The papers of painter and instructor Edward Dugmore measure 2.0 linear feet and date from 1937-1993. Found within this small collection are biographical materials, scattered business and financial records, notes, a file concerning the Drake University Summer Session, printed material, and photographs. The bulk of the papers consist of correspondence exchanged with art critic Hubert Crehan and artist colleagues including George Abend, Ernie Briggs, Herman Cherry, Lucien Day, Harvey Harris, Reuben Kadish, Mary Fuller McChesney, and Clyfford Still.
Scope and Content Note:
The papers of painter and instructor Edward Dugmore measure 2.0 linear feet and date from 1937-1993. Found within this small collection are biographical materials, scattered business and financial records, notes, a file concerning the Drake University Summer Session, printed material, and photographs. The bulk of the papers consist of correspondence exchanged with art critic Hubert Crehan and artist colleagues including George Abend, Ernie Briggs, Herman Cherry, Lucien Day, Harvey Harris, Reuben Kadish, Mary Fuller McChesney, and Clyfford Still.
Printed materials include clippings, exhibition catalogs and announcements, and press releases. Photographs are of artwork, Dugmore, and colleagues, including Lewin Alcopley, Anne Arnold, Warren Brandt, Ernest Briggs, Herman Cherry, Hubert Crehan, Lucien Day, Rosalyn Drexler, John Grillo, John Hultberg, Reuben Kadish, Aristodemus Kaldis, Kyle Morris, Stephen and Pam Pace, Charles Pollock, Peter Voulkos, and Hugo Weber.
Arrangement:
The collection is arranged into 7 series:
Missing Title
Series 1: Biographical Material, 1948-1993 (Box 1; 3 folders)
Series 2: Correspondence, circa 1943-1992 (Box 1, 2; 1.5 linear feet)
Series 3: Business Records, circa 1951-1972 (Box 2; 2 folders)
Series 4: Notes, circa 1969-1980 (Box 2; 1 folder)
Series 5: Drake University Summer Session File, 1972-1973(Box 2; 5 folders)
Series 6: Printed Material, circa 1937-1993 (Box 2; 25 folders)
Series 7: Photographs, circa 1960-1983 (Box 2; 9 folders)
Biographical Note:
Edward Dugmore (1915-1996) was a painter and arts instructor working in New York, San Francisco, Illinois, and Maryland.
Edward Dugmore was born in 1915 in Hartford Connecticutt, the son of Walter and Ellen Spragg Dugmore. Dugmore received a four year scholarship to study painting at Hartford Art School from 1934 to 1938. In 1938, he also married Edith Oslund. He briefly studied lithography and etching under Thomas Hart Benton at the Kansas City (Missouri) Art Institute in 1941. After serving in the U.S. Marine Corps during World War II, he returned to New York City. From 1946 to 1948, he taught painting and drawing at St. Joseph's College in West Hartford, Connecticut.
In 1948, Dugmore moved to San Francisco and began two year's study of art under the G.I. Bill at the California School of Fine Arts, were he befriended Clyfford Still and Ernest Briggs. He co-founded the artists' collaborative Metart Gallery, where he had his first solo exhibition in 1950.
From 1951 to 1952, Dugmore studied at the University of Guadalajara, Mexico, earning a master's degree in fine arts. In 1952, he moved back to New York City where he had solo exhibitions at the Stable Gallery over the following three years. He also had solo exhibitions at the Howard Wise Gallery in New York and Cleveland during the 1960s.
Between 1961 and 1962, Dugmore was Visiting Artist at the University of Southern Illinois, and in 1970, he was Visiting Artist at the Des Moines Art Center and Drake University. From 1964 to 1974, he taught painting and drawing part time at the Pratt Institute, and in 1965, he was Artist-in-Residence at the Montana Institute of Fine Arts, sponsored by a Ford Foundation Grant. From 1973 to 1982, he taught part time at the Maryland Institute, College of Art in Baltimore, Maryland.
Dugmore's paintings are in the collections of the Albright-Knox Art Gallery, the Walker Art Center, the Corcoran Gallery of Art, and the Hirshhorn Museum and Sculpture Garden.
Edward Dugmore died in 1996 in Minneapolis, Minnesota.
Related Material:
Among the holdings of the Archives of American Art is a transcribed oral history interview with Edward Dugmore conducted by Tram Combs in 1994.
Provenance:
The Edward Dugmore papers were donated in several increments between 1980 to 1993 by the artist.
Restrictions:
The collection is open for research. Use requires an appointment.
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:
Painters -- New York (State) -- New York Search this
Genre/Form:
Photographs
Citation:
Edward Dugmore papers, 1937-1993. Archives of American Art, Smithsonian Institution.
