Search Results

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 3

Type:

Archival materials

Date:

1992

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e4ef11a6-659c-4753-8882-1be46032668a

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8264

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 4

Type:

Archival materials

Date:

1980 February

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c73f548c-9457-4ff3-82a1-20258cf59c9e

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8265

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 5

Type:

Archival materials

Date:

1982 June

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94dbf1ae7-6c6b-41ad-903f-b58df4ec7f57

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8266

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 6

Type:

Archival materials

Date:

1993 January

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a6ec1987-c3a0-423f-9dce-dce6d36b9d2f

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8267

Collection Creator:

André Emmerich Gallery  Search this

Extent:

2 Folders

Container:

Box 234, Folder 7-8

Type:

Archival materials

Date:

circa 1991

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97e8d7ce2-094e-4db7-bd42-71f8928cf946

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8268

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 9

Type:

Archival materials

Date:

1980 April

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ab2779fd-c321-47c2-9eea-12e91fd49645

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8269

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 10

Type:

Archival materials

Date:

1982 January

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw977391167-5d58-49e9-a97f-dea6562234fe

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8270

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 11

Type:

Archival materials

Date:

1978 September 4

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91675bf78-e0c0-466e-9a81-31eedaa20234

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8271

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 234, Folder 12

Type:

Archival materials

Date:

1993

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 16: Photographic Materials / 16.7: Artists' Studios

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90f176461-c1c4-4527-9ffe-89d180c7a5e5

EDAN-URL:

ead_component:sova-aaa-andremmg-ref8272

Interviewee:

Hartigan, Grace, 1922-2008  Search this

Interviewer:

Haifley, Julie  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Grace Hartigan, 1979 May 10. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)12326

(DSI-AAA_SIRISBib)212708

AAA_collcode_hartig79

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212708

Interviewee:

Hartigan, Grace  Search this

Interviewer:

Haifley, Julie  Search this

Extent:

2 Sound cassettes (Sound recording)

60 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1979 May 10

Scope and Contents:

An interview of Grace Hartigan conducted 1979 May 10, by Julia Link Haifley, at the artist's studio, in Baltimore, Md., for the Archives of American Art.

Hartigan speaks of her childhood and school experiences; her first marriage, painting classes with Isaac Lane Muse; the New York scene in the 1940s and 1950s; friendships with Pollock, Kline, De Kooning, Rothko, Guston, and others.

Biographical / Historical:

Grace Hartigan (1922-, painter of Baltimore, Md.

Provenance:

This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Painters -- Maryland -- Baltimore  Search this

Topic:

Women artists  Search this

Women painters  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.hartig79

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98d05c7fe-cc48-4fc5-a398-60a0c42d2346

EDAN-URL:

ead_collection:sova-aaa-hartig79

Creator:

Tworkov, Jack  Search this

Names:

Egan Gallery  Search this

Leo Castelli Gallery  Search this

Nancy Hoffman Gallery  Search this

Poindexter Gallery  Search this

Stable Gallery (New York, N.Y.)  Search this

Zabriskie Gallery  Search this

Ashbury, John  Search this

Ashton, Dore  Search this

Bartlett, Jennifer, 1941-  Search this

Blinken, Donald M., 1925-  Search this

Calfee, William H. (William Howard), 1909-1995  Search this

Cavallon, Giorgio, 1904-1989  Search this

Cézanne, Paul, 1839-1906  Search this

Demarco, Ricky  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Forge, Andrew  Search this

Hartigan, Grace  Search this

Herzbrun, Helene  Search this

Katz, Paul  Search this

Knaths, Karl, 1891-1971  Search this

Lindeberg, Linda, 1915-1973  Search this

Matter, Herbert, 1907-1984  Search this

Newman, Arnold, 1918-2006  Search this

Newman, Michael  Search this

Osborn, Robert Chesley, 1904-1994  Search this

Ponsold, Renate  Search this

Praeger, David A.  Search this

Rothko, Mark, 1903-1970  Search this

Summerford, Joe  Search this

Thorne, Joan, 1943-  Search this

Westenberger, Theo  Search this

Wheeler, Dennis  Search this

Wise, Howard  Search this

Yunkers, Adja, 1900-1983  Search this

Extent:

9.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketchbooks

Video recordings

Interviews

Motion pictures (visual works)

Sound recordings

Sketches

Diaries

Date:

1926-1993

Summary:

The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.

Scope and Content Note:

The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993, with the bulk from the period 1931-1982. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.

