorow, Eugene, 1910-2000  Search this
Criss, Francis, 1901-1973  Search this
Davis, Stuart, 1892-1964  Search this
De Rivera, José Ruiz, 1904-1985  Search this
Dehn, Adolf, 1895-1968  Search this
Dehn, Virginia E. (Virginia Engleman), 1922-2005  Search this
Ennis, George Pearse, d. 1936  Search this
Evergood, Philip, 1901-1973  Search this
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Goodman, Bertram, 1904-1988  Search this
Gorky, Arshile, 1904-1948  Search this
Greenwood, Marion, 1909-1970  Search this
Guston, Philip, 1913-1980  Search this
Herman, Andrew  Search this
Hord, Donal, 1902-1966  Search this
Horn, Sol  Search this
Hovell, Joseph, 1897-  Search this
Karp, William, 1905-  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laning, Edward, 1906-1981  Search this
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
McMahon, Audrey, 1900?-1981  Search this
Olds, Elizabeth, 1896-1991  Search this
Refregier, Anton, 1905-  Search this
Robbins, David  Search this
Seltzer, Leo, 1916-  Search this
Shuster, Will  Search this
Zorach, William, 1887-1966  Search this
Extent:
12.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1920-1965
bulk 1935-1942
Summary:
The Federal Art Project, Photographic Division collection dates from circa 1920-1965, with the bulk of the records spanning the active years of the Federal Art Project (FAP), 1935-1942. The collection comprises 12.4 linear feet of mostly photographic prints and negatives that document primarily artwork produced by artists employed by the FAP. A smaller number of photographs also document other programs of the FAP, such as art classes and community centers, exhibitions by children and adults, artwork installed in public buildings, project divisions, and demonstrations of art processes by FAP artists.
Scope and Content Note:
The Federal Art Project (FAP), Photographic Division collection dates from circa 1920-1965, with the bulk of the records spanning the active years of the FAP: 1935-1942. The collection comprises 12.4 linear feet of photographic prints and negatives, including photos of FAP artists and the artwork created by them, and other activities of the FAP in communities throughout New York City and other states. Photographers include Andrew Herman, Sol Horn, David Robbins, Leo Seltzer, and others.

Artist files comprise three-quarters of the collection and consist primarily of photographs of artwork, as well as scattered photos of artists at work, including: Charles Alston, Luis Arenal, Richmond Barthe, John Benson, Andrew Berger, Lucille Blanch, Lucienne Bloch, Ilya Bolotowsky, Luise Brann, Selma Burke, Letterio Calapai, Eugene Chodorow, Francis Criss, Stuart Davis, Adolf Dehn, Virginia Dehn, Jose de Rivera, George Pearse Ennis, Philip Evergood, Eugenie Gershoy, Bertram Goodman, Arshile Gorky, Marion Greenwood, Philip Guston, Donal Hord, Joseph Hovell, William Karp, Yasuo Kuniyoshi, Edward Laning, Julian Levi, Audrey McMahon, Elizabeth Olds, Anton Refregier, Will Shuster, William Zorach, and others.

The remainder of the collection consists of files documenting related activities and programs of the FAP, arranged by subject. The bulk of these files document the activities of the New York City FAP, including free art classes and art exhibitions for adults and children, exhibitions at the Harlem Art Center, and the work of FAP branches including the Easel Division, the Graphic Arts Division, and the Poster Division.

Other subjects documented include federal and community art centers in eleven states, most extensively Washington State; other WPA projects such as the Federal Theater Project, the Federal Music Project, and the Federal Writers' Project; buildings decorated with FAP artwork; art processes as demonstrated by FAP artists; special events; and people involved with the FAP, including director Holger Cahill.

One folder contains images that appear to have been taken by Berenice Abbott for the exhibition Changing New York (1935), for the Museum of the City of New York in collaboration with the WPA.
Arrangement:
The collection is arranged as 2 series:

Missing Title

Series 1: Artist Files, circa 1920-1965 (Boxes 1-24; 9.6 linear feet)

Series 2: Subject Files, 1934-1956 (Boxes 25-32; 2.8 linear feet)
Historical Note:
The Federal Art Project (FAP) was one of the Depression-era work-relief programs of the Federal Works Progress Administration (WPA). The program was founded in August 1935 to provide employment for artists and to implement visual arts programs in local communities across the country.

Together with the Federal Music Project, the Federal Theater Project, and the Federal Writers' Project, the FAP formed part of the WPA's Federal Project No. 1. The WPA became the Work Projects Administration in 1939 when it fell under the administrative hand of the newly created Federal Works Agency; concurrently the Federal Art Project was officially re-named the Federal Art Program.

Under the direction of Holger Cahill, the goals of the FAP fell into three main areas: production of artwork, art education through art classes and community centers, and art research through the Index of American Design. During the course of the program, artists created murals and other works of art for many non-Federal government buildings such as schools, hospitals, and libraries. Separate photographic divisions were set up in several states, most notably in New York City, to document the work of artists employed by the program, activities in art education such as classes for children and adults, community center outreach programs, and other "Federal 1" projects, including the Federal Theater and Music Projects. Employees of the photographic division were also involved in other assignments, such as creating exhibitions and photo murals.

