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To Achieve These Rights: Video Epilogue

Creator:
Anacostia Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 sound recording (VHS)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Video recordings
Place:
United States -- Politics and government
Washington (D.C.)
United States
Date:
1992
Scope and Contents:
Brief description of Washington, D.C. residents' fight for statehood and Congressional representatives during the 1980s. Local politics and rising crime in the district are also addressed.
Short film. Related to exhibition 'To Achieve These Rights: The Struggle for Equality and Self-Determination in the District of Columbia, 1791-1978.' Part of To Achieve These Rights: The Struggle for Equality and Self-Determination in the District of Columbia, 1791-1978 Audiovisual Records. Dated 19920103.
Biographical / Historical:
'To Achieve These Rights: The Struggle for Equality and Self-Determination in the District of Columbia, 1791-1978' showcased 187 years of civil rights activism in Washington, D.C. by examining the African American journey toward racial equality in the nation's capital--from slavery and emancipation to voting rights, desegregation, and home rule. The exhibition was created by the Anacostia Museum and exhibited there from January 1992 to November 1992.
General:
Title transcribed from physical asset.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
African Americans  Search this
Home rule  Search this
Politicians  Search this
Political science  Search this
Crime  Search this
African American neighborhoods  Search this
Museum exhibits  Search this
Genre/Form:
Video recordings
Collection Citation:
To achieve these rights: the struggle for equality and self-determination in the District of Columbia, 1791–1978 exhibition records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-033, Item ACMA AV002127
See more items in:
To achieve these rights: the struggle for equality and self-determination in the District of Columbia, 1791–1978 exhibition records
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-03-033-ref514

Gyorgy Kepes papers

Creator:
Kepes, Gyorgy, 1906-2001  Search this
Names:
Center for Advanced Visual Studies  Search this
Illinois Institute of Technology  Search this
Saidenberg Gallery  Search this
Triennale di Milano (Milan, Italy)  Search this
Arnheim, Rudolf  Search this
Bertoia, Harry  Search this
Blee, Michael  Search this
Boghosian, Varujan  Search this
Brazdys, Konslancija  Search this
Burgess, Lowry, 1940-  Search this
Burnham, Jack, 1931-  Search this
Calder, Alexander, 1898-1976  Search this
Chermayeff, Serge, 1900-  Search this
Dreyfuss, Henry, 1904-1972  Search this
Eames, Charles  Search this
Eames, Ray  Search this
Egawa, Kazuhiko  Search this
Entwhistle, Clive  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Gropius, Walter, 1883-1969  Search this
Hayter, Stanley William, 1901-1988  Search this
Hélion, Jean, 1904-1987  Search this
Johnson, Philip, 1906-2005  Search this
Kepes, Juliet  Search this
Kowalski, Piotry  Search this
Lynch, Kevin, 1918-1984  Search this
McLuhan, Marshall, 1911-1980  Search this
Mead, Margaret, 1901-1978  Search this
Moholy-Nagy, László, 1895-1946  Search this
Moholy-Nagy, Sibyl, 1905-  Search this
Nusberg, Lev, 1937-  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Piene, Otto, 1928-  Search this
Read, Herbert Edward, Sir, 1893-1968  Search this
Richards, I. A. (Ivor Armstrong), 1893-1979  Search this
Rickey, George  Search this
Saarinen, Eero, 1910-1961  Search this
Sonfist, Alan  Search this
Steinberg, Saul  Search this
Tacha, Athena, 1936-  Search this
Takis, Vassilakis  Search this
Tange, Kenzō, 1913-  Search this
Thiel, Philip  Search this
Tovish, Harold, 1921-2008  Search this
Tsʻai, Wen-ying, 1928-  Search this
Wolff, Robert Jay, 1905-  Search this
Wurster, William Wilson  Search this
Zvilna, Jēkabs, 1913-1997  Search this
Faculty:
Massachusetts Institute of Technology  Search this
Extent:
21.2 Linear feet
Type:
Collection descriptions
Archival materials
Caricatures
Designs
Photographs
Sketchbooks
Sketches
Sound recordings
Place:
Times Square (New York, N.Y.)
Date:
1909-2003
bulk 1935-1985
Summary:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Scope and Contents:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.

Correspondence provides a wide range of documentation on all aspects of Kepes's career including his collaborations and friendships with artists, architects, writers, scientists, and fellow educators including Rudolf Arnheim, Alexander Calder, Henry Dreyfuss, Charles and Ray Eames, Clive Entwhistle, R. Buckminster Fuller, Walter Gropius, S. W. Hayter, Jean Hélion, Laszlo and Sibyl Moholy-Nagy, Lev Nussberg, Robert Osborn, George Rickey, Saul Steinberg, Kenzo Tange, Robert Jay Wolff, and Jekabs Zvilna. Correspondence also documents the evolution of Kepes's vision for the Center for Advanced Visual Studies, which he established in 1967, and his subsequent leadership of CAVS at M.I.T. Records document his collaborations with students and fellows including Lowry Burgess, Jack Burnham, Piotry Kowalski, Margaret Mead, Otto Piene, Alan Sonfist, Athena Tacha, Vassilakis Takis, Philip Thiel, Harold Tovish, and Wen-Ying Tsai. Correspondents also include people who contributed to Kepes's Vision + Value series, including Michael Blee, Kazuhiko Egawa, Jean Hélion, and others. Correspondence includes three motion picture films, including what appears to be an early version of Powers of Ten by Charles and Ray Eames.

Writings include notes and manuscripts for articles and essays in which Kepes explored ideas evident in his books The New Landscape and Language of Vision, and submitted to publications such as Daedalus, Design, Domus, and Leonardo. Writings also include manuscripts for lectures, and draft manuscripts documenting Kepes's collaborative work with fellow M.I.T. professor Kevin Lynch on city planning, which culminated in Lynch's research project "The Perceptual Form of the City."

A small group of "Times Square Project" files documents Kepes's proposal for a lightscape in Times Square that was ultimately not realized.

Teaching files include sound recordings of circa five symposia and discussions held at M.I.T., the Illinois Institute of Technology, and elsewhere, some featuring Kepes and including Philip Johnson, Eero Saarinen and others.

Exhibition files include documentation of three exhibitions, including Light as a Creative Medium (1968) and a Kepes exhibition at Saidenberg Gallery (1968). They also record Kepes's involvement in designing the 1968 Triennale di Milano.

Printed material includes a substantial collection of announcements and catalogs for Kepes exhibitions, lectures, and other events, and includes catalogs and announcements for scattered exhibitions of his wife, artist and illustrator, Juliet Kepes. Clippings from newspapers and magazines include articles about Kepes, and contain some copies of published writings and designs by him. The series also includes sound recordings and motion picture films containing original material for a CBS television series "The 21st Century," probably as part of the episode "Art for Tomorrow," which appear to feature M.I.T. fellows Jack Burnham and Vassilakis Takis. Another motion picture film of an Italian documentary "Operazione Cometa" can also be found here.

Two sketchbooks contain pen and ink and painted sketches by Kepes. Artwork by Kepes includes original poster designs, caricatures, and many pencil, and pen and ink sketches and paintings on paper and board, including designs for stained glass. Artwork by others includes ink on mylar sketches by D. Judelson and Konstancija Brazdys, and a sketch by Harold Tovish. Also found are circa seventeen motion picture films and four sound recordings, the majority of which are untitled and by unidentified artists, but include films by M.I.T. fellows Otto Piene, Vassilakis Takis, Philip Thiel, Harold Tovish, Wen-Ying Tsai, and others.

Photographs are of Kepes, Juliet Kepes, and other family members; students, colleagues, and friends, including R. Buckminster Fuller, Serge Chermayeff, Harry Bertoia, Varujan Boghosian, Alexander Calder, Marchall McLuhan, Margaret Mead, Herbert Read, I. A. Richards, Saul Steinberg, and William Wurster; and of Kepes in his studio. There are also photos of exhibition installations in which Kepes's work appeared or which he designed, and photos of his artwork and of images for publications which he wrote or edited. Photos by others include artwork by established artists and work by students, as well as photographs arranged by subjects such as cityscapes, forms found in nature, light patterns, mechanical devices, and photomicrographs. A collection of lantern slides with similar content to the photos of artwork and photos by subject is also found in this series and includes a lantern slide of Picasso creating a design with light.
Arrangement:
The collection is arranged as eleven series.

Series 1: Biographical Material, circa 1940-circa 1980 (0.25 linear feet; Boxes 1, 28)

Series 2: Correspondence, 1936-1984 (5.7 linear feet; Boxes 1-7, 28 OV 33, FCs 39-41)

Series 3: Interviews and Transcripts, 1954-1970 (4 folders; Box 7)

Series 4: Writings and Notes, 1948-circa 1980s (1.4 linear feet; Boxes 7-8, 28)

Series 5: Times Square Project Files, 1972-1974 (6 folders; Box 9)

Series 6: Teaching Files Sound Recordings, circa 1953-1972 (0.7 linear feet; Box 9)

Series 7: Exhibition Files, 1958-1973 (0.4 linear feet; Boxes 9-10)

Series 8: Printed Material, circa 1922-1989 (3.6 linear feet; Boxes 10-12, 28-29, OVs 35, 37, FCs 42-49)

Series 9: Sketchbooks, circa 1940s-circa 1970s (2 folders; Box 12)

Series 10: Artwork and Moving Images, circa 1924-2003 (2.5 linear feet; Boxes 12, 13, OVs 33-36, 38, FCs 50-62)

Series 11: Photographs, 1909-1988 (10.4 linear feet; Boxes 13-32)
Biographical / Historical:
Painter, designer, art theorist, and educator, Gyorgy Kepes (1906-2001), was born in Selyp, Hungary, and studied at the Royal Academy of Fine Arts, Budapest. He worked with Moholy-Nagy in Berlin and London before joining him at the New Bauhaus (later the Chicago Institute of Design) in 1937.