Biographical material includes Tworkov's citizenship certificate, awards, diplomas, a copy of Jack Tworkov: Video Portrait, produced by Electronic Arts Intermix, and a motion picture film, USA Artists: Jack Tworkov, produced by National Education Television.

Correspondence consists largely of incoming letters. It is both professional and personal in nature and often combines both spheres. Correspondents include artists Jennifer Bartlett, William H. Calfee, Giorgio Cavallon and Linda Lindeberg, Grace Hartigan, Helene Herzbrun (also named Helene McKinsey), Karl Knaths, Joe Summerford, Joan Thorne, and Adja Yunkers; cartoonist Robert C. Osborn; collectors Donald M. Blinken and David A. Praeger (who was also Tworkov's lawyer); illustrator Roger Dovoisin; critics Dore Ashton and Andrew Forge; critic and poet John Ashbury; galleries that represented Tworkov: Egan Gallery, Leo Castelli, Nancy Hoffman Gallery, Poindexter Gallery, Stable Gallery and Zabriskie Gallery; and many museums, arts organizations, colleges and universities.

Interviews with Tworkov include one with Ricky Demarco videotaped in 1979 and two conducted on video by Twokov's daughter Helen in 1975. The remaining interviews are sound recordings, one conducted by Grace Alexander for the show Artists in New York in 1967, one conducted by Michael Newman in 1980, and the remainder by unidentified interviewers. None have transcripts.

All writings are by Tworkov and include poems, an artist's statement, and documentation for two children's books by Tworkov illustrated by Roger Duvoisin. Two additional notebooks contain miscellaneous notes, teaching notes, and some specific to identified courses. Lectures exist as untranscribed sound recordings.

Tworkov's journals (33 volumes) span a period of 35 years, from 1947 until 1982, with the final entry dated a few weeks before his death. They record his reflections on painting, his challenges as a painter, aesthetics, the role of the artist in society, Jewish identity, painters he admired (especially Cézanne and Edwin Dickinson), politics, and teaching. They also recount everyday life: the comings and goings of friends and family members, social engagements, professional activities, illness, and travel.

The lone subject file concerns Mark Rothko and includes a photograph of Rothko and the guest list for the dedication of the Rothko Chapel in Houston.

Artwork consists of a small number of sketches by Tworkov in pencil and ink. Tworkov's sketchbooks (28 volumes) contain sketches and some finished drawings. Most are in pencil, but scattered throughout are a few pencil sketches embellished with colored marker or pastel, and a small number in ink.

Photographs are of people, places and events. Most photographs are of Tworkov alone and with others including Giogio Cavallon, though most friends and students are unidentified. Of note are views of Tworkov producing a series of prints at Tamarind Institute. Also found is an informal portrait of Wally Tworkov. Events recorded include the jurying of "Exhibition Momentum" in Chicago, 1956. Among the places shown are Tworkov's studios at Black Mountain College and in Provincetown. When known, photographers are noted; among them are Paul Katz, Herbert Matter, Arnold Newman, Renate Ponsold, Theo Westenberger, Dennis Wheeler, and Howard Wise.

A separate series of audiovisual recordings was established for those recordings that could not be readily identified to be arranged in other series. They consist of three videocassettes (2 VHS and 1 miniDV).

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1933-1981 (Boxes 1, 9, 11, FC 13; 0.7 linear ft.)

Series 2: Correspondence, 1926-1993 (Boxes 1-5; 3.8 linear ft.)

Series 3: Interviews, 1978-1982 (Boxes 5, 9-10; 1 linear ft.)

Series 4: Writings, Notes, and Lectures, 1955-1982 (Boxes 5, 9; 0.5 linear ft.)

Series 5: Journals, 1947-1982 (Boxes 5-7; 2.0 linear ft.)

Series 6: Subject File, 1961-1977 (Box 7; 1 folder)

Series 7: Printed Material, 1952-1981 (Box 7, OV 12; 0.1 linear ft.)

Series 8: Artwork, circa 1950s-1960s (Box 7: 3 folders)

Series 9: Sketchbooks, circa 1950s-1960s (Boxes 7-8, 11; 1.0 linear ft.)

Series 10: Photographic Materials, 1941-1981 (Boxes 8-9; 0.5 linear ft.)

Series 11: Audiovisual Recordings, 1961-1975 (Box 9; 0.1 linear ft.)