The Federal Art Project ended in 1943.
Related Material:
Among the holdings of the Archives of American Art are related collections, including the Federal Art Project of the Work Projects Administration records, 1935-1948. Additional FAP records are held by the National Archives and Records Administration in Washington D.C.
Provenance:
The collection was anonymously donated to the Archives of American Art in the late 1950s.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The 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.
Topic:
Children's art  Search this
Photography  Search this
Art -- United States -- Exhibitions -- Photographs  Search this
Art -- United States -- Study and teaching -- Photographs  Search this
Art centers  Search this
Federal aid to the public welfare -- Photographs  Search this
Theater and state -- United States -- Photographs  Search this
Music and state -- United States -- Photographs  Search this
Federal aid to the arts -- Photographs  Search this
Art -- Technique  Search this
Artists -- United States -- Photographs  Search this
Art -- Exhibitions  Search this
Latino and Latin American artists  Search this
Art -- Study and teaching  Search this
African American artists  Search this
Function:
Programs (organizations)
Agencies
Genre/Form:
Photographs
Citation:
Federal Art Project, Photographic Division collection, circa 1920-1965, bulk 1935-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fedeartp14
See more items in:
Federal Art Project, Photographic Division collection
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91f0216d7-ed8e-4482-8128-6def41dbe367
EDAN-URL:
ead_collection:sova-aaa-fedeartp14
Online Media:

Stewart Klonis papers

Creator:
Klonis, Stewart, 1901-1989  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Bearden, Romare, 1911-1988  Search this
Bosa, Louis, 1905-  Search this
Boss, Homer, 1882-1956  Search this
De Creeft, José, 1884-1982  Search this
DuMond, Frank Vincent, 1865-1951  Search this
Gonzalez, Xavier, 1898-1993  Search this
Grosz, George, 1893-1959  Search this
Hale, Robert Beverly, 1901-1985  Search this
Hirsch, Joseph, 1910-1981  Search this
Klonis, Bernard, 1906-1957  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Zorach, William, 1887-1966  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Date:
1886-1982
Scope and Contents:
Biographical data; correspondence, undated, 1915 and 1932-1982, with Romare Bearden, Martha Bloom, Peter Blume, Louis Bosa, Homer Boss, Frank Vincent DuMond, George Grosz, Joseph Hirsch, Reginald Marsh, Kenneth Hayes Miller, William Zorach and others; notes, drafts and typescripts of articles and speeches by Klonis and others; Art Students League files, ca. 1897-1982, containing a history of the League, correspondence and printed material about the election of the Board of Control, the annual scholarship balls and the testimonial dinner for Klonis, minutes of Board of Control meetings, reports, financial data and building modernization plans; subject files of letters and printed material about the Artists Equity Association, Century Club, New York City Art Center, and others;
exhibition files on Stewart and Bernard Klonis, undated and 1933-1959, containing exhibition invitations and catalogs, lists of works, letters and photographs; art appraisals by Klonis; agreements between Klonis and the Art Students League of New York, 1945-1960; income tax returns; a Vere Foster's Drawing Copy-Book of pencil sketches; drawings, collages, prints and cut-outs by Martha Bloom, Robert B. Hale, Beatrix Sherman and others; a scrapbook, 1932-1933, of clippings, exhibition catalogs and photographs; exhibition catalogs and announcements, ca. 1925-1977; printed material on the Art Students League, ca. 1886-1980; clippings, 1933-1980; photographs of Klonis, his friends and colleagues, Art Students League Costume balls, and works of art by Homer Boss, Jose de Creeft, Frank Vincent DuMond, Xavier Gonzales, William Zorach and others.
Biographical / Historical:
Art administrator, painter; New York, N.Y. Former director of Art Students League.
Provenance:
Donated 1983 by Stewart Klonis.
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:
Educators  Search this
Painters  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Genre/Form:
Drawings
Scrapbooks
Identifier:
AAA.klonstew
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92bb85e3a-6e3c-419b-8ece-b78e3ab92413
EDAN-URL:
ead_collection:sova-aaa-klonstew

