The papers of New York sculptor Saul Baizerman measure 3 linear feet and date from circa 1916-1963. The collection documents Baizerman's career through biographical information, writings by Baizerman including poems, lectures, plays, and writings on art, a few exhibition records, drawings and sketches, printed material, photographs of Baizerman and his work, and a dismantled scrapbook.
Scope and Contents:
The papers of New York sculptor Saul Baizerman measure 3 linear feet and date from circa 1916-1963. The collection documents Baizerman's career through biographical information, writings by Baizerman including poems, lectures, plays, and writings on art, a few exhibition records, drawings and sketches, printed material, photographs of Baizerman and his work, and a dismantled scrapbook.
Arrangement:
Due to prior arrangement on microfilm the papers are arranged as one series.
Biographical / Historical:
Born in Russia, New York sculptor Saul Baizerman (1889-1957) was known for his technique of hammering copper by hand to create relief sculptures. His deep sympathies for the labor movement and social causes informed his focus on the urban poor and manual worker as primary subjects for his work.
Baizerman came to the United States in 1910, settling in New York City, and subsequently trained as a sculptor at several art schools. In the 1920s he began shaping copper by hand in a process that involved forcefully hammering both sides of a copper sheet until an image appeared in relief. Two of Baizerman's most well-known works were a series of small-scale statuettes entitled "The City and the People" which he worked on throughout his life, and a "Labor" series. Baizerman also completed larger outdoor sculptures.
From 1934 to 1940 Baizerman taught sculpture, drawing, and anatomy classes at his own art institute, the Baizerman Art School. Thereafter, he continued to teach at the American Artists School and the University of Southern California, but focused primarily on his own artwork.
Baizerman was married to painter Eugenie Baizerman from 1920 until her death in 1949. Baizerman died of cancer at the age of 68.
Related Materials:
The Archives of American Art also holds the Haim Mendelson correspondence with Saul Baizerman and others, 1946-1957 and the Julius Samuel Held papers relating to Saul Baizerman and Leonard Baskin, 1947-1976.
Provenance:
Joan Hay Baizerman, Saul Baizerman's second wife, loaned the papers to the Archives of American Art for microfilming in 1964. She subsequently donated the papers in 1971 with the exception of circa 300 sketches and circa 50 photographs from the original loan.
Restrictions:
This collection is open for research. 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.
Occupation:
Sculptors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.62 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.
Scope and Contents:
The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.62 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.
Biographical materials include two address books; awards and prizes; certificates and diplomas; childhood writings and notes, assignments, and school newsletters; course work at Vassar College and NYU's Institute of Fine Arts; honors; and one sound recording and three transcripts of Nochlin interviews with Alain Veinstein, Dan Karlholm, Jon Weiner, and Moira Roth.
Over 150 date books and notebooks spanning nearly 60 years contain appointments, reminders, travel plans, thoughts on art, journal entries, daily activities, to-do lists, contact information, fiction writing, and other small notations. Correspondence is with family; close colleagues and artists Ewa Lajer-Burcharth, Zuka Mitelberg, Joan Mitchell, and Philip Pearlstein; and professional contacts regarding speaking engagements, publishing projects, exhibitions, artists' work, conferences, and events.
The bulk of the collection documents Nochlin's prolific writing career that includes her lifelong research and work on Gustave Courbet, realism, bathers and the body, as well as numerous essays and lectures, research and writings on artists, and various other writing projects.
Files for professional activities contain material for conferences and symposiums that include 11 sound and video recordings, grants, fellowships, and travel arrangements and expenses. Teaching files consist of documentation for courses taught by Nochlin at New York University Institute of Fine Arts, Vassar College, Yale University, and other academic institutions.
Publications and other printed materials include annotated books, booklets, clippings, exhibition catalogs, journals and magazines, newsletters, offprints, five video recordings of broadcasts and documentary material, flyers, invitations, posters, and postcards. Artwork includes sketches in ink, charcoal, paint, and pencil created during Nochlin's childhood into her early 20s, along with artwork by children, and one video art recording by Zoulikha Bouabdellah.