Biographical Note:

New York School painter Jack Tworkov (1900-1982), best known for his Abstract Expressionist paintings and as a highly regarded teacher, lived and worked in New York City and Provincetown, MA.

At age 13, Tworkov (born Yakov Tworkovsky) emigrated from Poland with his mother and sister to join his father already in the United States. In America, they chose to use the name of distant relatives, the Bernsteins, who were their sponsors. Eventually, Jack and his sister, Janice, reclaimed and shortened their name to Tworkov; later, she adopted the name of their hometown in Poland and became the painter Janice Biala.

As a high school student in New York City, Tworkov attended drawing classes. After graduating from Columbia University, where he had been an English major and considered becoming a writer, Tworkov instead turned to art. He studied with Ivan Olinsky at the National Academy of Design between 1923 and 1925, and from 1925 to 1926 attended painting classes taught by Guy Péne Du Bois and Boardman Robinson at the Art Students League. During his college years, Tworkov began visiting museums and became a great admirer of Cézanne. Tworkov's early paintings - still life, landscapes, and portraits - showed the influence of European modernism and Cézanne.

Tworkov spent his first summer in Provincetown while still a student and subsequently returned to study with Ross Moffet. In Provincetown he met and was greatly influenced by Karl Knaths and developed a lifelong friendship with Edwin Dickinson. By 1929, Tworkov was painting there year round. Over the years, Tworkov and his family continued to return for long stretches, and in 1958 he purchased a house in Provincetown.

During the Great Depression, Tworkov participated in the Treasury Department's Public Works of Art Project until 1934, and then moved to the easel division of the WPA Federal Art Project. He felt uncomfortable with the growing ideological and political influences on art and found it depressing to paint for the WPA rather than for himself, so he left the WPA in 1941. Tworkov, who had studied mechanical drawing while in high school, spent most of the War years employed as a tool designer and draftsman at an engineering firm with government contracts.

By the 1940s, Tworkov was painting in the Abstract Expressionist style. Between 1948 and 1953, he leased a studio on Fourth Avenue that adjoined that of his friend Willem de Kooning. During this time, they mutually influenced each other as they developed into mature Abstract Expressionists. At Yale in the 1960s, Tworkov became close friends with fellow student Josef Albers. Alber's influence on Tworkov resulted in a turn to geometric compositions of small, systematic, and repetitive strokes defined by a grid. He experimented with diagonal compositions, and later geometric work that featured large areas of color and soft texture.

Tworkov's first teaching experience was during 1930-1931 when he served as a part-time painting instructor at the Ethical Culture Fieldston School. His teaching career began in earnest when he joined the faculties of Queens College, 1948-1955, and Pratt Institute, 1955-1958. During the summers he taught at various schools, most notably Black Mountain College's 1952 summer session. Tworkov was a visiting artist at the Yale University School of Art and Architecture, 1961-1963, and became chairman of its Art Department from 1963 until his retirement in 1969. In retirement he lived in Provincetown and was a visiting artist for both short and extended periods at various universities and art schools.

An avid reader of literature and poetry, Tworkov also wrote poems and essays. He published essays in It Is, Art Digest, and Art In America; his most notable piece, "The Wandering Soutine," appeared in Art News, November 1950. Tworkov also kept a journal for 35 years (1947-1982) that recorded his thoughts on a wide range of subjects concerning professional, personal, and philosophical issues, as well as details of everyday life.

Tworkov was among the founders of the Artists' Club or The Club in 1949, and for a decade actively participated in the stimulating discussions for which the group was known. In 1968 he helped to establish the Fine Arts Work Center in Provincetown. Its residency program enabled younger artists and writers to advance their careers and kept Provincetown's historic artists' colony active year round.

He was the recipient of the William A. Clark Award and Corcoran Gold Medal from the Corcoran Gallery of Art, 1963; Skowhegan School of Art's Painter of the Year Award, 1974; and Distinguished Teaching of Art Award from College Art Association, 1976. Tworkov was appointed to serve on the Massachusetts Art Commission, 1970-1971, and in 1981 was named a Fellow of The Cleveland Museum of Art and of the Rhode Island School of Design.

Following his second divorce in 1935, Rachel (Wally) Wolodarsky became Tworkov's third wife and their marriage endured. They had two daughters. Hermine Ford (b. 1939) is an artist married to fellow painter Robert Moskowitz. Helen Tworkov (b. 1943) is the founder of Tricycle: The Buddhist Review and the author of a book about yoga.