Robert Laurent papers

Creator:
Laurent, Robert, 1890-1970  Search this
Names:
Avery, Milton, 1885-1965  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Bellows, George, 1882-1925  Search this
Berenson, Bernard, 1865-1959  Search this
Bluemner, Oscar, 1867-1938  Search this
Calder, Alexander, 1898-1976  Search this
Careas, Jean  Search this
Courtois, Gustave, 1852-1923  Search this
Dasburg, Andrew, 1887-1979  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Field, Hamilton Easter  Search this
Fiene, Ernest, 1894-  Search this
Goodrich, Lloyd, 1897-1987  Search this
Gross, Chaim, 1904-1991  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hart, George Overbury, 1868-1933  Search this
Hassam, Childe, 1859-1935  Search this
Henri, Robert, 1865-1929  Search this
Hope, Henry R. (Henry Radford), 1905-  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lachaise, Gaston, 1882-1935  Search this
Laurent, John, 1921-  Search this
Lipchitz, Jacques, 1891-1973  Search this
McBride, Henry, 1867-1962  Search this
McFee, William  Search this
Nadelman, Elie, 1882-1946  Search this
Pascin, Jules, 1885-1930  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Rattner, Abraham  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Smith, David, 1906-1965  Search this
Soyer, Raphael, 1899-1987  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Stella, Joseph, 1877-1946  Search this
Sterne, Maurice, 1878-1957  Search this
Stieglitz, Alfred, 1864-1946  Search this
Strater, Henry, 1896-  Search this
Zorach, William, 1887-1966  Search this
Extent:
3.7 Linear feet ((on 8 microfilmed reels + 1 photograph not microfilmed))
Type:
Collection descriptions
Archival materials
Date:
1869-1973
Scope and Contents:
Correspondence; manuscripts and writings; lists of works of art; photographs; biographical material; gallery and foundry files; notes and speeches; financial material; scrapbook; guest book; magazines; exhibition catalogs; clippings; and printed material.
REEL N68-2: Letters from George Bellows, Bernard Berenson, Elliott Daingerfield, Arthur B. Davies, Roger Fry, John Marin, Joseph Pennell, Man Ray, John Sloan, Max Weber, J. Alden Weir, and others. Two highly detailed letters from Maurice Sterne in 1913 describe that artist's life in Bali. Also included are signatures of American artists from a guest book, and a 1966 catalog of the Hamilton Easter Field Art Foundation Collection.
REEL N68-3 Letters from Childe Hassam, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Elie Nadelman, David Smith, Alfred Stieglitz, William Zorach, Oscar Bluemner, Albert C. Barnes, Andrew Dasburg, Ernest Fiene, Pop Hart, Robert Henri, Joseph Stella, Maurice Sterne, and others. Also included are manuscripts, lists of works of art, and photographs of Laurent with Hamiltion Easter Field, Bernard Kariol and others.
REEL 2: Personal data sheet, exhibition catalogs and magazines containing articles by or about Laurent, ca. 1920-1965.
REEL 497: John Laurent's collection of 34 letters, 1902-1960, to Robert Laurent and Hamiltion Easter Field. The 6 letters to Field are from Bernhard Berenson, George Bellows, Maurice Prendergast, Pop Hart, Gustov Courtois, and John Carpenter. The 28 letters to Robert Laurent are from Albert P. Ryder, Gaston Lachaise, Raphael Soyer, Walt Kuhn, Robert Henri, Alfred Stieglitz, Arthur B. Davies, Milton Avery, Alexander Calder, Henry McBride, William McFee, Jules Pascin, Jean Careas, and two unidentified artists.
REEL 2063: Photographs, ca. 1930-1962, of Laurent, his studio, exhibitions, and works of art.
REELS 2065-2067: Biographical material; correspondence from Maurice Sterne, Yasuo Kuniyoshi, Edith Halpert, Henry Hope, Henry Strater, Lloyd Goodrich, David Smith, Walt Kuhn, William Zorach, Ernest Fiene, and Samuel Wood Gaylor; gallery and foundry files; notes, writings, and speeches; financial material; lists of works of art; blueprints; exhibition and printed material, clippings, and a scrapbook; photos of source material and works of art owned by Laurent; and material concerning Hamilton Easter Field, Laurent's teacher and friend, including correspondence, guest book signatures, financial and legal papers and Field Foundation material.
REEL 2155: Photographs of Laurent's works of art with catalog sheets listing the title, date, medium, size, ownership, and exhibition information for each work, ca. 1920-1967. Also included are photographs of Laurent in his studio and with others, including Gaston Lachaise and David Smith; a photo of Chaim Gross; and photos of the Ogunquit Museum in Maine.
UNMICROFILMED: A black and white photograph of the Field Foundation Dinner Auction-Dinner-Dance, Ogunquit, Maine. Depicted are Lloyd Goodrich, Yasuo Kuniyoshi, William Zorach, Robert Laurent, Emil Ganso and others.
Biographical / Historical:
Painter, sculptor, teacher, etcher, and writer; Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine.
Provenance:
Material on reels N68-2-N68-3 was lent for microfilming 1968 by Robert Laurent; he donated material on reel 2 1966; material on reel 497 was lent for microfilming 1973 by John Laurent, son of Robert Laurent; material on reels 2063, 2065-2067 was donated 1978 by John Laurent; He donated additional material on reel 2155 and not filmed with his brother Paul in 1981.
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
Sculptors  Search this
Topic:
Painting, Modern -- 20th century  Search this
Sculpture, Modern -- 20th century  Search this
Etching, Modern -- 20th century  Search this
Identifier:
AAA.laurrobe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96ee96a38-5fa2-4e34-805b-8a013225135a
EDAN-URL:
ead_collection:sova-aaa-laurrobe

Aline Fruhauf papers

Creator:
Fruhauf, Aline, 1909-1978  Search this
Names:
Calder, Alexander, 1898-1976  Search this
Cecil, David, Lord, 1902-  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Huxley, Aldous, 1894-1963  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Longworth, Alice Roosevelt, 1884-1980  Search this
Ravel, Maurice, 1875-1937  Search this
Zorach, William, 1887-1966  Search this
Extent:
62 Items ((on 5 partial reels of microfilm))
Type:
Collection descriptions
Archival materials
Date:
1926-1976
Scope and Contents:
Photographs of works of art and of friends; scrapbooks; clippings; exhibition materials; typescripts; greeting cards; and correspondence.
REEL 682: 29 photographs of Fruhauf, her "Making Faces" exhibition, 1968, and her caricature drawings; photographs of a painting by Louis Eilshemius, photographs of caricatures of Fruhauf by William Zorach, Alexander Calder, and Raphael Soyer; a photograph of a Christmas card from Maurice Ravel; 12 rough caricature drawings including one of Yasuo Kuniyoshi by Fruhauf; typescripts of conversations with Lord David Cecil and Alice Roosevelt Longworth, and notes on Aldous Huxley.
REEL 1119: Nine scrapbooks containing published caricatures of theatrical and musical personalities from newspapers and magazines; Christmas cards designed by Fruhauf; and clippings, exhibition announcements, and miscellaneous printed materials.
REEL 1816: A typescript of Fruhauf's 307 page autobiography "MAKING FACES: MEMOIRS OF A CARICATURIST," 1966; a press release regarding an exhibition of her works at the Smithsonian Institution in 1966, and a list of her work in the exhibition; and 62 reproductions of caricatures.
REEL 2803: a printed musical score "Six Musical Moods for the Piano" by Louis Michel Eilshemius (1897), autographed "Wedding Bells for Aline Vollmer, best wishes Louis M. Eilshemius 1934."
REEL 2812: Two undated letters to Fruhauf from Louis Eilshemius. In one he affirms that he hates to see nudes "in kitchen chairs," and remarks that a reproduction of his "Nymphs" would clarify this statement for her. A sketch, "Idyllness" is drawn on this letter. In the other letter he mentions Fruhauf's caricature of him, talks about his health and about their mutual friend [Harry] Salpeter.
Biographical / Historical:
Caricaturist and lithographer. Date of birth also given as 1907.
Other Title:
Louis Michel Eilshemius (microfilm title reel 2803)
Provenance:
Material on reels 682, 1119 and 1816 lent for microfilming 1970-1976; and material on reels 2803 and 2812 donated 1970 and 1980 all by Aline Fruhauf.
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:
Caricaturists -- Washington (D.C.)  Search this
Lithographers -- Washington (D.C.)  Search this
Topic:
Caricatures and cartoons  Search this
Women artists  Search this
Women printmakers  Search this
Identifier:
AAA.fruhalin
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c1cf89a5-dd8e-49d2-9ce6-74e0c767d4cf
EDAN-URL:
ead_collection:sova-aaa-fruhalin