Kepes taught courses at the New Bauhaus from 1937 to 1945, and published Language of Vision in 1944, summarizing the educational ideas and methods he had developed during his time at the institute. In 1946 he accepted a teaching position at the Massachusetts Institute of Technology (M.I.T.) where he initiated a program in visual design.

In 1956 Kepes published The New Landscape in Art and Science, in which he presented images from nature that were newly accessible due to developments in science and technology, and explored his ideas for a common language between science and the visual arts.

In 1965, these ideas were apparent in Kepes's proposal of an expanded visual arts program at M.I.T., which would "build new as yet undetermined bridges between art and engineering and science," according to the minutes of an M.I.T. Art Committee meeting in March of that year. Kepes's vision dovetailed with M.I.T.'s vested interest in promoting the arts, and faculty and administrators were open to the argument that "The scientific-technical enterprise needs schooling by the artistic sensibilities." In 1967, they appointed Kepes Director of M.I.T.'s Center for Advanced Visual Studies (CAVS).

Kepes retired from the regular faculty at M.I.T. in 1967, to focus on his role as director of CAVS, where he worked to provide artists with opportunities for exploring new artistic forms on a civic scale through a working dialogue with scientists and engineers. Early fellows of the center included Maryanne Amacher, Joan Brigham, Lowry Burgess, Jack Burnham, Piotry Kowalski, Otto Piene, Vassilakis Takis, and Wen-Ying Tsai.

In 1965-1966 Kepes edited a six-volume series entitled Vision + Value, published by George Braziller, Inc. Each volume featured essays that centered around a core theme: The Education of Vision; Structure in Art and Science; The Nature and Art of Motion; Module, Symmetry, Proportion, Rhythm; Sign, Image, Symbol; and Man-Made Object. Contributions came from prominent artists, designers, architects, and scientists of the time including Rudolf Arnheim, Saul Bass, Marcel Breuer, John Cage, R. Buckminster Fuller, Johannes Itten, Marshall McLuhan, and Paul Rand.

Kepes experimented widely with photography, producing abstract images through the application of fluids and objects to photographic paper. He also took commercial work throughout his career, producing designs for all kinds of objects, including books and stained glass windows for churches. He returned to painting in the 1950s, and his development as a painter continued throughout his career at M.I.T., where he remained until his retirement in 1974, and beyond. His paintings, which were abstract and often incorporated organic shapes and hints of landscapes, can be found in museums such as the Brooklyn Museum of Art, the Corcoran Gallery of Art, and the Whitney Museum of American Art.

Kepes received many awards during his lifetime, including a Guggenheim Fellowship (1958); the Gold Star Award of the Philadelphia College of Art (1958); the National Association of Art Colleges Annual Award (1968); the California College of Art Award (1968); and the Fine Arts Medal from the American Institute of Architects (1968). In 1973 he was elected into the National Academy of Design as an associate member, and became a full academician in 1978. He was a member of the National Institute of Arts and Letters and Fellow of the American Academy of Arts and Sciences.
Related Materials:
Additional papers of Gyorgy Kepes can be found at Stanford University and the Massachusetts Institute of Technology Center for Advanced Visual Studies Special Collection.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 1211) including ninety-eight letters to Kepes from colleagues, 1946-1974. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Gyorgy Kepes lent papers for microfilming in 1974 and donated material to the Archives of American Art in a series of gifts between 1974 and 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce must be obtained from Juliet Kepes Stone or Imre Kepes.
Topic:
Art -- Philosophy  Search this
Artists' studios--Photographs  Search this
City planning  Search this
Educators--Massachusetts--Cambridge  Search this
Motion pictures (visual works)  Search this
Genre/Form:
Caricatures
Designs
Photographs
Sketchbooks
Sketches
Sound recordings
Citation:
Gyorgy Kepes papers, 1909-2003, bulk 1935-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kepegyor
See more items in:
Gyorgy Kepes papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kepegyor

Ross and Dorothy Lake Gregory Moffett papers

Creator:
Moffett, Ross  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Federal Art Project (U.S.)  Search this
Provincetown Art Association  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Del Deo, Josephine Couch  Search this
Eisenhower, Dwight D. (Dwight David), 1890-1969 -- Portraits  Search this
Moffett, Dorothy Lake Gregory, 1893-1975  Search this
Moffett, Ross (Art in narrow streets)  Search this
Rehn, Frank Knox Morton, 1848-1914  Search this
Extent:
7.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Sketchbooks
Slides (photographs)
Place:
Cape Cod National Seashore (Mass.)
Florida -- Pictorial works
Provincetown (Mass.)
Date:
circa 1870-1992
Summary:
This collection measures 7.7 linear feet, dates from circa 1870 to 1992, and documents the life and career of painter Ross Moffett and, to a lesser extent, the life and career of his wife, painter, lithographer, etcher, and illustrator, Dorothy Lake Gregory Moffett. The collection includes correspondence, photographs, artwork including sketchbooks, and printed material including published writings, newspaper clippings, press releases, and exhibition catalogs.
Scope and Content Note:
The Ross and Dorothy Lake Gregory Moffett papers measure 7.7 linear feet and date from circa 1870 to 1992. Because Dorothy Moffett's papers were received separately they are filed together in Series 13. Series 1-12 deal primarily with the life and career of Ross Moffett. The collection documents Ross Moffett's participation in the Provincetown community as an artist and resident through correspondence, photographs, sketchbooks and printed material, including published writings, news clippings, press releases, and exhibition catalogs. The papers of Dorothy Moffett include family letters, photographs, a journal and original artwork providing scattered documentation of her life and career as an a printmaker and illustrator.

General correspondence primarily focuses on news and financial affairs of the Moffett family farm in Iowa. Also included are letters from Provincetown artist, Edwin Dickinson, and a small amount of correspondence with other artists, collectors and dealers.

Files documenting specific projects that Ross Moffett was involved with are arranged separately and include correspondence, printed material and photographs. Project files have been established for the following projects: the publication of Art in Narrow Streets, the Eisenhower mural, the Cape Cod National Seashore Park and the renovation of the Center Methodist Church.

The series of printed material, 1918-1992, relates to Ross Moffett's career as an artist and his general interest in art. Photographs primarily focus on scenes of Provincetown and include photographs of works of art by Provincetown artists. Also included are photographs of artwork by Moffett arranged chronologically, Moffett's studio in Provincetown, and installations at the Provincetown Art Association Galleries.

Artwork found in Series 10 and 11 includes drawings by Ross Moffett and 85 annotated sketchbooks, including four by Dorothy Moffett.

The collection also houses research notes and files written by Josephine Couch Del Deo in preparation of a biography of Ross Moffett. These annotations provide useful additional information about Moffett's life.

Papers of Dorothy Lake Gregory Moffett include Gregory family letters, Dorothy's correspondence with her father, and letters from other family and friends. Also found are drawings, lithographs and etchings by Dorothy and photographs of her family and friends.
Arrangement:
The collection is arranged into thirteen series:

Series 1: Biographical Material, circa 1888-1965 (box 1; 1 folder)

Series 2: Correspondence, 1915-1972 (box 1; 0.6 linear ft)

Series 3: Financial Material, 1933-1971 (box 1; 2 folders)

Series 4: Notebook/Notes, undated (box 1; 2 folders)

Series 5: Projects, 1880-1969, undated (boxes 1-2; 1.2 linear ft.)

Series 6: Subject File, 1960-1968 (box 2; 1 folder)

Series 7: Printed Material, 1916-1992, undated (boxes 2-4, 7; 1.5 linear ft.)

Series 8: Photographs, circa 1900-1975, undated (box 4; 15 folders)

Series 9: Slides of Art Association, Iowa Farmland and the Chrysler Museum, circa 1960, undated (box 4; 1 folder)

Series 10: Drawings, circa 1929-1934 (box 5; 1 folder)

Series 11: Sketchbooks, 1913-1969 (boxes 5-8; 2.5 linear ft.)

Series 12: Annotations/Item Descriptions by Josephine Couch Del Deo, undated (box 6; 2 folders)

Series 13: Dorothy Lake Gregory Moffett Papers, circa 1870-1975 (boxes 9-11; 0.7 linear ft.)
Biographical Note:
Ross Moffett (1888-1971) was an important figure in the development of modernism in American Art after World War I. His paintings primarily depict the life and landscapes of the Provincetown, Massachusetts area. Dorothy Lake Gregory Moffett is perhaps best known as a printmaker and illustrator of children's books and magazines.