Tworkov remained physically and intellectually active after a diagnosis of bone cancer around 1980, and continued to paint until shortly before his death in Provincetown on September 4, 1982.

Related Material:

Among the holdings of the Archives of American Art are two oral history interviews with Jack Tworkov, one conducted by Dorothy Seckler, Aug. 17, 1962, and another by Gerald Silk, May 22, 1981. There is also a small collection of three letters written by Jack Tworkov to friend Troy-Jjohn Bramberger.

Separated Material:

The Archives of American Art also holds material lent for microfilming (reel N70-38 and 62) including writings by Tworkov, notebooks, notes for teaching and talks, notes on art and miscellaneous subjects, poems, artist's statements, biographical data, the transcript of a 1970 interview with Tworkov conducted by Phyllis Tuchman, and a few letters and drafts of letters, 1950-1963. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Jack Tworkov lent the Archives of American Art papers for microfilming in 1970-1971. Jack Tworkov's daughters, Hermine Ford and Helen Tworkov, donated the rest of the collection in 2009, which included some of the material from the original loan.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

Reels N70-38 and 62: Authorization to publish, quote, or reproduce requires written permission from Helen Tworkov or Hermine Ford. 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.

Occupation:

Painters -- Massachusetts  Search this

Topic:

Painting -- New York (State)  Search this

Painters -- New York (State) -- New York  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Photographs

Sketchbooks

Video recordings

Interviews

Motion pictures (visual works)

Sound recordings

Sketches

Diaries

Citation:

Jack Tworkov papers, 1926-1993. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.tworjack2

See more items in:

Jack Tworkov papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9345f5838-057f-4572-8063-0df7b8d00ad0

EDAN-URL:

ead_collection:sova-aaa-tworjack2

Creator:

Jenkins, Paul, 1923-2012  Search this

Subject:

De Kooning, Willem  Search this

Jenkins, Esther Ebenhoe  Search this

Bluhm, Norman  Search this

Krasner, Lee  Search this

Baber, Alice  Search this

Erma, Thomas  Search this

Prantl, Karl  Search this

Dusanne, Zoe  Search this

Prince, Frank  Search this

Guggenheim, Peggy  Search this

Gilot, Francoise  Search this

Art Students League (New York, N.Y.)  Search this

New York University  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Martha Jackson Gallery  Search this

Type:

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Place:

China -- description and travel

Citation:

Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.

Topic:

Abstract expressionism  Search this

Artists' studios -- Photographs  Search this

Medals -- Design  Search this

Painters -- France -- Paris  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13668

(DSI-AAA_SIRISBib)274646

AAA_collcode_jenkpaul2

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_274646

Creator:

Allan Frumkin Gallery  Search this

Extent:

25.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1880

1944-2016

Summary:

The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley. Also included in the collection are the Frumkin Family papers, consisting of writings by Allan and wife Jean Martin Frumkin, editorial copy of Art Book Review, personal papers, and material relating to the Frumkin personal art collection and estate.

Scope and Contents:

The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Also included in the collection are the Frumkin Family papers.

The administrative files reflect the daily operations and business activities of the gallery. Included are address books, appointment books, art fair records, artwork documentation, auction records, gallery logs, maintenance records, leases, loan agreements, shipping receipts, mailing lists, provenance research, and documentation pertaining to the incorporation and administration of several iterations and branches of the gallery, including Frumkin & Struve Gallery, Frumkin/Adams Gallery, and Allan Frumkin Gallery Photographs.

Correspondence is primarily with dealers, clients, and institutions pertaining to sales, purchases, consignments, provenance, and shipping of artworks. The majority of the correspondence dates from the gallery's first decade, 1952-1962.

Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley.

Financial records include check balance books, expenses, financial statements, inventories, invoices, price lists, and sales ledgers. Financial transactions are also found amongst the dealer and client correspondence.

Among the newsletters and related files is a full set of the published newsletters, as well as editorial copy and drafts for nearly every issue. Published from 1976-1995, the newsletters detailed gallery activities and highlighted gallery artists in profiles which included interviews and photographs.

Printed material includes articles and clippings, exhibition announcements, catalogs, newsletters, bulletins, press releases, and assortment of other material pertaining to the Allan Frumkin Gallery and others.

While not extensive, the photographic material is rich, depicting Allan Frumkin, gallery director George Adams, gallery artists, studios, exhibition installations, and artworks, in a variety of formats.