Photographs and negatives are of Nochlin with artists Nancy Graves, Sebastian Horsley, and Shirley Jaffe; childhood classmates; friends and colleagues; students; and travels to Europe. Also included are photographs of works of art, personal photographs of family members, and portraits and snapshots of Nochlin.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Materials, circa 1940-2012 (1.0 linear feet; Box 1, OV 35 / 0.003 GB; ER01-ER03)
Series 2: Datebooks and Notebooks, 1959-2017 (2.5 linear feet; Boxes 2-5, OV 35 / 0.001 GB; ER004)
Series 3: Correspondence, 1946-2014 (2.0 linear feet; Boxes 5-7, OV 35 / 0.058GB; ER005-ER011; ER120)
Series 4: Writing Project Files, circa 1876, 1953-2016 (17.0 linear feet; Boxes 7-21, 30-31, 33-34, OVs 36-37 / 3.72 GB; ER012-ER102)
Series 5: Professional Files, 1957-2012 (1.0 linear feet; Boxes 22-23 / 0.001 GB; ER103)
Series 6: Teaching Files, 1953-2012 (2.5 linear feet; Boxes 23-25, OV 36 / 0.016 GB; ER104-ER119)
Series 7: Printed Materials, 1939-2017 (3.0 linear feet; Boxes 26-28, 32, 34, OVs 39-40)
Series 8: Artwork, circa 1940-2004 (1.0 linear feet; Boxes 28, 34, OV 38)
Series 9: Photographic Materials, circa 1935-circa 2010 (1.0 linear feet; Boxes 28-29, 34)
Biographical / Historical:
Linda Nochlin (1931-2017) was a feminist art historian and professor at New York University Institute of Fine Arts in New York, New York. She is widely known for her essay first published in 1971, "Why Have There Been No Great Women Artists?," that explored the institutional systems in place for analyzing art history and their impacts on women artists. In 1976, Nochlin co-curated Women Artists: 1550-1950 alongside Ann Sutherland Harris at the Los Angeles County Museum of Art, and in 2007 she co-curated with Maura Reilly the Global Feminisms Exhibition at the Brooklyn Museum. Both exhibitions are considered landmark exhibitions of women artists.
Nochlin was born in Brooklyn, New York. She attended the Brooklyn Ethical Culture School and Midwood High School before enrolling in Vassar College where she majored in philosophy with minors in Greek and art history. After graduating in 1951, she went on to earn a master's degree in English from Columbia University in 1952. In 1963, she earned her PhD in art history from the Institute of Fine Arts. Nochlin's PhD dissertation, "Gustave Courbet: A Study of Style and Society," marked the beginning of her lifelong study of the 19th-Century French artist Gustave Courbet.
Nochlin taught at Yale University, the Graduate Center at the City University of New York, and Vassar College. She was also a visiting professor at Columbia University, Hunter College, Stanford University, Williams College, and Yale University, and later became the Lila Acheson Wallace Professor Emerita of Modern Art at the Institute of Fine Arts.
Nochlin authored numerous art history books including Realism (1971), The Politics of Vision: Essays on Nineteenth-Century Art and Society (1989), Representing Women (1999), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), Bathers, Bodies, Beauty: The Visceral Eye (2006), Courbet (2007), and Misère: The Visual Representation of Misery in the 19th Century (2018).
Related Materials:
Also found at the Archives of American Art is an oral history interview of Linda Nochlin conducted on June 9-30, 2010 by James McElhinney, for the Archives of American Art's Oral History of Women in the Visual Arts project at Nochlin's home in New York, N.Y.
Provenance:
The collection was donated in 2018 by Daisy Pommer, Linda Nochlin's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.