Born in Iowa in 1888, Moffett trained at the Art Institute in Chicago and studied with Charles Hawthorne during the summer of 1913, in Provincetown, Massachusetts. Moffett then studied at the Art Students League and returned to Provincetown in 1915, to establish himself as an artist. He was one of the founders of the Provincetown Art Association and a leading figure in the art colony for many years. In 1920, Moffett married artist Dorothy Lake Gregory in Brooklyn, New York. Dorothy studied at the Pratt Institute and with Robert Henri and George Bellows in New York, and then went to Provincetown to study with Hawthorne as well.

During the 1920's and 1930's, Ross Moffett's success increased steadily and he had his first one-man show at the Frank Rehn Gallery in New York and also at The Art Institute of Chicago in 1928. He served on several exhibition juries around the country during this time. Between 1936 and 1938, Moffett painted four murals in two Massachusetts post offices for the Federal Works Progress Administration (WPA). Moffett received full membership to the National Academy of Design in 1942.

While Moffett's painting slowed somewhat during World War II he continued his involvement in the arts by maintaining the Provincetown Art Association. He taught briefly at the University of Miami in Ohio from 1932 to 1933, and returned to Provincetown to pursue painting full-time. In the 1950's, Moffett became interested in archaeology and even delivered a few lectures on the subject. During this time he continued to paint and his art reflected his preoccupation with the science of archaeology. In 1954, Moffett was one of two artists selected by the National Academy of Design to paint murals depicting President Dwight D. Eisenhower's life for the Eisenhower Memorial Museum in Abilene, Kansas. Moffett was chosen to portray Eisenhower's civilian life.

In 1960, Moffett became active in the movement to establish the 1400 acres known as the Province Lands as part of the Cape Cod National Seashore Park. After the park was established Moffett wrote and published a history of the first thirty-three years of the Provincetown Art Association in a book titled Art in Narrow Streets, 1964. He continued to serve as a juror for the Provincetown Art Association and was artist-in-residence for the Provincetown Fine Arts Work Center in 1970.

Dorothy Moffett also pursued a successful career in art, and publishers such as Rand McNally used her illustrations for youth magazines and childrens books, such as the classic Green Fairy Book. Her work was exhibited in the Metropolitan Museum, the National Academy, and the Brooklyn Museum, and her Alice in Wonderland series of lithographs was purchased for the permanent collection of the Boston Museum of Fine Arts. Though best known as a printmaker, Moffett also worked in oil.

Ross Moffett died of cancer on March 13, 1971.
Related Material:
Related resources in the Archives of American Art include a sound recording of a transcribed interview with Ross Moffett by Dorothy Seckler, August 27, 1962; and a sound recording of an untranscribed interview with Dorothy Lake Gregory Moffett by Robert F. Brown, September 22, 1972.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel D80) including 150 letters relating to art organizations, museums, and government art projects, news clippings, records of the Provincetown Art Association, and the Emergency Committee for the Protection of Province Lands, and miscellaneous publications. Lent materials were returned to Ross Moffett and are now housed at Syracuse University in Syracuse, New York. This material is not described in the collection container inventory.
Provenance:
Ross Moffett initally lent the Archives of American Art material for microfilming in 1962. The remainder of the collection was donated in 1974 by his widow, Dorothy Lake Gregory Moffett (died 1975), via Ross Moffett's biographer, Josephine Del Deo, who turned the papers over in installments. Archaeological material and artifacts received with the papers were donated to the Robert S. Peabody Museum of Archaeology, Phillips Academy, Andover, Massachusetts.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
A portion of the Ross and Dorothy Lake Gregory Moffett papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- Massachusetts -- Provincetown  Search this
Illustrators  Search this
Muralists -- Massachusetts -- Provincetown  Search this
Landscape painters -- Massachusetts -- Provincetown  Search this
Federal aid to the arts  Search this
Works of art  Search this
Women artists -- Massachusetts -- Provincetown  Search this
Art, Modern -- 20th century -- Massachusetts -- Provincetown  Search this
Art, American  Search this
Art students -- New York N.Y. -- Photographs  Search this
Genre/Form:
Photographs
Sketches
Sketchbooks
Slides (photographs)
Citation:
Ross and Dorothy Lake Gregory Moffett papers, circa 1870-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.moffross
See more items in:
Ross and Dorothy Lake Gregory Moffett papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moffross

State of the arts videorecordings

Creator:
Lawrence P. Fraiberg Productions  Search this
Names:
Lawrence P. Fraiberg Productions  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New Museum (New York, N.Y.)  Search this
OK Harris Gallery (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Campoli, Cosmo  Search this
Cavanau, Ted  Search this
Derman, Rick  Search this
Fraiberg, Lawrence P.  Search this
Karp, Ivan C., 1926-2012  Search this
Kovich, Robert  Search this
Nolan, Barry  Search this
Paik, Nam June, 1932-2006  Search this
Phillips, Liz  Search this
Rose, Barbara  Search this
Segal, George, 1924-2000  Search this
Solomon, Holly  Search this
Thorne, Joan, 1943-  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
1979
Summary:
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.
Scope and Contents:
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.

Although the program never aired, the video shot for the pilot documents significant artists and gallerists of its time, with profiles of O.K. Harris Works of Art and its founder, Ivan Karp, as well as art dealer Holly Solomon and critic Barbara Rose, Marcia Tucker in the early days of the New Museum, and footage of artists like Nam June Paik, Liz Phillips, and George Segal in their studios, describing their work in detail. The sound and video piece created by Paik and Phillips with the dancer Robert Kovich was commissioned by the State of the Arts producers for the pilot program, and the four hours of video documenting their collaboration and its product may therefore be unique.

Interview subjects for the economics of art story include Ivan Karp, Tom Drysdale, Rick Derman, Cosmo Campoli, Joan Thorne, Holly Solomon, Marcia Tucker, and Barbara Rose. The Marcia Tucker interview takes place at the New School, which was at the time the home of the New Museum. Footage also includes a gallery opening at O.K. Harris Works of Art. Extended interviews with Liz Phillips, Nam June Paik, and George Segal are found in the footage of their respective stories.
Arrangement:
The collection is arranged as one series.

Series 1: -- State of the Arts -- Production Video, 1979 (2.4 linear feet; boxes 1-3)
Biographical / Historical:
State of the Arts was planned as a broadcast television magazine program on the subject of contemporary art. The pilot was produced in 1979 by Lawrence P. Fraiberg Productions with funding provided jointly by IBM and the National Endowment for the Arts. Fraiberg and Tom Cavanau served as executive co-producers, Rick Derman as field producer, and Barry Nolan as interviewer. The program never aired.

Lawrence P. Fraiberg was a longtime television documentary veteran when the pilot was produced. He graduated from the University of California in 1949 and began his career at television station KPIX in San Francisco. He became vice president and general manager of WNEW-TV in New York in 1965, and was named president of Metromedia Television in 1977. In 1980 he was appointed president of the Television Station Group for Westinghouse Broadcasting. An active member in community and industry organizations, he is a recipient of an honorary degree (1978) from St. John's University, New York, a Peabody Award for Lifetime Achievement in the Broadcasting Industry (1986), and a Trustees Award from the National Academy of Television Arts and Sciences (1990). He died in 2011.

Barry Nolan, the interviewer for State of the Arts, went on to a career as a television magazine host and producer, with credits including Evening Magazine, Hard Copy, Extra!, and Nitebeat, and in 2012 produced the documentary No Way Out But One with his wife, Garland Waller.
Provenance:
Donated 1979-1980 by Lawrence P. Fraiberg.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The State of the Arts videorecordings are owned by the Archives of American Art, Smithsonian Institution. Video may be used for research, study, and scholarship purposes only and is not to be used in whole or in part for broadcast purposes.
Occupation:
Art museum directors -- New York (State) -- New York -- Interviews  Search this
Artists -- Interviews  Search this
Women sculptors -- Interviews  Search this
Gallery owners -- Interviews  Search this
Sculptors -- New Jersey -- Interviews  Search this
Women museum curators -- New York (State) -- New York -- Interviews  Search this
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- Study and teaching  Search this
Performance art  Search this
Artists' studios  Search this
Video art -- United States  Search this
Sound sculpture -- United States  Search this
Women artists  Search this
Art critics  Search this
Video artists  Search this
Art dealers  Search this
Art -- Economic aspects  Search this
Genre/Form:
Interviews
Video recordings
Citation:
State of the Arts Videorecordings, 1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.frailawr
See more items in:
State of the arts videorecordings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-frailawr

Rita and Daniel Fraad papers

Creator:
Fraad, Rita  Search this
Names:
Fraad, Daniel  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1926-1997
Summary:
The papers of art collectors Rita and Daniel Fraad measure 3.3 linear feet and date from 1926 to 1997. The collection consists of art documentation files that reflect their American art collecting activities. Found in the files are any combination of the following materials: correspondence, sales receipts, treatment reports and photographs, loan agreements, facilities reports, exhibition and auction catalogs, clippings, photographs, transparencies, and slides.
Scope and Content Note:
The papers of art collectors Rita and Daniel Fraad measure 3.3 linear feet and date from 1926 to 1997. The collection consists of art documentation files that reflect their American art collecting activities. Found in the files are any combination of the following materials: correspondence, sales receipts, treatment reports and photographs, loan agreements, facilities reports, exhibition and auction catalogs, clippings, photographs, transparencies, and slides.
Arrangement:
The collection is arranged into 1 series:

Series 1: Artwork Documentation Files, 1926-1997, undated (Boxes 1-4; 3.3 linear feet)
Biographical Note:
Rita (1915-2004) and Daniel Fraad (1912-1987) were American art collectors in New York, New York.