Also included in the records are the Frumkin family papers, which include writings by Allan Frumkin and Jean Martin Frumkin, Art Book Review editorial files, personal papers, and detailed material relating to the Frumkin personal art collection and estate. The writings by Allan Frumkin are particularly insightful in the context of the gallery records, and include essays on art dealing and the gallery, a talk on the artist, Matta, memoir drafts, and an interview transcript.

Arrangement:

The collection is arranged as eight series.

Series 1: Administrative Files, 1880, 1950-2002 (2 linear feet; Boxes 1-2)

Series 2: Correspondence, 1948-2010 (5.4 linear feet; Boxes 3-8)

Series 3: Artist Files, 1944-2015 (9.3 linear feet; Boxes 8-17, OVs 27-28)

Series 4: Financial Records, 1950-2002 (0.9 linear feet; Boxes 17-18)

Series 5: Newsletters, 1970-2000 (1.1 linear feet; Boxes 18-19)

Series 6: Printed Material, 1949-2009 (0.7 linear feet; Boxes 19-20)

Series 7: Photographic Material, 1950-2000 (0.7 linear feet; Box 20)

Series 8: Frumkin Family Papers, 1950-2016 (5.5 linear feet; Boxes 21-26)

Biographical / Historical:

Allan Frumkin Gallery (est. 1952; closed 1995) was a gallery owned and operated by art dealer Allan Frumkin with locations in Chicago (1952-1980; 1979-1980 as Frumkin & Struve) and New York City (1959-1995; 1988-1995 as Frumkin/Adams). Frumkin began his career exhibiting the drawings, paintings, and prints of European artists he met and developed relationships with while traveling abroad, including Roberto Matta, Alberto Burri, Alberto Giacometti, and Esteban Vicente. He soon began representing artists from across the United States, including Chicago artists Leon Golub, Jack Beal, Robert Barnes, June Leaf, and H.C. Westermann; West Coast artists Robert Arneson, Roy de Forest, and Joan Brown; and New York realist painters including Philip Pearlstein, Paul Georges, Alfred Leslie, Luis Cruz Azaceta, and Peter Saul. In the early years, the geography and aesthetic of the artists Frumkin championed--surrealist, realist, figurative, offbeat--contrasted with the prevailing trend toward New York abstraction. Frumkin retired as a gallery director in 1995, and Frumkin/Adams Gallery became the George Adams Gallery. Frumkin continued to work as a private dealer as Allan Frumkin Incorporated until his death in 2002.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Allan Frumkin conducted by Paul Cummings in 1970.

Provenance:

Donated to the Archives of American Art in 2017 by Peter Frumkin, Allan Frumkin's son.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Citation:

Allan Frumkin Gallery records, 1880, 1944-2016. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.allafrum

See more items in:

Allan Frumkin Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92b6dadfa-73da-4882-838a-bba1a4df1997

EDAN-URL:

ead_collection:sova-aaa-allafrum

Creator:

Jenkins, Paul, 1923-2012  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Martha Jackson Gallery  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New York University  Search this

Baber, Alice  Search this

Bluhm, Norman, 1921-1999  Search this

De Kooning, Willem, 1904-1997  Search this

Dusanne, Zoe, -1977  Search this

Erma, Thomas, 1939-1964  Search this

Gilot, Francoise, 1921-  Search this

Guggenheim, Peggy, 1898-1979  Search this

Jenkins, Esther Ebenhoe  Search this

Krasner, Lee, 1908-1984  Search this

Prantl, Karl  Search this

Prince, Frank  Search this

Extent:

11.1 Linear feet

Type:

Collection descriptions

Archival materials

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Place:

China -- Description and Travel

Date:

circa 1915-2010

Summary:

The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.

Scope and Contents:

The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.

Biographical material and family papers consist of awards and certificates, calendars, marriage, divorce, and estate papers, and military service records. Also included are family papers and a scrapbook belonging to Jenkins's aunt, Louise Jenkins.

Correspondence, which makes up the bulk of the collection, is with family, friends, and fellow artists, including Alice Baber, Norman Bluhm, Willem de Kooning, and Lee Krasner Pollock, as well as art organizations, schools, museums, galleries, and gallery owners, such as the Art Students League of New York, New York University, Museum of Modern Art, Martha Jackson Gallery, Zoe Dusanne, and Peggy Guggenheim.

Writings includes scattered writings by Paul Jenkins, two of his travel diaries, and the guest book for an exhibition in Tokyo. Also found are a copy of Lili Krahmer Verame's China travel diary and the writings and research materials of others.