United States. General Services Administration. Design Excellence 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 Dennis Adams, 2009 April 24-May 15. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- New York (State) -- New York -- Interviews Search this
Educators -- New York (State) -- New York -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Helen Williams Drutt English, 2018 January 8-26. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
Art -- Collectors and collecting -- Pennsylvania -- Philadelphia -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Art dealers -- Pennsylvania -- Philadelphia -- Interviews Search this
An interview of Knox Martin conducted 2014 May 14-July 23, by James McElhinney, for the Archives of American Art at Martin's home and studio in New York, N.Y.
Biographical / Historical:
Knox Martin (1923-2022) was a painter and muralist based in New York City. He was born in Barranquilla, Colombia and came to United States with his family in 1924. He studied at the Art Students League and taught at Yale University, University of Minnesota, New York University and his alma mater the Art Students League.
Interviewer James McElhinney (1952- ) is a painter and educator in New York, N.Y.
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.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
An interview with Helen Williams Drutt English conducted 2018 January 8,9, and 26, by Jane Milosch, for the Archives of American Art, at Drutt's homes in Philadelphia, Pennsylvania, and New York, New York.
Biographical / Historical:
Helen Williams Drutt English (1930- ) is a curatorial consultant and educator in Philadelphia, Pennsylvania and New York, New York. Jane Milosch (1964- ) is a former curator with the Renwick Gallery, Smithsonian Institution.
Related Materials:
The Archives of American Art also holds the papers of Helen Williams Drutt English.
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.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
Art -- Collectors and collecting -- Pennsylvania -- Philadelphia -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Art dealers -- Pennsylvania -- Philadelphia -- Interviews Search this
The Samuel Adler papers measure 2.2 linear feet and date from 1902-1980, with the bulk of the records dating from 1927-1980. The collections sheds light on Adler's career through personal and professional papers, printed materials, scrapbooks, photographic materials, and sound recordings.
Scope and Contents:
The Samuel Adler papers measure 2.2 linear feet and date from 1902-1980, with the bulk of the records dating from 1927-1980. The collections sheds light on Adler's career through personal and professional papers, printed materials, scrapbooks, photographic materials, and sound recordings.
Personal and professional papers consist of Adler's identification cards, marriage certificate, scant notes on painting, and some studio insurance records. Correspondence is comprised of personal and professional letters about exhibitions, purchase of artwork, Adler's artist-in-residence position at Notre Dame University, and more. The series also contains a guestbook from an Adler exhibition at Rehn Gallery, several of Adler's sketches and drawings, lecture notes from classes he taught, and other writings on contemporary art.
Printed materials include exhibition catalogs, invitations, and announcements of Adler's solo and group shows, ephemera from Adler's speaking engagements, scant writings about Adler and reproductions of his work, and a copy of Education and the Imagination, edited by Irving Kaufman, which includes a chapter by Samuel Adler titled "Imagination and the Artist."
Six scrapbook volumes and 2 folders of scrapbook contents document Adler's career through a myriad of materials including awards and certificates, correspondence including letters about Adler's teaching positions, printed material, an inventory of artworks from Adler's estate, and more.
Photographic materials depict Adler, his family, friends, and works of art. Nine sound recordings are of interviews, radio programs, and lectures.
Arrangement:
This collection is arranged as five series.
Series 1: Personal and Professional Papers, 1926-1975 (Box 1; 8 folders)
Series 2: Printed Materials, circa 1945-1977 (Box 1; 0.5 linear feet)
Series 3: Scrapbooks, 1945-1980 (Box 1, Bound Volumes 4-9; 1.2 linear feet)
Series 4: Photographic Materials, 1902-1972 (Box 2; 0.2 linear feet)
Series 5: Sound Recordings, 1957-1979 (Box 2-3; 0.3 linear feet)
Biographical / Historical:
Samuel Adler (1898-1979) was an abstract painter, sculptor, and educator active in New York, New York.
Under special arrangement, Adler was admitted to the National Academy of Design at age 13 for a six-year program, studying under Leon Kroll, Charles Louis Hinton, and others. He did not graduate, and instead became a professional violinist, playing for conductors Henry Hadley and Bruno Walter, and he studied under Harold Eisenberg and Herbert Butler.