Rita (née Ritch) and Daniel Fraad were born in Brooklyn, New York, and met in their youth. Daniel graduated in 1935 from Brown University with a B.A. in biology and Rita graduated from Smith College in 1937 with a degree in political science. In 1938, Daniel joined Allied Maintenance Corporation (later Ogden Maintenance Corporation), a maintenance and cleaning services company started by his father in 1888. In the same year that Daniel joined the family business, Rita and Daniel were married. The couple eventually settled in Scarsdale, New York.

Rita and Daniel Fraad actively supported art institutions such as the Brooklyn Museum of Art, Metropolitan Museum of Art, National Academy of Design, and the Whitney Museum of American Art, among others. In 1965, the couple became members of the Archives of American Art and in 1989 Rita joined the Board of Trustees. She also sat on the Visiting Committee on American Art and Sculpture for the Metropolitan Museum of Art and was a member of the American Art Forum of the Smithsonian American Art Museum (SAAM). Rita was a SAAM commissioner for twelve years, and served as chair of the Collections Committee.

Over the years, Rita and Daniel Fraad amassed a museum-quality collection of American art which included works from George Bellows, William Merritt Chase, Thomas Cole, Jasper Cropsey, Arthur Davies, Charles Demuth, Marsden Hartley, Robert Henri, Winslow Homer, Edward Hopper, George Luks, Maurice Prendergast, John Singer Sargent, Everett Shinn, John Sloan, Joseph Stella, and James Whistler. In 1964, the Brooklyn Museum of Art, New York, organized an exhibition of the Fraad collection which traveled to the Addison Gallery of American Art, Phillips Academy in Andover, Massachusetts. In 1985, the Amon Carter Museum, Fort Worth, Texas also presented an exhibition of the Fraad collection.

Daniel Fraad died in 1987 and Rita passed away in 2004. In December 2004, the Fraad collection was auctioned at Sotheby's and raised over sixty five million dollars. The sale broke auction records; the amount was the highest total for any single owner's collection.
Provenance:
The papers were donated in 2005 by Rita and Daniel Fraad via Jurate Nemickas, Fiduciary Administrator for the estate of Rita and Daniel Fraad.
Restrictions:
The collection is open for research.
Rights:
The Rita and Daniel Fraad papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Art, American  Search this
Genre/Form:
Photographs
Citation:
Rita and Daniel Fraad papers, 1926-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fraarita
See more items in:
Rita and Daniel Fraad papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fraarita

Millard Meiss Papers

Creator:
Meiss, Millard, 1904-1975  Search this
Names:
American Committee for the Restoration of Italian Monuments  Search this
College Art Association (U.S.)  Search this
Committee to Rescue Italian Art  Search this
Institute for Advanced Study (Princeton, N.J.)  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Princeton University  Search this
Gombrich, E. H. (Ernst Hans), 1909-2001  Search this
Lavin, Irving, 1927-  Search this
Nordenfalk, Carl Adam Johan, 1907-  Search this
Panofsky, Dora Mosse  Search this
Panofsky, Erwin, 1892-1968  Search this
Extent:
11.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1918-circa 1977
bulk 1950-1975
Summary:
The papers of art historian, writer, and educator Millard Meiss measure 11.4 linear feet and date from circa 1918 to circa 1977, with the bulk of the material dating from 1950 to 1975. The papers are comprised of biographical material, correspondence, writing projects and lectures, and professional files that document his post World War II work as chairman of the American Committee for the Restoration of Italian Monuments, among other work.
Scope and Contents:
The papers of art historian, writer, and educator Millard Meiss measure 11.4 linear feet and date from circa 1918 to circa 1977, with the bulk of the material dating from 1950 to 1975. The papers are comprised of biographical material, correspondence, writing projects and lectures, and professional files that document his post World War II work as chairman of the American Committee for the Restoration of Italian Monuments, among other work.

Biographical material includes various awards and honorary degrees received; a bibliography of published and unpublished books, articles, essays, and editing projects by Meiss; memorial materials and obituaries for Meiss as well as for Dora and Erwin Panofsky (to whom he was close); and resumes and education materials among other files.

Correspondence is predominantly professional in nature and is with colleagues, peers, museums, and institutions. Some correspondents include Ernst Gombrich, Irving Lavin, Carl Nordenfalk, and Erwin Panofsky, among many others.

Writing project and lecture files document Meiss's work on numerous published and unpublished articles and book projects, and lectures. Books include The Boucicaut Hours, De Artibud Opscula XL: Essays on Erwin Panofsky, French Painting in the Time of Jean de Berry, and Painting in Florence and Siena, among many other works. Files contain manuscripts, notes, book proposals, reviews, correspondence, and clippings.

Professional files document the many committees, institutions, and organizations in which Meiss was involved, including the American Committee for the Restoration of Italian Monuments, Committee to Rescue Italian Art, and International Committee of the History of Art. Also included are general files on The Art Bulletin, College Art Association, Institute for Advanced Study, Metropolitan Museum of Art, and Princeton University, among others.
Arrangement:
This collection is arranged as 4 series:

Series 1: Biographical Material, circa 1918-circa 1977 (0.3 linear feet; Box 1)

Series 2: Correspondence, circa 1936-circa 1977 (4.3 linear feet; Boxes 1-5)

Series 3: Writings Projects and Lectures, circa 1934-circa 1975 (2.4 linear feet; Boxes 5-8)

Series 4: Professional Files, circa 1933-circa 1975 (4.4 linear feet; Boxes 8-12)
Biographical / Historical:
Millard Meiss (1904-1975) was an art historian and educator whose expertise was medieval and Renaissance art. He taught at Columbia University and Princeton, and was a curator at the Fogg Museum for four years. Following World War II, Meiss served as chairman of the American Committee for the Restoration of Italian Monuments until 1951.

Millard Meiss received a B. A. from Princeton University in 1926, and a Ph. D. from New York University in 1933. He was a professor of fine arts and archaeology at Columbia University from 1934-1953. In 1954, Meiss accepted the position of professor of fine arts and curator of paintings at the Fogg Art Museum at Harvard University. In 1958, he returned to Princeton, New Jersey to become professor of art history at the Institute for Advanced Study, where he remained for the rest of his career.

While at Columbia University, Meiss acted as editor-in-chief of The Art Bulletin, and also stayed on the editorial board for the next thirty-three years until his death in 1975. Throughout his career, Meiss edited several leading art journals, and wrote numerous articles and books on medieval and Renaissance painting, including Painting in Florence and Siena after the Black Death (1951), and his multi-volume French Painting in the Time of Jean de Berry (1967-1974), as well as many others.

In addition to serving as chairman of the American Committee for the Restoration of Italian Monuments after World War II, Meiss organized the Committee to Rescue Italian Art in 1966 after the flood of the Arno River in Italy. He worked to help organize the first meeting in the United States of the International Congress of the History of Art and served as president and vice-president. He was actively involved in the College Art Association of America.

Meiss was a member of many arts and scholarly organizations in Europe and the United States including the Accademia delle Arti del Disegno, Accademia Senese degli Intronati, Accademia Clementina, Accademia Toscana Colombaria, Accademia Nazionale dei Lincei, American Philosophical Society, British Academy, and the Société des Antiquaires de France. In addition, he was a Fellow of the Mediaeval Academy of America and the American Academy of Arts and Sciences, as well as an honorary trustee of the Metropolitan Museum of Art.

Meiss was also the recipient of many awards, including the Wanamaker English Prize, 1925; Haskins Medal from the Mediaeval Academy of America, 1953; Lewis Prize from the American Philosophical Society, 1967; Morey Award from the College Art Association of America, 1969, and posthumously in 1976; and the Art Dealers Association of America Award, 1974.
Provenance:
The Millard Meiss papers were donated to the archives in 1976 and 1986 by Meiss's widow Margaret L. Meiss.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Millard Meiss papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Educators -- New Jersey  Search this
Authors -- New Jersey  Search this
Topic:
Painting -- Italy  Search this
Painting -- France  Search this
Art historians -- New Jersey -- Princeton  Search this
Citation:
Millard Meiss papers, circa 1918-circa 1977, bulk 1950-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meismill
See more items in:
Millard Meiss Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meismill

Hildreth Meière papers

Creator:
Meiere, M. Hildreth, d. 1961  Search this
Names:
Exposition internationale (1937 : Paris, France)  Search this
New York World's Fair (1939-1940)  Search this
Peter A. Juley & Son  Search this
United States. Navy  Search this
Abbott, Berenice, 1898-1991  Search this
Dunn, Louise Meière  Search this
Extent:
27.3 Linear feet
0.068 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Place:
Spain -- history -- Civil War, 1936-1939
Date:
1901-2011
bulk 1911-1960
Summary:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.
Scope and Contents:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.

Biographical material includes an autobiographical narrative written by Meière, her many awards and certificates, membership information, passports, her U.S. Navy service records from World War I, documentation of her brief marriage and family genealogy, obituaries, and memorial service documentation. Also found are extensive writings and research conducted by Meière's daughter, Louise Meière Dunn, which include a complete list of Meière's commissions, detailed biographical narratives, and records of Meière's works held elsewhere.