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
Bassett, Bruce W.  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Rapoport, Nathan, 1911-  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Extent:
52.8 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Sketches
Designs
Date:
circa 1910-2001
bulk 1941-2001
Summary:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Scope and Contents note:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Arrangement note:
The collection is arranged as 2 series:

Missing Title

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)
Biographical/Historical note:
Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.
Related Archival Materials note:
Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.
Provenance:
Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
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.
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Diaries
Scrapbooks
Sketches
Designs
Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91b1a0c38-358c-4de5-bef5-2c27f942b166
EDAN-URL:
ead_collection:sova-aaa-lipcjacq2
Online Media:

Jacques Lipchitz papers

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Bassett, Bruce W.  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
International Business Machines Corporation  Search this
Marlborough Gallery  Search this
Storm King Art Center  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Noguchi, Isamu, 1904-1988  Search this
Rapoport, Nathan, 1911-  Search this
Rodin, Auguste, 1840-1917  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Stott, Deborah  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Collection Creator:
Lipchitz, Jacques, 1891-1973  Search this
Extent:
9.5 Linear feet (Boxes 1-10, OV 11-12)
Type:
Archival materials
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Date:
circa 1910-1999
bulk 1941-1999
Scope and Contents note:
The papers of sculptor Jacques Lipchitz measure 9.5 linear feet and are dated circa 1910-1999, with the bulk of the material from the period 1941-1999. Personal and professional correspondence comprises nearly half of the collection. It, along with biographical material, writings by and about Lipchitz, printed material, and photographs document Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson.

Biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Among those with whom Lipchtz corresponded regarding commissions are: The Brazilian Embassy ( Prometheus Strangling the Vulture, Ministry of Health and Education, Rio de Janeiro), Vicomte Charles de Noailles ( The Joy of Life) [photocopies of letters from Lipchitz], Jean Devémy (Nôtre Dame de Liesse, Nôtre Dame de Toute Grace at Assy, France), Jane Blaffer Owen (ornamental gates and a cast of Nôtre Dame de Liesse for Philip Johnson's Roofless Church in New Harmony, IN), and the University of Minnesota, Duluth ( Daniel Greysolon, Sieur du Luth). There are numerous letters from Fairmount Park Art Association, Philadelphia Museum of Art, and R. Sturgis Ingersoll regarding multiple projects in Philadelphia; from the Emory Memorial and Robert Taft, Jr. about a memorial to Senator Taft; and from Eloise Spaeth concerning a bust of John F. Kennedy. Also documenting commissions are letters from architects, among them: Eero Saarinen and Associates, Kenneth Franzheim, Philip L. Goodwin, I. M. Pei and Associates, Philip L. Goodwin, and Vincent G. Kling and Associates.

Art dealers, galleries, and museums were frequent correspondents. They include: The Baltimore Museum of Art, The Bezalel Museum, Brussels Universal and International Exposition, Buchholz Gallery, Cincinnati Art Museum, Corcoran Gallery of Art, Curt Valentin Gallery, Fine Arts Associates (later Otto Gerson Gallery, Inc.), Marlborough-Gerson Gallery, Inc., Museé Bourdelle, Museé National d'Arte Moderne (Paris), Museum of Modern Art (New York), The Museum of Primitive Art, The Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Portland Art Museum (Oregon), Rijksmuseum Kröller Muller Otterlo, Stedelijk Museum (Amsterdam), Walker Art Center, Whitney Museum of American Art, and Worcester Art Museum.

Max N. Benoff, Bernard and Becky Reis, and Alan and Janet Wurtzburger were among the collectors who corresponded with Lipchitz. French artist Pierre Dubaut wrote over an extended period about his collection of Géricault paintings and plans for its eventual disposition. Other individuals who wrote frequently include: critic and writer, Waldemar George; Irene Patai, author of Encounters: The Life of Jacques Lipchitz; and Bert Van Bork, documentary filmmaker and author of Jacques Lipchitz, The Artist at Work; and art historian, Henry R. Hope, a professor active in the College Art Association. The America-Israel Cultural Foundation, Inc. and the International Rescue Committee were also frequent correspondents.