In 1933, Adler left his music career to work on his art and offered private classes in painting and drawing. During World War II, he designed radio housings for the Army. In 1948, Adler had his first one-man show at Joseph Luyber Galleries, New York, and began teaching at New York University. He went on to have solo shows at various museums and galleries including University of Indiana, Louisville Art Center, Grace Borgenicht Gallery, University of Georgia, Frank Rehn Gallery, Notre Dame University, Rose Fried Gallery, and Krannert Art Museum. His work was also featured in group shows widely throughout the United States and abroad.
In the 1950s Adler contributed a chapter titled "Imagination and the Artist" to Education and the Imagination (1958), edited by Irving Kaufman. His work can be found in the permanent collections of Brooklyn Museum, Smithsonian American Art Museum, Newark Museum, Norfolk Museum, and others.
Separated Materials:
Papers loaned for microfilming on reel D231, including: correspondence (with correspondents such as Morris Blackburn, Glenn Raymond Bradshaw, Howard S. Conant, Lamar Dodd, Ernest Fiene, Anthony Lauck, Sidney Laufman, Arthur Osver, John Rood, and Hudson D. Walker); three scrapbooks, 1944-1955; catalogs; and gallery literature were returned to Samuel Adler after microfilming and are not described in the collection Container Inventory.
Provenance:
The collection was donated in several installments from 1965 to 1980 by Samuel Adler and his wife, Beverly Adler.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Samuel Adler papers, 1902-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The Stewart Klonis papers measure 3.1 linear feet and date from circa 1886-1983. They illustrate his career through biographical material, correspondence, writings, personal business records, printed and photographic material, and artwork.
Scope and Contents:
The Stewart Klonis papers measure 3.1 linear feet and date from circa 1886-1983.
Biographical material includes Klonis' resume, various awards and certificates, and a file including materials on Bernard Klonis. Correspondence is 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, as well as regarding the 1960s proxy vote for the Art Students League. Writings consist of notes, drafts, and typescripts of articles and speeches by Klonis and others.
Personal business records contain files on the Art Students League 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 the Board of Control meetings, reports, and financial data and building modernization plans. Also included are materials relating to multiple other art organizations, artwork appraisals, and exhibition files.
Printed material consists of exhibition announcements and catalogs for the Art Students League and other exhibitions, clippings, and a scrapbook of clippings, exhibition catalogs, and photographs. Photographic material includes photographs of Klonis, his friends and colleagues, and the Art Students League Costume balls. Artwork includes sketches and collages by Homer Boss, Jose de Creeft, Frank Vincent DuMond, Xavier Gonzales, William Zorach, Martha Bloom, Robert B. Hale, Beatrix Sherman, and others.
Arrangement:
This collection consists of seven series.
Series 1: Biographical Material, circa 1934-1977 (.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1930-1982 (1 Linear foot: Boxes 1-2)
Series 3: Writings, circa 1897-1977 (.2 Linear feet: Box 2)
Series 4: Personal Business Records, circa 1933-1982 (.6 Linear feet: Box 2)
Series 5: Printed Material, circa 1886-1980 (.7 Linear feet: Boxes 2-3, OV 5)
Series 6: Photographic Material, circa 1920-1980 (.2 Linear feet: Box 4, OV 6 and 7)
Series 7: Artwork, circa 1956-1983 (.1 Linear feet: Box 4)
Biographical / Historical:
Stewart Klonis (1901-1989) was a painter and educator who worked primarily in New York.
Stewart Klonis was born on December 24 in Naugatuck, Connecticut and moved to New York City in 1921. He worked for the Guggenheim Brothers Brokerage House and began studying painting at the Art Students League in 1927. In 1934, he joined its twelve-member board. Since he was the only board member with a background in finance, Klonis became the treasurer and managed to balance the books before the league went under. In 1932, Klonis helped found the Washington Square Outdoor Art Exhibition. As a student of the league himself, he was often part of the shows.