The papers contain Meière's personal and family correspondence, travel correspondence, and business correspondence regarding professional activities. Much of the correspondence with family and friends was written during Meière's extensive travels over the world. Both family and travel correspondence have extensive indexes, summaries, and in some cases, transcripts prepared by Meière's daughter, Louise Meière Dunn. Some of the indexes, summaries and transcripts are digital. Writings include poetry and diaries kept during childhood and school years, travel diaries, essays and talks written about Meière's work, writings Meière prepared for committees of the National Mural Painters Association, and detailed travelogues of her trips to Constantinople and the Balkans in 1933, to Russia in 1936, her "Grand Tour" to Australia, Southeast Asia, India, Africa, and Europe in 1952-1953, and her "Holy Land" tour of the Middle East in 1954.

Civilian War Service Records document Meière's efforts at war relief organization during and after the Spanish Civil War and during World War II. The Spanish Civil War files include extensive photographs provided by the Spanish government as well as three motion picture films documenting refugees and damaged architecture and public artwork shot by Meière during a trip sponsored by Franco's government. World War II activities concern Meière's efforts to organize artists in the United States to design and execute murals and other works of public art at military facilities around the U.S.

Travel records include maps, ephemera, slides, and 83 motion picture films taken on trips abroad between 1933 and 1958. Trips include Eastern and Western Europe, the Mediterranean Region and the Middle East, South America, Mexico and Guatemala, India, Sub-Saharan Africa, Southeast Asia, Australia, New Zealand, Scandinavia, and the UK. The motion picture films are mostly shot in Kodachrome color and many contain intertitles prepared by Meière to identify locations for travel lectures.

Printed materials consist primarily of clippings and publications that reference Meière's work, contain profiles of her, or contain published writings by her. A single published educational film is also found, given to her by an Australian filmmaker friend. Additional photographs, digital photographs and moving images include personal photographs of Meière, with portraits by Peter A. Juley and Sons and Berenice Abbott, photographs of many of her commissioned works, and a few photographs of artwork by others. Home movies show Meière with friends in 1926 and 1940. Among the photographic documentation of artworks by Meière and others are motion picture films of the 1939 New York World's Fair, the D.C. Municipal Building Frieze, and the 1937 Paris Fair; also found are 311 lantern slides and 201 glass copy negatives of her own completed works as well as murals she documented while traveling, notably murals in Norway and Oberammergau, Bavaria, taken in the 1930s.

Eight sketchbooks date to her early years as an art student and artist and include many figure studies, landscapes, and theatrical sketches made at home and abroad.
Arrangement:
This collection is arranged in 8 series. Indexes, summaries, and transcripts prepared by Louise Meière Dunn that relate directly to archival materials in the collection are found throughout the collection with the material they describe. These indices are particularly rich in Series 2, Correspondence.

Series 1: Biographical Material, 1915-2003 (0.6 linear feet; Boxes 1, 14, OV18)

Series 2: Correspondence, 1901-2011 (3 linear feet; Boxes 1-4, RD19, 0.038 GB; ER01-ER03)

Series 3: Writings, 1904-1960 (1.3 linear feet; Boxes 4-5)

Series 4: Civilian War Service Records, 1938-2006 (1.3 linear feet; Boxes 5-6, 15, FC 28-30)

Series 5: Travel Records, 1933-1958 (12.8 linear feet; Boxes 6-10, 15, OV18, FC 31-111)

Series 6: Printed Material, 1913-1998 (2.1 linear feet; Boxes 10-12, 15, FC 112)

Series 7: Photographs and Moving Images, 1915-1966 (5.8 linear feet; Boxes 12-13, 16, 20-27, FC 17, 113-127, 0.029 GB; ER04)

Series 8: Sketchbooks, 1911-1922 (0.4 linear feet; Box 13)
Biographical / Historical:
Hildreth Meière (1892-1961) was born in Flushing, New York, and had a prolific career from 1921-1961 as an architectural muralist working primarily in an Art Deco style. Meière painted murals and designed for various mediums including mosaic, metal, and stained glass. In 1956 the American Institute of Architects awarded Meière their Fine Arts Medal.

Meière was educated at New York's Convent of the Sacred Heart, Manhattanville, the Art Students League in New York, the California School of Fine Arts (now San Francisco Art Institute), and the School of the Art Institute of Chicago, in addition to pursuing studies in Italy. Her major commissions include the Nebraska State Capitol at Lincoln, the National Academy of Sciences, the Resurrection Chapel of the National Cathedral in Washington, D.C. In New York, she designed the Art Deco plaques on the exterior wall of Radio City Music Hall; created mosaic interiors for the Irving Trust Building at 1 Wall Street; and provided ecclesiastical decorations for St. Patrick's Cathedral, St. Bartholomew's Episcopal Church, Temple Emanu-El, and elsewhere. She also created murals for the Chicago 1933 Century of Progress Fair, and the 1939 New York World's Fair.

She was also an active officer in the Art Students League and the National Society of Mural Painters. Some of her most inspired collaborations were with the architect Bertram Goodhue in the 1920s, and only his sudden death in 1924 put an end to them, although some projects were finished with the successor firm.

Meière died in 1961 at the age of 68. Her work is remembered in several major publications, including The Art Deco Murals of Hildreth Meière by Catherine Coleman Brawer and Kathleen Murphy Skolnik, with photographs by Meière's granddaughter, Hildreth Meière Dunn, published in 2014; and the catalog of the 2009 exhibition at St. Bonaventure University, curated by Brawer and photographed by Dunn, entitled Walls Speak: the Narrative Art of Hildreth Meière.
Provenance:
A majority of the collection placed on deposit 2001 by Louise Meière Dunn, daughter of Hildreth Meière. The collection was donated incrementally by Dunn through 2012. Donations occurred 2001-2007, and again in 2010-2012.
Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Hildreth Meière papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
War relief  Search this
Travel  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
World War I, 1914-1918  Search this
Women artists  Search this
Mosaicists -- New York (State) -- New York  Search this
Art commissions  Search this
Motion pictures (visual works)  Search this
Genre/Form:
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Citation:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meiemari
Online Media:

Everhardt Museum of Natural History, Science, and Art

Collection Creator:
Midtown Galleries  Search this
Container:
Reel 5341, Frame 263-324
Type:
Archival materials
Date:
1955-1960
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection Rights:
The Midtown Galleries records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
See more items in:
Midtown Galleries records
Midtown Galleries records / Series 1: Administrative Correspondence / 1.1: General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-midtgall-ref3169

Norfolk Museum of Arts and Sciences

Collection Creator:
Midtown Galleries  Search this
Container:
Reel 5360, Frame 105-211
Type:
Archival materials
Date:
1939-1971
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection Rights:
The Midtown Galleries records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
See more items in:
Midtown Galleries records
Midtown Galleries records / Series 1: Administrative Correspondence / 1.1: General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-midtgall-ref3699

Telfair Academy of Arts and Sciences

Collection Creator:
Midtown Galleries  Search this
Container:
Reel 5370, Frame 690-812
Type:
Archival materials
Date:
1941-1957
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection Rights:
The Midtown Galleries records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
See more items in:
Midtown Galleries records
Midtown Galleries records / Series 1: Administrative Correspondence / 1.1: General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-midtgall-ref4030

Reginald Marsh papers

Creator:
Marsh, Reginald, 1898-1954  Search this
Names:
Benton, William, 1900-1973  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Fred Dana, 1872-1961  Search this
Powys, Llewelyn, 1884-1939  Search this
Schmidt, Katherine, 1898-1978  Search this
Woodhouse, Betty Burroughs, 1899-1988  Search this
Extent:
9.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Date:
1897-1955
Summary:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.
Scope and Content Note:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.

Marsh's correspondence is typically with family, friends, artists, colleagues, dealers, government officials, publishers, greeting card companies, admirers and former students. Correspondence concerns both personal and professional matters, documenting his relationships with family and friends and his work on various projects ranging from book illustrations to the murals he executed as part of the Treasury Department Art Program. Diaries include those Marsh kept as an adolescent, those in which he recorded his technique and work on art, and those in which he recorded his daily engagements. Notebooks include ones on art, in which he recorded notes on particular works and on painting techniques, mediums and other processes; ones used as address books and to record notes on travel and art work; and ones on finances, in which he kept track of earnings from his stocks and art, as well as some student notebooks. Diaries and notebooks both document various practical aspects involved in the creation of Marsh's art work.

Sketches include ones on loose sheets and scraps of paper and in sketchbooks, documenting some of the sources and recurrent themes of Marsh's art work, as well as shedding light on Marsh's process of creation. Scrapbooks consist primarily of clippings (illustrations, reviews, reproductions of art work) compiled by Marsh, documenting the publication, exhibition, and reception of his art work. Business and financial papers consist of paperwork (contracts, agreements, statements, receipts, permissions) relating to business matters, practical concerns, and financial aspects involved in handling his various art projects and in exhibiting and selling his art work. Photographs include ones of Marsh's family and friends, the artist at work (sketching around Coney Island and on the streets of New York), and his art work (some of which was compiled into volumes by Marsh and some of which was compiled by Norman Sasowsky).