Of particular note is a lengthy letter (with drafts) to Daniel-Henry Kahnweiler in which Lipchitz explained in detail how the art dealer's writings about Cubist sculpture failed to adequately recognize his contributions to the genre. Extensive correspondence with Rabbi Schneerson includes thoughts about "graven images" in sculpture and contains lengthy religious discussions. Letters from Juan Gris and Josette Gris consist mainly of general news and pleasantries; they do, however, mention Juan Gris's health, and in one letter Gris states he is afraid of working too much and tiring himself out. While basically illegible, Gertrude Stein's letters seem to be short, quick notes about meetings.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculpture destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio at Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Collection Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2, Series 1
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d9633b8a-e008-4cae-aa4e-80cfdb22757b
EDAN-URL:
ead_component:sova-aaa-lipcjacq2-ref14

Waintrob-Budd photographs of American artists

Creator:
Waintrob-Budd (Firm : New York, N.Y.)  Search this
Names:
American Academy of Arts and Letters  Search this
Budd (Firm : New York, N.Y.)  Search this
Adrian, Barbara, 1931- -- Photographs  Search this
Archipenko, Alexander, 1887-1964 -- Photographs  Search this
Avery, Milton, 1885-1965 -- Photographs  Search this
Barnet, Will, 1911- -- Photographs  Search this
Benton, Thomas Hart, 1889-1975 -- Photographs  Search this
Biddle, George, 1885-1973 -- Photographs  Search this
Bosa, Louis, 1905- -- Photographs  Search this
Botkin, Henry, 1896-1983 -- Photographs  Search this
Browne, Byron, 1907-1961 -- Photographs  Search this
Carroll, John, 1892-1959 -- Photographs  Search this
Constant, George, 1892-1978 -- Photographs  Search this
De Creeft, José, 1884-1982 -- Photographs  Search this
De Diego, Julio, 1900- -- Photographs  Search this
Delaunay, Sonia -- Photographs  Search this
Dickinson, Edwin Walter, 1891-1978 -- Photographs  Search this
Duchamp, Marcel, 1887-1968 -- Photographs  Search this
Evans, Walker, 1903-1975 -- Photographs  Search this
Floch, Joseph, 1895-1977 -- Photographs  Search this
Gablik, Suzi -- Photographs  Search this
Goodrich, Lloyd, 1897-1987 -- Photographs  Search this
Gottlieb, Adolph, 1903-1974 -- Photographs  Search this
Goulet, Lorrie, 1925- -- Photographs  Search this
Grosz, George, 1893-1959 -- Photographs  Search this
Hare, David, 1917- -- Photographs  Search this
Harkavy, Minna, b. 1895 -- Photographs  Search this
Hayter, Stanley William, 1901- -- Photographs  Search this
Hofmann, Hans, 1880-1966 -- Photographs  Search this
Hopper, Edward, 1882-1967 -- Photographs  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968 -- Photographs  Search this
Jenkins, Paul, 1923-2012 -- Photographs  Search this
Kantor, Morris, 1896-1974 -- Photographs  Search this
Krasner, Lee, 1908-1984 -- Photographs  Search this
Kroll, Leon, 1884-1974 -- Photographs  Search this
Lawrence, Jacob, 1917-2000 -- Photographs  Search this
Levi, Julian E. (Julian Edwin), 1900-1982 -- Photographs  Search this
Levine, Jack, 1915-2010 -- Photographs  Search this
Levy, Ellen K -- Photographs  Search this
Lijn, Liliane, 1939- -- Photographs  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lowry, W. McNeil (Wilson McNeil), 1913-1993 -- Photographs  Search this
Marsh, Reginald, 1898-1954 -- Photographs  Search this
Mayor, A. Hyatt (Alpheus Hyatt), 1901-1980 -- Photographs  Search this
Menkes, Sigmund, 1896-1986 -- Photographs  Search this
Motherwell, Robert -- Photographs  Search this
Root, Edwin -- Photographs  Search this
Rorimer, James J. (James Joseph), 1905-1966 -- Photographs  Search this
Shahn, Ben, 1898-1969  Search this
Sheerin, Jerry -- Photographs  Search this
Soyer, Moses, 1899-1974 -- Photographs  Search this
Soyer, Raphael, 1899-1987 -- Photographs  Search this
Speicher, Eugene E. (Eugene Edward), 1883-1962 -- Photographs  Search this
Speyer, Darthea -- Photographs  Search this
Steinberg, Saul -- Photographs  Search this
Sweeney, James Johnson, 1900- -- Photographs  Search this
Waintrob, A. L., 1908-  Search this
Waintrob, Sidney J., 1903-  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976 -- Photographs  Search this
Walkowitz, Abraham, 1880-1965 -- Photographs  Search this
Zorach, William, 1887-1966 -- Photographs  Search this
Extent:
68 Items ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1953-1980
Scope and Contents:
REEL 1817: Photographs of: Will Barnet, Jose de Creeft (2), Sonia Delaunay, Walker Evans, Joseph Floch, Suzi Gablik (2), Adolph Gottlieb (also filmed on reel 1886, fr. 33-34), Lorrie Goulet, Minna Harkavy, William Hayter (2), Paul Jenkins, Lee Krasner (2), Lilliane Lijn, Jerry Sheerin (2), and Darthea Speyer (2). Also included is a group photo of Jose de Creeft, Jacques Lipchitz, George Biddle, Thomas Benton, and Ben Shahn at the American Academy of Arts & Letters Ceremonial, May 20, 1964.
REEL 1886: Photographs of: Barbara Adrian, Alexander Archipenko, Milton Avery, Will Barnet, Isabel Bishop, Louis Bosa, Henry C. Botkin, Byron Browne, John Carroll, George Constant, Julio de Diego, Edwin Dickinson, Marcel Duchamp, Joseph Floch, Lloyd Goodrich, Adolph Gottlieb, Lorrie Goulet, George Grosz, David Hare, Minna Harkavy, Hans Hofmann, Edward Hopper, Josephine Hopper, Morris Kantor, Leon Kroll, Jacob Lawrence, Julian Levi, Jack Levine, Reginald Marsh, A. Hyatt Mayor, Sigmund Menkes, Robert Motherwell, Edwin Root, James Rorimer (a cropped version erroneously microfilmed as Sidney Waintrob appears on reel 1817, fr. 1193), Moses Soyer, Raphael Soyer, Eugene Speicher, Saul Steinberg, James Johnson Sweeney, Hudson Walker, Abraham Walker, and William Zorach.
UNMICROFILMED Two photographs: Ellen K. Levy and McNeil Lowry.
Arrangement:
REEL 1817: Microfilmed with AAA's Photographs of Artists Collection II, and appear on microfilm in alphabetical order under artist with other unrelated photographs.
Biographical / Historical:
Photographic studio; New York, N.Y. Sidney J. and his brother A. L. (Bud) Waintrob specialized in photographing artists, curators and other art world personalities. They worked under the name Budd [Studio] before using Waintrob-Budd.
Provenance:
Photographs on reel 1817 and unmicrofilmed photos donated 1974-1987 by Sidney J. Waintrob; photographs on reel 1886 donated 1979-1980 by Samuel I. Hoffberg, whose relationship to Waintrob-Budd is unclear.
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.
Rights:
Authorization to publish quote, or reproduce requires written permission from David Stekert. Contact Reference Services for more information.
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.
Topic:
Artists -- United States -- Photographs  Search this
Identifier:
AAA.wainbudd
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw997984475-f0b5-41ac-b438-8b48c89a9145
EDAN-URL:
ead_collection:sova-aaa-wainbudd