Personal business records consist of financial records, lease documents, price lists, travel documents, and papers regarding Jenkins's rental property. Also included are a file on the New York University medal designed by Jenkins and a file concerning a Karl Prantl statue.

Printed material consists of event programs, newsletters, bulletins, member reports, press releases, art exhibition announcements and catalogs, concert and theater announcements and programs, news and magazine clippings, and obituaries and memorial announcements.

Artwork contains miscellaneous sketches and collages by Paul Jenkins. Additional artworks include sketches, watercolors, and prints by other artists, as well as 8 oversize mixed media sketches by Frank Prince of Jenkins's Meditation Mandala Sundial sculptures.

Photographs of Paul Jenkins depict him in his studio, with family and friends, and at events. Photographs of family and friends include Esther Ebenhoe Jenkins, Alice Baber Jenkins, Norman Bluhm, Thomas Erma, Françoise Gilot, Matsumi "Mike," Carole, and Bunshi Paul Kanemitsu, and Frank Prince.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1915-1997 (Box 1; 9 folders)

Series 2: Correspondence, circa 1930-2010 (Box 1-9, 13; 9 linear feet)

Series 3: Writings, circa 1950-2003 (Box 9-10; 0.5 linear feet)

Series 4: Personal Business Records, circa 1944-1990 (Box 10; 0.3 linear feet)

Series 5: Printed Material, circa 1952-2010 (Box 10-11; 0.6 linear feet)

Aeries 6: Artwork, circa 1935-2007 (Box 11-12, OV 14; 0.2 linear feet)

Series 7: Photography, circa 1940-1998 (Box 12; 0.4 linear feet)

Biographical / Historical:

Paul Jenkins (1923-2012) was an abstract expressionist painter and playwright in New York, New York, and Paris, France. Jenkins was born in Kansas City, Missouri in 1923, and moved to Youngstown, Ohio as a teenager. After serving in the U.S. Maritime Service and the U.S. Naval Air Corps, Jenkins studied playwriting with George McCalmon at the Carnegie Institute of Technology (now Carnegie Mellon University). In 1948, he moved to New York City, where he studied with Yasuo Kuniyoshi at the Art Students League of New York.

Over the course of his career, Jenkins experimented with multiple techniques, including oil on primed canvas, flowing paints, acrylics, watercolor, and mixed media collages. After traveling extensively and meeting many artists, Jenkins ultimately became associated with the Abstract Expressionists. His work gained the attention of other members of the art world and he held solo exhibitions at venues such as the Zoe Dusanne Gallery in Seattle and the Martha Jackson Gallery in New York. Jenkins' paintings were purchased by both museums and private collectors, including the Museum of Modern Art, the Whitney Museum of American Art, and Peggy Guggenheim.

In addition to his painting, Jenkins continued to explore other creative endeavors. He experimented with sculpture, producing works for events and permanent displays, including the Sculptors' Symposium at the Cooper-Hewitt Museum and the Sculpture Garden of the Hofstra Museum. His plays, such as Strike the Puma, were published and performed off Broadway in New York City. Jenkins's art served as the backdrop for multiple stage productions, and in 1978, his paintings were featured in the Academy Award nominated movie An Unmarried Woman. Jenkins also collaborated on a number of book projects, including Anatomy of a Cloud, a collection of autobiographical collages and texts.

Throughout his adult life, Jenkins split most of his time between New York and Paris. He continued to create and exhibit new works until his death in New York in 2012.

Related Materials:

Also found at the Archives of American Art are an interview of Paul Jenkins, August 1969, conducted by Albert Elsen, and an oral history interview, 1968, conducted by Colette Roberts.

Provenance:

The papers were donated 2007-2009 and in 2012 by Paul and Suzanne Jenkins.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

The donor has retained all intellectual property rights, including copyright, that they may own.

Occupation:

Dramatists -- France -- Paris  Search this

Dramatists -- New York (State) -- New York  Search this

Topic:

Abstract expressionism  Search this

Artists' studios -- Photographs  Search this

Medals -- Design  Search this

Painters -- France -- Paris  Search this

Painters -- New York (State) -- New York  Search this

Genre/Form:

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Citation:

Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jenkpaul2

See more items in:

Paul Jenkins papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97a17d1c1-3b35-4e96-b562-6daf3559775e

EDAN-URL:

ead_collection:sova-aaa-jenkpaul2

Artist:

Kemenyffy, Susan Hale.  Search this

Landscape designer:

Kemenyffy, Susan Hale.  Search this

Sculptor:

Kemenyffy, Steven, 1943-  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Raku Place (McKean, Pennsylvania)

United States of America -- Pennsylvania -- McKean -- Erie

Scope and Contents:

The folder includes worksheets, a copy of a book of Susan Hale Kemenyffy's drawings dedicated to Carrie T. Watson Garden Club member Lynn Perry Alstadt, and a copy of "Drawing: The Purpose," edited by Leo Duff and Phil Sawdon. The latter includes a chapter by Susan Hale Kemenyffy titled, "Landscape - Drawing - Drawiing - Landscape' (2008).