Also found are limited amounts of biographical material, including juvenilia, official documents, awards and certificates, writings, an appraisal of Marsh's estate, and catalogs of Marsh's art work, and printed material, including exhibition catalogs, clippings, and publications.
Arrangement:
The Reginald Marsh papers are arranged as 9 series:

Series 1: Biographical Material, 1910s-1955 (boxes 1, 11; 0.8 linear feet)

Series 2: Correspondence, 1920-1954 (boxes 1-2, OV 12; 1.2 linear feet)

Series 3: Diaries, 1912-1954 (box 3; 1 linear foot)

Series 4: Notebooks, 1919-1954 (box 4; 0.8 linear feet)

Series 5: Sketches, 1901-1954, undated (boxes 4-5, OV 12-21; 1.4 linear feet)

Series 6: Scrapbooks, 1901-1954, undated (boxes 6, 9-11; 1.5 linear feet)

Series 7: Business and Financial Papers, 1923-1954 (box 6; 0.3 linear feet)

Series 8: Photographs, circa 1897-1908, 1920-1952 (boxes 6-8, 10; 1.3 linear feet)

Series 9: Printed Material, 1931-1955 (boxes 8, 10; 0.2 linear feet)
Biographical Note:
Reginald Marsh was born in Paris on March 14, 1898. His father, Fred Dana Marsh, was a well-known muralist, and his mother, Alice Randall Marsh, was also an artist who painted miniature watercolors. Marsh returned with his family to the United States in 1900 and grew up in Nutley, New Jersey.

After graduating from Yale University in 1920, Marsh moved to New York, where he worked as an illustrator for the New York Evening Post and Herald, Vanity Fair and Harper's Bazaar. Beginning in 1922, he worked as staff artist at the New York Daily News doing a cartoon review of vaudeville and burlesque. During the 1920s, he designed theater curtains for the Greenwich Village Follies and other theater productions, and became one of the original cartoonists at The New Yorker after it was founded in 1925, actively working for the magazine until 1931 and regularly contributing drawings from time to time after that.

In 1923, Marsh married Betty Burroughs, who was the daughter of the curator of painting at the Metropolitan Museum of Art and herself a sculptor. They divorced in 1933, and he married his second wife, Felicia Meyer, a landscape painter, in 1934.

In the early 1920s, Marsh began to study painting and attended classes taught by John Sloan and Kenneth Hayes Miller, among others, at the Art Students League in New York. He made several trips to Europe, once in 1925-1926 and again in 1928, to study the old masters in the museums. In 1929, he began to paint in egg tempera. He also worked in watercolor, painting several large compositions in 1939-1940. In the 1940s, he studied the "Maroger medium" with Jacques Maroger and began to use this emulsion technique in his paintings. In addition to painting, he also worked in lithography, etching, and engraving.

Marsh had his first one-man show of oils and watercolors at the Whitney Studio Club in 1924 and another show of lithographs there in 1928. He had one-man shows of his watercolors at the Valentine Dudensing Galleries in 1927, the Weyhe Gallery in 1928, and the Marie Sterner Galleries in 1929. In 1930, he had his first show of paintings at the Rehn Galleries, where he regularly exhibited for the next two decades.

In 1935 and 1937 respectively, Marsh was commissioned by the Treasury Department Art Program to paint two murals in the Post Office Department Building in Washington, D.C. and a series of murals in the rotunda of the Customs House in New York. Beginning in 1935, Marsh taught drawing and painting at the Art Students League. In the summer of 1946, he was guest instructor at Mills College, Oakland, California, for six weeks. In 1949, he was appointed head of the Department of Paintings at Moore Institute of Art, Science, and Industry, Philadelphia and taught advanced painting there in 1953-1954.

Beginning in the mid-1930s, some of Marsh's art work began to be reproduced on greeting cards issued by the American Artists Group and Living American Art, Inc. He also did illustrations for editions of Theodore Dreiser's Sister Carrie (1938), John Dos Passos's USA (1945) and Adventures of a Young Man (1946), and Mark Twain's The Prince and the Pauper (1946), among others. He continued to do freelance illustrations for magazines, including Esquire, Fortune, and Life. Notably, he served as an artist correspondent for Life during the Second World War, and traveled to Brazil in 1943 to draw the army installations there.

Marsh was the recipient of various awards throughout his career, including the M. V. Kohnstamm Prize from the Art Institute of Chicago in 1931, the First W. A. Clark Prize and Corcoran Gold Medal from the Corcoran Gallery of Art, Washington, D.C., in 1945, and the Gold Medal for Graphic Arts of the National Institute of Arts and Letters in 1954.

Marsh died of a heart attack in Dorset, Vermont on July 3, 1954.

This biographical note draws heavily from information originally printed in the catalogue of the Reginald Marsh Retrospective Exhibition organized by the Whitney Museum in 1955.
Related Material:
The Archives holds several collections of different provenance that relate to Reginald Marsh, including Felicia Meyer Marsh and Meyer Family Papers (available on reels 2082, 2087-2090, and 4474-4475), Fred Dana Marsh illustrated letters (available on reel 3134), Norman Sasowsky Research Material on Reginald Marsh (partially available on reels 1195 and 1463-1464), and Reginald Marsh Printed Material, consisting of two yearbooks from Lawrenceville School donated by Alvin Macauley who was a classmate of Marsh (not available on microfilm). In addition, a portion of the materials loaned and microfilmed in 1963 on reel NRM 19, including several small paintings, are housed in the Pierpont Morgan Library.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Some of the material loaned for microfilming in 1963, including the bulk of Marsh's sketchbooks and some anatomy sketches, was subsequently donated to the Metropolitan Museum of Art, New York Public Library, and Whitney Museum of American Art. Other loaned material, including several small paintings, was from the Pierpont Morgan Library. Most of the files of clippings that were donated to AAA with Marsh's papers were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library in 1979. Even though this material is not technically part of the collection housed in AAA, copies are available on microfilm reels NRM3-NRM17 (sketchbooks and sketches), NRM 19 (material from the Pierpont Morgan Library), NRM 20 (small paintings), and 2233-2234 (clippings). A portion of the material donated to AAA with the Reginald Marsh papers has been separated to create a new collection of Felicia Meyer Marsh and Marsh Family papers. Loaned and transferred material is not described in this finding aid.
Provenance:
A large portion of the Reginald Marsh papers, including diaries, notebooks, sketchbooks, and photograph albums, was lent for microfilming in 1963 by Marsh's wife, Felicia Meyer Marsh. Some, but not all, of this material was subsequently donated to AAA in 1979, after the death of Mrs. Marsh, along with some additional material, including notebooks, scrapbooks, biographical and printed material. Another portion of the collection, comprised mainly of correspondence and a catalog of Marsh's art work, was donated in 1964. Three items of Marsh juvenilia were donated in 1984 by Alice Heffernan. Sketches that Mrs. Marsh bequeathed to the Whitney Museum were donated to AAA by the museum in 1987, along with 5 sketchbooks previously lent. Later gift portions were microfilmed.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Reginald Marsh papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Etchers -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Painting, American  Search this
Painting -- Technique  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Citation:
Reginald Marsh papers, 1897-1955. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsregi
See more items in:
Reginald Marsh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marsregi
Online Media:

Draft, Chapter 6 - On Science

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Container:
Box 50, Folder 21
Type:
Archival materials
Date:
circa 1952-1963
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Elizabeth McCausland papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Elizabeth McCausland papers
Elizabeth McCausland papers / Series 15: Elizabeth McCausland Material from the Estate of Berenice Abbott / 15.4: Project Files, Conversations with March
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref1653

Social Science Research Council

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Container:
Box 25, Folder 34
Type:
Archival materials
Date:
1948
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Elizabeth McCausland papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Elizabeth McCausland papers
Elizabeth McCausland papers / Series 7: Other Research and Writing Files / 7.4: Various Projects
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref909

Ralph Fabri papers

Creator:
Fabri, Ralph, 1894-  Search this
Names:
American Watercolor Society  Search this
Artists for Victory, Inc  Search this
Society of American Etchers  Search this
Today's art  Search this
Extent:
26 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Christmas cards
Scrapbooks
Video recordings
Drawings
Diaries
Watercolors
Sketches
Sketchbooks
Illustrated letters
Date:
circa 1870s-1975
bulk 1918-1975
Summary:
The Ralph Fabri papers measure 26.0 linear feet and are dated circa 1870s-1975, with the bulk of the material dated 1918-1975. Biographical information, correspondence, subject files, writings, art work, financial records, miscellaneous records, scrapbooks, printed material, a videotape of Fabri in his studio, and photographs document the professional career and personal life of the painter, printmaker, commercial artist, writer, and teacher.
Scope and Content Note:
The Ralph Fabri papers measure 26.0 linear feet and are dated circa 1870s-1975, with the bulk of the material dated 1918-1975. Biographical information, correspondence, subject files, writings, art work, financial records, miscellaneous records, scrapbooks, printed material, and photographs document the professional career and personal life of the painter, printmaker, commercial artist, writer, and teacher.

Biographical information includes awards and certificates, educational records, passports and travel documents.