In 1937, Klonis was elected president of the league before becoming executive director in 1946. During his time spent at the league he succeeded in widening the range of teaching to include abstract art in order to supplement the school's emphasis on figurative painting. In 1980, Klonis retired from his position as executive director.
Stewart Klonis died at the age of 86 in the Sheepshead Bay section of Brooklyn in 1989.
Related Materials:
The Archives of American Art also holds two oral history interviews conducted 1970 February 3, by Paul Cummings and by Bruce Hooton in 1965.
Provenance:
The Stewart Klonis papers were donated in 1983 by Stewart Klonis.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New City Search this
Topic:
Painting, Modern -- 20th century -- United States Search this
Genre/Form:
Drawings
Scrapbooks
Citation:
Stewart Klonis papers, circa 1886-1983, Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of Irwin Rubin measure 2.6 linear feet and date from 1930 to 2004, with the bulk from the late 1940s to the early 2000s. The collection documents Rubin's work as a professional artist and educator through biographical material, personal and professional correspondence, writings, interviews, personal business records, gallery and exhibition files, project files, photographic material, printed material, and artwork.
Biographical material includes school records and diplomas, resumes, address book, and assorted life documents. Correspondence primarily reflects relationships with former classmates and students, as well as his teacher Josef Albers. Writings include a manuscript of Rubin's Yale MFA thesis, two interview transcripts (1997, 2004), and two sketchbooks from the 1950s. Photographic materials include documentation (prints and slides) of Rubin's artwork as well as photos of the artist, studio, family, and friends. Also included are sales records from the Bertha Schaefer Gallery, publications and printed materials featuring Rubin's work, teaching materials from his long tenure at The Cooper Union (1967-2001), and print editions by colleagues from Cooper Union and Pratt Institute. Also included is a USB drive containing digital materials gathered between 2019 and 2022 by Rubin's former student Carmelle Safdie. These research materials relate to Rubin's exhibition and publication history, works in public and private collections, and Rubin's own collection of antiquities and global artifacts, correspondence with former students, museum staff, and private collectors.
Biographical / Historical:
Irwin Rubin (1930-2006) was an artist, educator, and collector in New York. A student of Josef Albers at Yale, Rubin taught drawing and color theory from 1967-2001 at The Cooper Union. Rubin was represented by Bertha Schaefer Gallery and the Stable Gallery in New York, and Galerie Iris Clert in Paris.
Provenance:
Donated in 2023 by Christina Rubin, Irwin Rubin's widow.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
The papers of muralist and illustrator Ruth Egri measure 1.0 linear feet and date from 1934 to 1988. Found are biographical materials, correspondence, printed material, photographs of Egri and works of art, printed materials, sketches and sketcbooks, and writings. Also found are records relating to Egri's work with the Works Progress Administration.
Scope and Contents:
The papers of muralist and illustrator Ruth Egri measure 1.0 linear feet and date from 1934 to 1988. Found are biographical materials, correspondence, printed material, photographs of Egri and works of art, printed materials, sketches and sketcbooks, and writings. Also found are records relating to Egri's work with the Works Progress Administration.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Figure painter, muralist, illustrator, educator Ruth Egri (1911-1996) was active in New York City, New York and Wilmington, Delaware. She studied at the National Academy of Design, the Art Students League, and the Master Institute of the Roerich Museum with Howard Giles. She painted and exhibited in Taos, N.M. with her brother Ted Egri. Primarily, her subject was the female figure.
Provenance:
The donor, Ted Egri, is the younger brother of Ruth Egri Holden.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
Illustrators -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
The Edna Boies scrapbook of teaching notes measures 0.2 linear feet and dates from 1902 to 1903. Boies compiled and kept the scrapbook for a couse she taught on design at Veltin School for Girls in New York City, New York, and it is notable for the documentation it provides of the kind of instruction and course work found in art classes at the turn of the century. The scrapbook contains lecture notes, quotations, and sketches by Boies and students for various decorative pieces. Also found are clippings from The Owl, a student newspaper.