8 Items (photographic prints, b&w, 10 x 8 in. and smaller. (reel 5660))
Type:
Collection descriptions
Archival materials
Date:
1934-1965
Scope and Contents:
Included are: Kadish, Philip Guston, and Jules Langsner on mural scaffold, Mexico, 1934; Kadish, Guston, Mrs. Fletcher Martin, an unidentified woman and a dog, 1935; a portrait of Philip Guston; 3 of Kadish and Guston with their joint mural in the Library at the City of Hope, Duarte, California, ca. 1936; Ingre Guston and Daniel Kadish on their wedding day with Philip and Ken Guston, ca. 1962; and Kadish and Guston in front of a blank wall, ca. 1965.
Biographical / Historical:
Mural painter, painter, lithographer; New York, N.Y. Worked with Philip Guston on murals for the Treasury Department in the 1930's.
Provenance:
Donated 1984 by Reuben Kadish.
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.
This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Scope and Content Note:
The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.
Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.
Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.
Arrangement:
The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.
Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.
Missing Title
Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)
Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)
Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)
Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)
Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)
Series 6: Writings, 1963-1992, undated (box 5, 14 folders)
Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)
Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)
Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)
Series 10: Artifacts, undated (box 9, 1 folder)
Biographical Note:
Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.
In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.
During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.
In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.
From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.
In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.
After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.
Related Material:
Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.
Provenance:
The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.
Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
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:
Sculptors -- New York (State) -- New York -- Interviews Search this
Notes consist of four address books, two gallery visitor registers, engagement calendars, and six notebooks containing miscellaneous names, telephone numbers, reminder notes, and medical information. There are also unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer (Homer's Odyssey, Horace (Satires of Horace), and Demosthenes (Orations of Demosthenes), 1851-1853. Only the illustrated covers of the texts have been microfilmed.
Collection Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Reuben Kadish, 1992 Apr. 15. Archives of American Art, Smithsonian Institution.
Topic:
Mural painting and decoration, American Search this
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Reuben Kadish, 1964 Oct. 22. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Harold Lehman, 1997 Mar. 28. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- New York (State) -- New York -- Interviews Search this
Sculptors -- New York (State) -- New York -- Interviews Search this
An interview of Harold Lehman conducted 1997 Mar. 28, by Stephen Polcari, for the Archives of American Art. Lehman speaks of his early educational and artistic experiences in New York; taking sculpture classes; moving to California; going to school at Manual Arts; going to Ojai and learning the religious philosophy of Krishnamurti; participating in literary discussion groups and the books he read; his years at Otis Art Institute; working with Sisqueiros, and how the frescoes they created were destroyed by the Red Squad; when he became interested in painting; working with Lorser Feitelson; working with the Public Works of Art Project; moving back to New York and working with the Federal Arts Project; his experiences with Sisqueiros and the artist workshop they set up; his thoughts on the Molotov-Ribbentrop Pact, Stalin and Trotsky; his thoughts on social realism; the project he did on Rikers Island; doing mural art; breaking both his arms two months before the attack on Pearl Harbor and how he managed to stay out of the army; working on his mural in Woodstock; working on war bond painting for the government; his art work during the war years; recollections of Jackson Pollack and his interest in Indian Art; going to see the Picasso show; his artistic influences; his thoughts on America's involvement in World War II; his life after the war and what inspired him; his memories of Phil Guston; thoughts on Harold Rosenberg and Clement Greenberg; his life after the war, and other recollections about his life and friends. He recalls Max Maikowski, Jean de Laffiere, Rutolo, Frederick J. Schwankovsky, Phil Guston, Jackson Pollack, Manuel Tolegian, Rueben Kadish, George Stanley, Roger Noble Vernon, D.A. Siqueiros, Luis Arenal, Lorser Feitelson, Helen Lundberg, Leo Katz, Merle Armiduke, Stanley McCoy, Axel Horr (Horn), Carla Mahl (Clara Moore), Louie Serstadt, Diego Rivera, Jose Orozco, Arnold Blanch, Harold Rosenberg, Clement Greenberg, Arnold Blanch, and many others.
Biographical / Historical:
Harold Lehman (1913-2006) was a painter, lithographer, designer, and sculptor from New York, N.Y.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 8 hrs., 39 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Painters -- New York (State) -- New York -- Interviews Search this
Sculptors -- New York (State) -- New York -- Interviews Search this
The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.
Scope and Content Note:
The papers of printmaker and sculptor Jane Teller measure 8.6 linear feet and date from 1911 to 1991. The papers include biographical materials, correspondence, business records, notes, writings, three sketchbooks, sketches and prints, five scrapbooks, printed material, subject files, photographs, sound and video recordings, and motion picture film.