Almost one-half of the collection consists of Fabri's correspondence. There is correspondence with friends and relatives, as well as professional correspondence. Much of the early correspondence with friends and family is written in Hungarian and also include small watercolors by Fabri that he used as postcards to send messages to family members. A number of later letters are illustrated with drawings by Fabri and other artists. Extensive correspondence - often daily missives - records romantic liaisons with Mabel Farrar, Mina Kocherthaler, Elly von Marczell, and Mavis Elizabeth Peat, as well as the travels and careers of Hungarian opera singer Maria Samson and composer and impresario Laszlo Schawrtz. In addition, there are large numbers of Christmas cards, many with original artwork, from artist friends and former students. Professional correspondence concerns teaching, writing and publishing, commercial work, exhibitions and sales.

Subject files relate mainly to organizations and institutions in which Fabri was active, and include his correspondence and some official records (minutes, reports, financial records), and printed material. Among the organizations and institutions are: Allied Artists of America, Inc., Artists for Victory, Inc., Audubon Artists of America, Inc., National Academy of Design, and Society of American Etchers. Other subject files concern the schools where Fabri taught and publications with which he was associated.

Among the writings by Fabri are drafts and completed manuscripts of articles, books (including two unpublished titles), music and lyrics, and a few poems. Diaries (75 vols.) covering the period 1918-1975, contain almost daily entries that record in varying degrees of detail his professional and personal activities, special and mundane events, and opinions. Prior to 1939, the diaries are in Hungarian or partially in Hungarian. Heavily illustrated notes from his studies at the Royal Academy of Fine Arts survive, along with other miscellaneous notes and 7 notebooks containing lists of concerts, operas, and plays attended by Fabri between 1912 and 1974.

Writings by other authors include the manuscript of Pastel Painting published by Stephen Csoka, said to have been written by Fabri.

Art work by Fabri includes student work, early commercial work, drawings and sketches, a few early watercolor paintings, and two sketchbooks. Work by other artists consists of a watercolor by his uncle Miklos Fabri, a pencil drawing by Laszlo Schwartz, a gouache painting by Paul Mommer, and an ink drawing by Marantz.

Financial records mainly concern banking transactions and taxes. In addition there are receipts for personal and business expenses and packages sent to family in Hungary.

Included among the miscellaneous records and artifacts are art sales and donations, six medals awarded to Fabri, and guest books. A videotape (SONY Helical Scan recording) of Fabri in his studio, made by Jerome Bona and Rick Brown that aired on NYC public access television station Channel C in 1973, is also included.

Scrapbooks (10 vols.) contain reproductions of Fabri's early commercial work, clippings, printed material, and a few photographs documenting his career.

Printed material by Fabri includes articles, books, commercial designs, reproductions, and works translated by Fabri for publication in Hungarian. Also included are issues of Today's Art containing signed and unsigned articles and editorials by Fabri, and some pieces he wrote using pseudonyms. Exhibition related items include catalogs, announcements, and invitations for Fabri's group and solo exhibitions and exhibitions of other artists. Also included are posters, and prospectuses.

Photographs are of art work, people, places, and miscellaneous subjects. People pictured are Ralph Fabri, his family (including a few ancestors), friends, and unidentified individuals and groups. Places documented include exterior views of Pension Villa-Fabri in Hungary (the family's restaurant and hotel), as well as photographs of foreign lands visited by Fabri or sent to him by friends. An item of note filed with miscellaneous subjects is a parade float titled "Give a Thought to Music," designed and constructed by Fabri. Included in ten photograph albums are views of paintings and commercial work by Fabri, various friends, his studio, the Dreiser estate in Mt. Kisco, N.Y., and group portraits of City College of New York faculty.
Arrangement:
The collection is arranged into 10 series::

Series 1: Biographical Information, 1919-1973, undated (Box 1, OV 31; 0.2 linear ft.)

Series 2: Correspondence, 1904-1975, undated (Boxes 1-12; 11.0 linear ft.)

Series 3: Subject Files, 1941-1975, undated (Boxes 12-14, 25; 2.1 linear ft.)

Series 4: Writings, 1911-1975, undated (Boxes 14-17; 3.8 linear ft.)

Series 5: Art Work, circa 1903-1970s, undated (Boxes 17, 26; 0.4 linear ft.)

Series 6: Financial Records, 1923-1973, undated (Box 18; 0.6 linear ft.)

Series 7: Miscellaneous Records and Artifacts, 1931-1975, undated (Box 18; 0.4 linear ft.)

Series 8: Scrapbooks, 1911-1971 (Boxes 27-30; 1.3 linear ft.)

Series 9: Printed Material, 1910s-1973, undated (Boxes 19-23, OV 32; 4.8 linear ft.)

Series 10: Photographs, circa 1870s-1973, undated (Boxes 23-25; 1.4 linear ft.)
Biographical Note:
Painter and printmaker, commercial artist, writer, and teacher Ralph Fabri was born Fabri Reszo in Hungary in 1894. He was educated in Budapest, first studying architecture at the Royal Institute of Technology from 1912 to 1914. He then enrolled in the Royal Academy of Fine Arts, from which he graduated in 1918 with a Professor's Diploma (M.A.) "for teaching drawing, painting and geometry - including descriptive and projective geometry - in schools of higher education."

Fabri arrived in New York City in 1921 and soon adopted the anglicized version of his name, Ralph Fabri. He began doing commercial design work and during the academic year of 1923/24 was enrolled as an evening student at the National Academy of Design. After becoming an American citizen in 1927, he traveled extensively in Europe. Upon returning to New York that same year, Fabri decided his financial situation was stable enough to allow him to focus his attention on fine art.

During the Great Depression, Fabri's already inadequate portrait commissions and art sales further declined and he returned to commercial work. He established a workshop known as the Ralph Fabri Studios, that designed theatrical and movie sets, window displays, and retail interiors. But Fabri found the workshop dirty and distasteful, and eventually was able to concentrate on advertising work which could be done from home. The largest clients for his pen and ink drawings were The Stamp and Album Co. of America, Inc. (for which he designed covers for stamp albums and produced illustrations for envelopes housing sets of stamps sold to collectors), Geographica Map Co., and Joseph H. Cohen & Sons (for whom he designed and illustrated mail order catalogs). Another source of income during this period was the design and construction of an addition to "Iroki," Theodore Dreiser's estate in Mt. Kisco, N.Y., for which Fabri acted as architect and contractor.

Soon after arriving in the United States, Fabri began writing art reviews and articles on art and other topics for publication in Hungarian newspapers, and began submitting similar pieces to American newspapers and periodicals. Between 1949 and 1951 Pictures on Exhibit published a series of twenty articles by Fabri on materials and techniques, and from 1952 through 1961 he was a critic for that publication. Fabri contributed many articles on a variety of topics to Today's Art, starting in 1953, the year the magazine was established. In 1961, Fabri became associate editor of that monthly periodical and was named its editor in 1970, a position he held for the remainder of his life. During his tenure, every issue of Today's Art included signed and unsigned articles and editorials by Fabri, as well as some pieces written under pseudonyms. He also worked as a book reviewer for American Artist and art editor of Funk & Wagnall's New Encyclopedia.

Fabri may be best known for his books in the how-to-do-it vein, some of which were distributed through art supply stores. Among his many books are: Learn to Draw (1945), Oil Painting: How-to-Do-It! (1953), A Guide to Polymer Painting (1966), Sculpture in Paper (1966), Color: A Complete Guide for Artists (1967), Complete Guide to Flower Painting (1968), The First Hundred Years: History of the American Watercolor Society (1969), Painting Outdoors (1969), Painting Cityscapes (1970), and Artist's Guide to Composition (1971).

For nearly three decades, Fabri taught art in New York City. He was an instructor in the life and still life classes at the Parson's School of Design from 1947 through 1949. In 1951, Fabri was appointed associate professor at City College of New York, where he taught painting and art history until retiring in 1967. In addition, he was on the faculty of School of the National Academy of Design, teaching painting, drawing, and graphics from 1964 until his death.

Fabri was an active member of many artists' organizations. He was president of the National Society of Painters in Casein, Inc., an organization founded by Fabri in 1953 (it later became the National Society of Painters in Casein and Acrylic, Inc.); he also served as president of the Audubon Artists and the Allied Artists of America, Inc. As historian of The American Watercolor Society, Fabri wrote a book length history of that organization published on the occasion of its centennial. He was the secretary and treasurer of the National Academy of Design, as well as serving on many of its committees.

Paintings and prints by Ralph Fabri have been exhibited widely in solo and group exhibitions throughout the United States and, to a lesser extent, in Europe. A frequent lecturer, his painting demonstrations were quite popular. Fabri received numerous honors and awards, and his work is included in the permanent collections of the Metropolitan Museum of Art, the Library of Congress, the New York Public Library, the National Academy of Design, the Norfolk Museum of Art and Science, Smithsonian Institution, the Museum of Fine Arts, the National Gallery in Budapest, and many other public and private collections.