Walker Hancock papers

Creator:
Hancock, Walker Kirtland, 1901-1998  Search this
Names:
Stone Mountain Confederate Monumental Association  Search this
Beaux, Cecilia, 1855-1942  Search this
Crouse, Timothy  Search this
Jennewein, Carl Paul, 1890-  Search this
Kreis, Henry, 1899-1963  Search this
Manship, Paul, 1885-1966  Search this
Tarkington, Booth, 1869-1946  Search this
Zorach, William, 1887-1966  Search this
Extent:
21.1 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1911-1995
Scope and Contents:
Correspondence with artists including Cecilia Beaux, Timothy Crouse, Carl Paul Jennewein, Henry Kreis, Paul Manship, Booth Tarkington, William Zorach, and others; project and commission files including the Stone Mountain Confederate Memorial in Georgia among others; committee files; personal business records; writings; sketches; photographs and negatives of Hancock, works of art, and political figures taken in preparation of portrait busts; printed material; and an interview transcript relating to Hancock's career as a sculptor.
Biographical / Historical:
Walker Hancock (1901-1998) was a sculptor from Gloucester, Massachusetts. Hancock was born in 1901 in St. Louis, Missouri. He studied at Washington University for one year before moving on to the Pennsylvania Academy of the Fine Arts, where he studied under Charles Grafly. He taught at PAFA from 1929 to 1967. During his career, he produced hundreds of realistic works, ranging from a 39 foot bronze angel in the 30th St. Station in Philadelphia, to a bust of former President Geroge H.W. Bush in the Capitol, to a monumental statue of James Madison in the Library of Congress, to a Christ figure in the central altar in the National Cathedral in Washington. Hancock first visited Gloucester in 1921, built a studio there, and later moved there permanently. He died at home at age 97.
Provenance:
Donated 1974-1996 by Walker Hancock and in 2017 by Deane French Hancock, Hancock's daughter and executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Sculptors -- Massachusetts -- Gloucester  Search this
Topic:
Sculpture, Modern -- 20th century -- United States  Search this
Stone Mountain Memorial (Ga.)  Search this
Genre/Form:
Interviews
Identifier:
AAA.hancwalk
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw977edd2d5-9a38-46a1-8f94-9ddee5cd4c38
EDAN-URL:
ead_collection:sova-aaa-hancwalk

José de Creeft papers

Creator:
De Creeft, José, 1884-1982  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Black Mountain College (Black Mountain, N.C.) -- Faculty  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Norton Gallery and School of Art  Search this
Skowhegan School of Painting and Sculpture -- Faculty  Search this
Albers, Josef -- Photographs  Search this
Calder, Alexander, 1898-1976  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Campos, Jules  Search this
De Creeft, William  Search this
De Diego, Julio, 1900- -- Photographs  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Diederich, William Hunt, 1884-1953  Search this
Dodd, Lamar  Search this
Escuder, Joseph  Search this
Gropius, Walter, 1883-1969 -- Photographs  Search this
Gross, Chaim, 1904-1991 -- Photographs  Search this
Gómez Gil, Alfredo, 1936-  Search this
Lawrence, Gertrude -- Photographs  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lipchitz, Jacques, 1891-1973 -- Photographs  Search this
Neumann, J. B. (Jsrael Ber) -- Photographs  Search this
Nivola, Costantino, 1911-1988  Search this
Rattner, Abraham -- Photographs  Search this
Roszak, Theodore, 1907-1981 -- Photographs  Search this
Soyer, Raphael, 1899-1987 -- Photographs  Search this
Sweeney, James Johnson, 1900-  Search this
Zorach, William, 1887-1966 -- Photographs  Search this
Extent:
28.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Diaries
Interviews
Scrapbooks
Sketches
Date:
1871-2004, bulk 1910s-1980s
bulk 1910-1990
Summary:
The papers of Spanish-born sculptor and educator José de Creeft measure 28.1 linear feet and date from 1871 to 2004 with the bulk of the material dating from the 1910s to the 1980s. Found are biographical materials, correspondence, fifty diaries, writings, subject files, personal business records, printed materials, twenty-seven photo albums and other photographs, scrapbooks, and scattered sketches.
Scope and Contents:
The papers of Spanish-born sculptor and educator José de Creeft measure 28.1 linear feet and date from 1871 to 2004 with the bulk of the material dating from the 1910s to the 1980s. Found are biographical materials, correspondence, fifty diaries, writings, subject files, personal business records, printed materials, twenty-seven photo albums and other photographs, scrapbooks, and scattered sketches.