Biographical material includes a birth certificate, school work, and passports. General correspondence includes letters from several artists including Rhys Caparn, Sue Fuller and Lee Gatch, and from art galleries, including the Museum of Modern Art, Albright-Knox Art Gallery and the Whitney Museum of American Art. Additional correspondence is found in the Subject Files.
Business records include an account book, lists of expenses and prices of art works, and sales records. Notes and writings include Teller's notes about art and travel, artists' statements, autobiographical writings, and a compilation of many artists' statements regarding "The Nine Bean Question."
Artwork includes three sketchbooks, 30 sketches and three prints primarily depicting nature and sculpture designs.
Five scrapbooks contain clippings, exbition announcements and catalogs. Additional printed material includes magazines, exhibition announcements and catalogs, a booklet by Teller entitled Art, Age and the River, published posthumously by her husband, and a manuscript of Poems or Poetic Expressions of Sculptors, collected by L. Lamis.
Subject files are arranged by name or subject and may contain letters, photographs, and printed material. Many of the files focus on galleries and museums, including the Montclair Art Museum, the Newark Museum, Noyes Museum, Parma Gallery, the Princeton Gallery of Fine Art and the Squibb Gallery. There are also subject files for associations, travel, projects, and colleagues including Margaret K. Johnson, Reuben Kadish, Ibram Lassaw, Aaron Siskind and Dorothy Dehner.
Photographs and slides depict Teller, her friends, works, gallery installations, and travels. Also included are photographs of trees, bark, and other natural formations used by Teller in her work.
The audio-visual materials include several sound recordings, videocassettes and 16 mm motion picture films. The videocassettes include television programs in which Teller, printmaker Judith Brodsky and actor Harry Hamlin are interviewed, a retrospective at Skidmore College and a film featuring Teller speaking for the National Council on Aging. Sound recordings include two interviews and a "Talk on Malta" by Teller and Joan Needham. The 16 mm films are black and white footage of Teller's first Parma Gallery show.
Arrangement:
The collection is arranged as 11 series. Records are generally arranged by material type and chronologically thereafter.
Missing Title
Series 1: Biographical Material, 1911-1985 (Box 1; 4 folders)
Series 2: Correspondence, 1956-1991 (Box 1; 0.3 linear feet)
Series 3: Business Records, 1961-1990 (Box 1; 5 folders)
Series 4: Notes, 1960-1987 (Box 1; 13 folders)
Series 5: Writings, 1960-1989 (Boxes 1 and 9; 5 folders)
Series 6: Artwork, circa 1950s (Boxes 1 and 9; 6 folders)
Series 7: Scrapbooks, 1948-1990 (Boxes 1-2; 0.7 linear feet)
Series 8: Printed Material, 1957-1991 (Boxes 2-3 and 9; 0.6 linear feet)
Series 9: Subject Files, 1951-1990 (Boxes 3-5; 2.5 linear feet)
Series 10: Photographs, 1934-1985 (Boxes 5-9; 2.5 linear feet)
Series 11: Audio-Visual Materials, 1961-1989 (Box 8, FC 10-12; 0.6 linear feet)
Biographical Note:
Jane Teller (1911-1990) worked as a printmaker and sculptor primarily in New Jersey. She specialized in working with wood and studied at the Rochester Institute of Technology, Skidmore College, and Barnard College. She also attended Federal Works Progress Administration (W.P.A.) classes in New York City, studying sculpture with Aaron J. Goodelman and wood carving with Karl Nielson. She later studied welding in the studio of Ibram Lassaw. She was also a lifelong friend of photographer Aaron Siskind. In 1960, she was awarded the Mary and Gustave Kellner Prize at the National Association of Women Artists Annual Exhibition at the National Academy of Design in New York, and in 1966 the Sculpture Prize at the Fiftieth Anniversary Exhibition, Philadelphia Art Alliance in Philadelphia. She exhibited mainly in New York and New Jersey and was married to author and editor Walter Teller.
Provenance:
The Jane Teller papers were donated by Jane Teller in 1990 and in 1991 by Walter Teller, widower of Jane Teller.
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.
Reuben Kadish and Rose Slivka. Interview with Reuben Kadish, 1986 January 17. Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Phillips, Harlan B. (Harlan Buddington), 1920-1979 Search this
Creator:
New Deal and the Arts Oral History Project Search this
Names:
New Deal and the Arts Oral History Project Search this
Extent:
1 Sound tape reel (Sound recordings, 7 in.)
33 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 Oct. 22
Scope and Contents:
An interview of Reuben Kadish conducted 1964 Oct. 22, by Harlan Phillips for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Painter, mural painter; New York, N.Y.; d. 1992.
General:
An interview of Benjamin Cunningham conducted by H. Phillips is also on this tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.