General:

The 47 acre property in western Pennsylvania had been logged, stripped of topsoil and used as a dump for garbage and burned out cars when the land and 1950's house were obtained in 1974 by two artists. Mature trees, weeds and enormous mud puddles comprised the landscape. The site has been developed with 18 named gardens, channeled water courses with a string of pools and two ponds to ameliorate the property's tendency to flood every spring, numerous hand-built bridges, and intersecting paths totaling about one mile of walkways. Outbuildings include a chicken house, a Hungarian Tea House cantilevered on a cliff in a conifer forest that overlooks one of the pools, and two artists' studios. Garden structures and outdoor furniture are painted in blues and greens that contrast with and stand out from the lushly planted grounds while sculptures created by the owners have been nestled into the landscape. Hundreds of rocks, slabs and boulders have been dug up and re-positioned to form or edge paths and ponds. Positions have been found for objects including discarded aluminum playground horses that rear up among the trees. Ceramic tiles and sculptures made by the artists contribute to the unique landscape.

An early entrance garden included climbing hydrangea, bergenia lining the walkway, pachysandra and ferns to obscure the front of the house. Later a wider walkway was dug and laid with slabs of Pennsylvania bluestone over gravel, decking and brick walls were built, and 100 feet of climbing hydrangea have been trained around the house and deck. The owners describe their highly personal gardens as naturalized Arts and Crafts designed to suit the topography. They have given fanciful names to their gardens, such as giraffe's place, polka dot garden, alpine forest, great meadow, sky garden, primrose-less path, and Steven's mountain with an elevated metal sculpture "Sirius Dog House" to mark the juncture of earth and sky and the conclusion of the garden.

Raku Place has been shared with many groups for events and has participated in Garden Conservancy Open Days.

Persons associated with the garden include Donald and Sharon Williams (former owners, 1966-1974); Steven Kemenyffy (sculptor, 1974- ); Susan Kemenyffy (artist and landscape designer, 1974- ).

Related Materials:

Raku Place related holdings consist of 1 folder (85 digital images)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Pennsylvania -- McKean  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File PA825

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb67f88ddab-9fb8-40f4-a766-11835601428f

EDAN-URL:

ead_component:sova-aag-gca-ref16460

Photographer:

Kemenyffy, Susan Hale.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Digital image (JPEG file, color.)

Type:

Archival materials

Digital images

Place:

Raku Place (McKean, Pennsylvania)

United States of America -- Pennsylvania -- Philadelphia -- Philadelphia

Date:

2011 Jun.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Pennsylvania -- McKean  Search this

Bamboo  Search this

Weeping willow  Search this

Lawns  Search this

Trees  Search this

Genre/Form:

Digital images

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item PA825014

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA825: McKean -- Raku Place

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6f6624c6d-e8c9-4595-97ab-1c61ab9db207

EDAN-URL:

ead_component:sova-aag-gca-ref17176

Former owner:

Little, Louis General USMC  Search this

Thayer, Robert H. Hon.  Search this

Wilmerding, John  Search this

Brown, Carter, Mrs.  Search this

Landscape architect:

Wheeler, Perry H., 1914-1989  Search this

Garden designer:

Garden Gate Landscaping  Search this

Provenance:

Georgetown Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

O Street, Georgetown Garden (Washington, D.C.)

United States of America -- District of Columbia -- Washington

Scope and Contents:

The folder includes worksheets, photocopies of articles and other information. See the Perry Wheeler Collection for correspondence with Thayer.

General:

Around the time of the Civil War, this 18th century property was established by the Tenney sisters as a school for young ladies in the main house; and a kindergarten for boys, attended by the son of General Grant, in the outbuilding that is now an artist's studio. A stone channel leads from the southern wall across the lawn to a cistern in the basement to collect rainwater for use in cleaning and laundry. A pump found on the property was used to obtain drinking water from a private well where the rocky waterfall is now located. By the time the current owners took possession in 2001, a terrace and some low walls had been added, connecting the old house architecturally to the garden. Since then the property has been developed by its current owner into a colorful and vibrant space for entertaining and peaceful enjoyment.