Biographical materials include address books, awards, recorded interviews with and about de Creeft, membership materials, naturalization records, resumes, and travel documents.

Correspondence is primarily professional in nature and concerns exhibitions, de Creeft's involvement in arts organizations, and awards. There are also scattered personal letters from family and friends. Correspondents include Alexander Calder, Nina, Alice, Barbara and William de Creeft, Hunt Diederich, Joseph Escudar, and Gil Gomez, Jacques Lipchitz, Edwin Dickinson, James Johnson Sweeney, Costantino Nivola, Abraham Rattner, and Lamar Dodd, among others.

De Creeft's fifty diaries are nearly complete for the period dating from 1926 to 1981. Some are bound volumes and others are loose pages. The bulk of the diaries are in Spanish and many include sketches. Additional writings, called "escritos varios" by José de Creeft, are mostly in Spanish and consist of typed manuscripts and essays, including "Roosty Was My Friend, 1957, notebooks, an artist's statement, and writings by others, including drafts for The Sculpture of de Creeft by Jules Campos, and a video recording entitled José de Creeft by Bob Hanson. There is one sound recording of Lorrie Goulet reading poetry.

Subject files are varied and include files on de Creeft's teaching positions at the New School for Social Research, Black Mountain College, Skowhegan School of Painting and Sculpture, and the Art Students League. There are files for some of his sculpture projects, inlcuding Alice in Wonderland, Poet, and a proposed model for the Stone Mountain Confederate Memorial in Georgia, as well as compiled information about various art related topics of interest.

De Creeft's business records include appraisals, contracts, leases, price lists, and scattered receipts. Also found are art inventories in the form of three sets of index cards, some of which include photographs.

Printed materials include books, clippings, exhibition announcements and catalogs, exhibition labels, postcards, and posters.

There are loose photographs and twenty-seven photograph albums depicting de Creeft, his family, friends, and works of art. There are photos of Alexander Calder; de Creeft and Goulet with Raphael Soyer, posing with Soyer's portrait of them; Gertrude Lawrence; art juries, which also include images of Chaim Gross, Jacques Lipchitz, Theodore Roszak, and William Zorach; students, friends, and faculties of Black Mountain College, the Art Students League, Skowhegan School of Painting and Sculpture, and the Norton School of Art, which also includes images of Joseph Albers, Alexander Calder, Julio De Diego, Walter Gropius, J. B. Neumann, and Abraham Rattner.

Seven mixed media scrapbooks document de Creeft's career from 1929 to 1982. Also found are scattered pen and pencil sketches and one sketchbook dating from the 1920s.
Arrangement:
The collection is arranged as 10 series:

Missing Title

Series 1: Biographical Material, 1914-1979 (Boxes 1, 27; 0.9 linear feet)

Series 2: Correspondence, 1910s-1980s (Boxes 1-6; 4.2 linear feet)

Series 3: Diaries, 1926-1981 (Boxes 6-11; 5.4 linear feet)

Series 4: Writings, 1871-1977 (Boxes 11-13, 28; 2.5 linear feet)

Series 5: Subject Files, 1924-1980 (Boxes 13-16, 27; 2.4 linear feet)

Series 6: Personal Business Records, 1909-1980s (Boxes 16-17, 27; 1.0 linear feet)

Series 7: Printed Material, 1921-1980s (Boxes 17-21, 27, 33; 4.7 linear feet)

Series 8: Photographs, 1900-2004 (Boxes 21-25, 29, 31; 5.1 linear feet)

Series 9: Scrapbooks, 1929-1982 (Box 26, 30, 32; 1.8 linear feet)

Series 10: Artwork, 1920s-1930s (Box 26; 2 folders)
Biographical / Historical:
José de Creeft (1908-1982) was a Spanish-born sculptor active in New York City, New York.

José de Creeft was born in Guadalajara, Spain and raised in Barcelona. In 1900, he apprenticed to sculptor Don Augustine Querol and studied drawing with Idalgo de Caviedas. De Creeft moved to Paris in 1905 and began formal art training at the Académie Julianand. He also took a studio in the Batteau Lavoir in Montmartre, where he interacted with Pablo Picasso, Juan Gris, Manolo, and Pablo Gargallo, all of whom also had studios there. During this period, de Creeft became friends with the artist Mateo Hernandez.