Scope and Contents:
The Edna Boies scrapbook of teaching notes measures 0.2 linear feet and dates from 1902 to 1903. Boies compiled and kept the scrapbook for a course she taught on design at Veltin School for Girls in New York City, New York, and it is notable for the documentation it provides of the kind of instruction and course work found in art classes at the turn of the century. The scrapbook contains lecture notes, quotations, and sketches by Boies and students for various decorative pieces. Also found are clippings from The Owl, a student newspaper.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Edna Boies Hopkins (1872-1937) was a printmaker and educator in New York City, New York. She is known for her woodblock prints inspired by Japanese techniques.
Born in Hudson, Michigan, in 1872 Boies studied a general art course at the Art Academy of Cincinnati from 1895 to 1899 and studied woodblock printmaking at the Pratt Institute in New York under Arthur Wesley Dow. For the academic year of 1902-03, Boies taught composition and design at the Veltin School for Girls in Manhattan.
Boies married art educator James Roy Hopkins in 1904 and travelled the world with him, spending time in Japan where she further studied Ukiyo-e woodblock print making. The couple settled in Paris in 1905 before returning to the United States at the start of World War I. From 1914 to 1920 Edna Hopkins was involved with the Provincetown Printers, lived in Paris from 1920 to 1923, and then abandoned printmaking in 1923, possibly due to arthritis. Nevertheless, Boies Hopkins had established a reputation as an accomplished woodblock printer and teacher whose work was influenced by Ukiyo-e prints, B.J.O. Nordfeldt and the Provincetown Printers, and European Post-Impressionism.
Related Materials:
Also found at the Archives of American Art is the James Roy and Edna Boies Hopkins papers, 1878-1977 available on Reel 1515 at Archives of American Art offices and through interlibrary loan. The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Provenance:
Mary Ryan donated the scrapbook to the Archives of American Art in 1987. She acquired the scrapbook, along with other materials by Hopkins, in France in the mid-1980s. Hopkins had left the materials with a friend before she returned to the United States in 1923, and they were discovered by a French dealer in 1984. Boies Hopkins participated in a 1989 exhibition at the Mary Ryan Gallery.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Printmakers -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with John Coplans, 1975 April 4-1977 August 4. Archives of American Art, Smithsonian Institution.
Topic:
Art publishing -- New York (State) -- New York Search this
Arts administrators -- New York (State) -- New York -- Interviews Search this
Educators -- New York (State) -- New York -- Interviews Search this
Museum curators -- New York (State) -- New York -- Interviews Search this
Gallery directors -- New York (State) -- New York -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Milton Wolf Brown, 1976 April 27-October 13. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Jimmy Ernst, 1974 Sept. 20. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Vincent Longo, 1970 Oct. 30-Nov. 6. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Albert Reese, 1971 Jan. 7-13. Archives of American Art, Smithsonian Institution.
Office of War Information. Washington, D.C. Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Harold Rosenberg, 1970 December 17-1973 January 28. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Peter Anthony Stroud, 1978 May 25-June 1. Archives of American Art, Smithsonian Institution.
Robert Vonnoh letters to Bert Kahn measure 0.2 linear feet and date from 1930-1933. The majority of letters were written and sent from France, with a smaller number sent from New York City and Old Lyme, Connecticut. Vonnoh reflects on his work, his ability to sell his art, and people who purchased or expressed interest in his work. The collection also includes typed transcriptions of select pieces of correspondence and a photograph of a self-portrait, printed and inscribed by the artist.
Biographical / Historical:
Robert William Vonnoh (1858-1933) was an educator and painter in New York, N.Y., Old Lyme, Conn., and Grez, France. He and Bert Kahn were friends.
Provenance:
Donated in 2022 by Hinda Abrahamson, Bert Kahn's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