The private areas of the property were divided by the current owner into four discrete sections, all lush with plantings and reflecting the originality of the owner, an artist. A fence and gate screen off the first area, a courtyard with converted artist's studio, from the street. Holly, nandina and vinca minor soften the perimeter, and the studio entry is framed by a stand of bear's breeches. Rounding the corner of the house is the koi waterfall garden with a "natural spring," inspired by the old pump, culminating in a fish pool. There is a Fullmoon maple and various woodland perennials such as Dixie wood fern, cinnamon fern, hellebore, sweet box, astilbe and sedum, grow among the rocks, while the studio is fronted by white camellia japonica.

A short flight of brick steps leads to a larger area with a large lotus pond (unusual in Georgetown) with a simple waterfall. A changing palette of blooming plants such as iris and peony, buddleia, Shasta daisies, black-eyed Susans, and phlox that were originally white have now turned pink, surround the pool. A wide trellis breaks up the expanse of brick wall that forms the rear garden boundary. An abutting wall, forming the garden's western boundary, features a trompe l'oeil mirror and trellis that contribute light and depth, in addition to supporting red honeysuckle and morning glory. Through an entry in a low brick wall parallel to the lotus pond is a terrace and the fourth garden area and the only section that predates the current owner. There a hybrid apple tree presents a magnificent espalier against the wall of the house next door. Dusty Miller billows at the base of the apple tree.

Persons associated with the garden include General Louis Little, USMC, (former owner, circa 1930s); the Hon. Robert H. Thayer, Ambassador to Romania (former owner, circa 1950s-1960s); John Wilmerding (former owner, dates unknown); Mrs. Carter Brown, (former owner, 1990-2001); Garden Gate Landscaping (garden designer, 2001); and Perry H. Wheeler (landscape architect, 1964-1966).

Related Materials:

O Street, Georgetown Garden related holdings consist of 2 folders (9 digital images)

See also the Archives of American Gardens, Perry Wheeler Collection.

See others in:

Perry H. Wheeler Collection, ca. 1880-1984.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- District of Columbia -- Washington  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File DC113

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / District of Columbia

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6b88d3184-4123-4a4d-a4d0-5d68d6dfa898

EDAN-URL:

ead_component:sova-aag-gca-ref5939

Photographer:

Harris, Lawrie R.  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slides (photographs) (col., 35 mm.)

Type:

Archival materials

Slides (photographs)

Place:

Sindhu's Garden (Northeast Harbor, Maine)

United States of America -- Maine -- Hancock County -- Mount Desert -- Northeast Harbor

Date:

2009 Aug.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Maine -- Northeast Harbor  Search this

Sculpture  Search this

Houses  Search this

Artists' studios  Search this

Genre/Form:

Slides (photographs)

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item ME132001

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Maine / ME132: Mount Desert -- Sindhu's Garden

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb608b6f3fe-0f29-4451-bfad-808ffca502fd

EDAN-URL:

ead_component:sova-aag-gca-ref8406

Creator:

Carnegie Institute, Museum of Art  Search this

Subject:

East, Alfred, Sir  Search this

Church, Samuel Harden  Search this

Chase, William Merritt  Search this

Homer, Winslow  Search this

Hassam, Childe  Search this

Saint-Gaudens, Homer  Search this

Thayer, Abbott Handerson  Search this

Beatty, John W. (John Wesley)  Search this

Alexander, John White  Search this

Beaux, Cecilia  Search this

Brush, George de Forest  Search this

M. Knoedler & Co.  Search this

Gallery of William Macbeth  Search this

Corcoran Gallery of Art  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Art Institute of Chicago  Search this

Buffalo Fine Arts Academy  Search this

Type:

Photographs

Letterpress books

Museum records

Place:

Spain -- History -- Civil War, 1936-1939

Citation:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1962. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Economic aspects  Search this

World War, 1914-1918  Search this

Depressions -- 1929  Search this

Art, Modern -- Exhibitions  Search this

Fascism  Search this

World War, 1939-1945  Search this

Museum directors  Search this

Theme:

Art organizations  Search this

Record number:

(DSI-AAA_CollID)7343

(DSI-AAA_SIRISBib)209496

AAA_collcode_carninst

Theme:

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209496