In 1915, de Creeft rejected the traditional technique of reproducing sculpture in stone from clay and plaster models and turned to direct carving in wood and stone. He was also one of the first sculptors who practiced assemblage and incorporated found objects into his work. His notable assemblage sculpture El Picador, a large figure on horseback, received worldwide press coverage and was exhibited at the Salon des Artistes Independents in 1926. Between 1919 and 1928, his work was exhibited in various Paris salons. In the late 1920s, he created 200 stone carvings for Roberto Ramonje's Forteleza (fortress) in Mallorca. It was around this time frame when de Creeft met Alexander Calder, who became his student in direct carving. De Creeft encouraged Calder to display his mechanical toys and Calder put his Circus together for the first time in de Creeft's studio.

De Creeft emigrated to the United States in 1929, right after marrying fellow sculptor Alice Robertson Carr. They divorced nine years later.

While in New York, de Creeft began sculpting with lead sheets beaten into three-dimensional forms and established a studio at 1 Washington Square. His first solo exhibition was at the Ferargil Galleries in New York City and included The Portrait of Cesar Vallejo in chased lead and The Silver Fox of found materials.

In 1932, de Creeft accepted a teaching position in sculpture at the New School for Social Research. He also taught courses at Black Mountain College, where he met his second wife, sculptor Lorrie Goulet, the Art Students League, Skowhegan School of Painting and Sculpture, and the Norton Gallery and School of Art. In 1946, de Creeft and Goulet purchased a hundred-acre farm in Hoosick Falls, NY where they established a studio and part-time residence.

Perhaps De Creeft's most well-known monumental scuplture is Alice in Wonderland in Central Park, New York City. The 12' x 16' bronze was dedicated during a public event in 1959 and gave de Creeft worldwide recognition. In 1995 a short film about the making of the sculpture was produced by J. D'Alba and narrated by Lorrie Goulet.

De Creeft was as founding member of the American Artist's Congress, the Sculptors Guild, and the Artist's Equity Association. De Creeft was represented by the Georgette Passedoit Gallery from 1936 to 1949. Later, he joined The Contemporaries (gallery) and exhibited there until 1966. Kennedy Galleries represented de Creeft from 1970 until his death in 1982.
Related Materials:
The Archives of American Art also holds an interview of José De Creeft conducted October 1-8, 1968 by Forrest Selvig and the papers of de Creeft's wife Lorrie Goulet.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D150 and 375-378). While most of the items were included in subsequent gifts, material not donated to the Archives remain with the lender and are not described in the collection container inventory.
Provenance:
The José de Creeft papers were first lent for microfilming by the artist in 1963 and 1972. Lorrie Goulet, José de Creeft's widow, donated most of this material along with additional items in 1985 and 2009.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Topic:
Art -- Study and teaching  Search this
Educators -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Sculpture, Modern -- New York (State) -- New York  Search this
Stone Mountain Memorial (Ga.)  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Diaries
Interviews
Scrapbooks
Sketches
Citation:
José de Creeft papers, 1871-2004, bulk 1910s-1980s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.decrjose
See more items in:
José de Creeft papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bbb83529-c881-4ef2-b3f3-7919c41b1404
EDAN-URL:
ead_collection:sova-aaa-decrjose

Torso [sculpture] / (photographed by Walter Rosenblum)

Artist:
Zorach, William 1887-1966  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Topic:
Figure--Fragment--Torso  Search this
Image number:
ROS R0000712
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_130177

William Zorach: artist file, [photographs]

Artist:
Zorach, William 1887-1966  Search this
Physical description:
1 folder
Type:
Photograph
Artist files
Topic:
Art, American  Search this
Image number:
VFM VF003290
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_142077

Torso [sculpture] / (photographed by Peter A. Juley & Son)

Artist:
Zorach, William 1887-1966  Search this
Type:
Photograph
Topic:
Figure female--Nude  Search this
Figure female--Torso  Search this
Image number:
JUL J0022864
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_22865

Torso [sculpture] / (photographed by Peter A. Juley & Son)

Artist:
Zorach, William 1887-1966  Search this
Type:
Photograph
Date:
1932
Topic:
Figure female--Torso  Search this
Image number:
JUL J0026652
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_26653

Bunny [sculpture] / (photographed by Peter A. Juley & Son)

Artist:
Zorach, William 1887-1966  Search this
Type:
Photograph
Date:
1930
Topic:
Animal--Rabbit  Search this
Image number:
JUL J0026699
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_26700

The Artist's Daughter [sculpture] / (photographed by Peter A. Juley & Son)

Artist:
Zorach, William 1887-1966  Search this
Subject:
Zorach, Dahlov  Search this
Type:
Photograph
Date:
1930
Topic:
Portrait female--Child  Search this
Image number:
JUL J0026703
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_26704

Draped Figure [sculpture] / (photographed by Peter A. Juley & Son)

Title:
Performer [sculpture] / (photographed by Peter A. Juley & Son)
Artist:
Zorach, William 1887-1966  Search this
Type:
Photograph
Topic:
Figure female--Full length  Search this
Performing Arts--Theater--Performer  Search this
Image number:
JUL J0026720
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_26721

Child and Cat [sculpture] / (photographed by Peter A. Juley & Son)

Artist:
Zorach, William 1887-1966  Search this
Type:
Photograph
Date:
1926
Topic:
Figure female--Child  Search this
Animal--Cat  Search this
Image number:
JUL J0029364
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_29365

Nude Figure [drawing] / (photographed by Peter A. Juley & Son)

Artist:
Zorach, William 1887-1966  Search this
Type:
Photograph
Date:
1942
Topic:
Figure female--Nude  Search this
Image number:
JUL J0029365
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_29366

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