Ralph Fabri died in New York City in February 1975.
Related Material:
Ralph Fabri donated his correspondence with Theodore and Helen Dreiser, 1929-1955, to the University of Pennsylvania, where it is now part of the Theodore Dreiser papers.
Provenance:
The Ralph Fabri papers were donated by Ralph Fabri, 1971-1974. Additional papers were the gift of his estate, 1975-1976.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Ralph Fabri papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New York (State) -- New York  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Educators -- New York (State) -- New York  Search this
Art -- Societies, etc. -- New York (State) -- New York  Search this
Art criticism -- New York (State) -- New York  Search this
Painting, American -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Christmas cards
Scrapbooks
Video recordings
Drawings
Diaries
Watercolors
Sketches
Sketchbooks
Illustrated letters -- Local
Citation:
Ralph Fabri papers, circa 1870s-1975, bulk 1918-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fabrralp
See more items in:
Ralph Fabri papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fabrralp

Christian Science Church, San Diego (1904)

Collection Creator:
McCoy, Esther  Search this
Extent:
(Photographs by Marvin Rand have not been scanned)
Container:
Box 34, Folder 26
Type:
Archival materials
Date:
circa mid-1900s
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Collection Rights:
The Esther McCoy papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Esther McCoy papers
Esther McCoy papers / Series 9: Photographs and Slides / 9.2: Architects / Photographs of Irving Gill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccoesth-ref1222

Christian Science Church, Coronado (1929)

Collection Creator:
McCoy, Esther  Search this
Extent:
(Photographs by Marvin Rand have not been scanned)
Container:
Box 34, Folder 59
Type:
Archival materials
Date:
circa mid-1900s
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Collection Rights:
The Esther McCoy papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Esther McCoy papers
Esther McCoy papers / Series 9: Photographs and Slides / 9.2: Architects / Photographs of Irving Gill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccoesth-ref1250

General Correspondence

Collection Creator:
McCoy, Esther  Search this
Type:
Archival materials
Date:
1922-1989
Scope and Contents note:
This subseries primarily contains letters concerning McCoy's career in architectural history and criticism. Her career in fiction writing is covered to a lesser degree. Among the correspondents are researchers, writers, professors, architects, art professionals, publishers, and professional associations. Topics covered include research and writing projects, Los Angeles area preservation and restoration projects, and grant projects.

Major correspondents in this series include the American Institute of Architects, the Graham Foundation, City of Los Angeles Cultural Heritage Board, Domus Magazine, Los Angeles Times, editor Monica Pidgeon, architectural critics Reyner Banham, David Gebhard, William Jordy, Robin Middleton, Allan Temko, and Nathan Shapira, and architects J. R. Davidson, Craig Ellwood, Joseph Giovannini, Hans Hollein, A. Quincy Jones, and Bruno Zevi. Also found is extensive correspondence with the University of California, Berkeley, Santa Barbara, and Santa Cruz. Correspondence for 1959 contains a letter from Albert Camus requesting McCoy's assistance with helping Spanish refugees, and correspondence for 1989 contains photographs of Esther McCoy and others at the Athenaeum at Caltech for the third annual gala of the Historical Society of Southern California.

See Appendix for a list of selected correspondents from Series 2.3.
Arrangement note:
Material is arranged chronologically. The bulk of McCoy's correspondence with architects is arranged in Series 6: Architect Files. Additional correspondence pertaining to specific projects can be found in Series 4: Architectural Writings and in Series 5: Project Files. Correspondence in this series complements the files found in these other series and they should be consulted together for a better understanding of McCoy's career.
Appendix: Selected Correspondents from Series 2.3:
Abbot, Mary Squire (McIntosh and Otis, Inc.), 1949, 1950, 1953, 1957

Adahura, Yuki, 1942

Adams, Christopher, 1962

Albinson, Don, 1989

Alexander, Christopher, 1965

Allen, Albert, 1968

Amantea, Kirjah, 1982

Ambre, Reuth, 1986

American Academy in Rome, 1970

American Federation of Arts, 1966

American Film Institute, 1975

American Institute of Architects, 1959, 1967, 1968, 1969, 1972, 1973, 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1987, 1988, 1989

American Institute of Interior Designers, 1974

Anderson, Sherwood, undated

Andrews, Wayne, 1983

Architecture -- , 1985

Architecture in Australia, 1974

Architectural Forum -- , 1965, 1966, 1968

Architectural History Foundation, Inc., 1982, 1983, 1984

Architectural Publishing Co., 1967

Architectural Record -- , 1959

Archive of Women in Architecture, 1975

Archives of American Art, 1984, 1985, 1986, 1987, 1989

Arizona Quarterly -- , 1949

Arizona State University, 1969

Arts in Society -- , 1964

Ashton, Raymond J., 1948

Ashton, Ruth (KNX Radio), 1964

Atkinson, Janet Irene, 1980, 1985

Author and Journalist, 1951

Bailey, Van Evera, 1953

Baldauf, Lisa, 1989

Balint, Dr. D. P., 1963

Banham, Reyner (Peter) and Mary, 1964, 1966, 1967, 1969, 1970, 1971, 1973, 1979, 1982, 1983, 1988, 1989, undated

Barnette-Stratford, Mrs. Lou, 1968

Barsocchini, Michael, 1970

Beach, John, 1984

Beebe, Tina, 1989

Behrman, S. N., 1960

Belluschi, Pietro, 1949

Beltram Carla, 1966

Bendixson, T. M. P., 1961

Bennett, Janey, 1986

Berkeley, Ellen Perry, 1975, 1987, 1988, undated

Bicknell, Catherine, 1985

Birkmeyer, Karl, 1968

Blanton, John, 1988

Blau, Milton, 1947

Boaz, Joseph N., 1949

Bowlby, Bob, 1983, 1989

Boyer, John, 1982

Brant, Sandra, 1975

Brooks, Allen, 1975

"The Bradbury Girls," 1972

Brunati, Mario, 1963, 1965, 1966

California Coastal Commission, 1977, 1978

California Council of Architects, 1957

California Department of Parks and Recreation, 1973

California Historical Society, 1979

California Magazine -- , 1985, 1986

California Polytechnic State University, 1978, 1984

California State Office for Historic Preservation, 1978

Camus, Albert, 1959

Carrott, Richard, 1973

Carson, Sam, 1969

Casabella (Gian Antonio Bernasconi), 1965

Charles Scribner's Sons, 1930

Chang, Ching Yu, 1977, undated

Chase, John, undated

Chermayeff, Serge, undated

Choate, Forrest, 1986

Christian Science Monitor -- , 1987

City Attorney, Santa Monica, California, 1968

City of Beverly Hills, 1982, 1983, 1984

City of Los Angeles, Cultural Heritage Board, 1963, 1966, 1967, 1969, 1973, 1974, 1982, 1983, 1987, 1988

Clark, Alson, 1984, undated

Cochran, Victor E., 1953

Cohen, Elaine Lustig, 1985

Cohen, Stuart, 1979

Colgan, Susan, 1979

Collier's -- , 1953

Columbia Broadcasting System, Inc., 1947, 1948

Columbia University, 1972, 1973

Communication Dynamics, 1963

Compagnia Nazionale Artigiana, 1956, 1960

Contini, Edgardo, 1963

Correa, Frederico, 1975

Craft and Folk Art Museum, 1983

Cragar, Robert, 1949, 1950

Craig, Mary, 1945

Crosbie, Michael, 1985, 1987, 1988, 1989

Cross, Paula, 1981

Culot, Maurice, 1972, 1973

Curtis, William, 1982, 1985, 1987, 1989

Dailey, Gardner A., 1948

Dale, John R., 1989

Davidson, Barnaby, 1984

Davidson, Carlos, 1984

Davidson, Erica, 1983, undated

Davidson, J. R. and Greta, 1973, 1974, 1976, 1977, 1978, undated

Davidson, Tom, 1981, undated

Day, Peter, 1985

De Bretteville, Peter and Sheila (The Woman's Building), 1975, 1976, 1977, 1978

De Long, James, 1947

Dearborn-Massar, 1961

Delano, Leonard H., 1949

Design Quarterly -- , 1975, 1987

Dictionary of American Biography -- , 1975

Dictionary of Art -- , 1986

Diefenbach, John, 1973

Dimster, Frank, 1966

Dixon, John Morris, 1979

Domus -- (Lisa Licitra Ponti), 1970, 1971, 1972, 1973, 1974, 1975, 1981, 1982

Donohoe, Victoria, 1965, undated

Dorman, Richard, 1970

Dougherty, Carole, 1989, undated

Downing, Holly, 1974

Dudley, George, 1984, 1988, undated

Dukeminier, Jesse, Jr., 1967

Dyson, Arthur, 1985, 1987

Easton, Bob, 1977

Eckbo, Gerrett, 1977, 1982

Eder, Richard, 1987, 1988

Edilizia Moderna, 1965

Eisner, Richard K., undated

Elliott, James, 1986

Ellwood, Craig, 1967, 1968, 1971, 1984, 1988

Elwyn, Adolph, 1946

Emanuel, Muriel, 1979

Emmons, Donn, 1975

E. P. Dutton and Co., 1975

Favro, Diane, 1987

Fetherson, Kate, 1979, 1980, 1981, 1988

Feiss, Carl, 1948, 1949

Field, Ellen, 1964

Filler, Martin, 1986

Fisher, Shirley, 1978

Flack, Peter, 1975

Fonda-Bonardi, Mario, 1989

Ford, Edward R., 1986

Foreign Service of the United States of America, 1959, 1962

Forsyth, Robert J., 1961, 1962

Fortune -- , 1936

Francis, Marcia, 1979

Franks, Milton, 1962

Franzen, Ulrich, 1968, 1969

Frey, Albert, 1988

Friends of Cast Iron Architecture, 1972, 1974, 1977, undated

Friends of Kebyar, 1984

Fulton, Weldon, undated

Gebhard, David, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1972, 1973, 1974, 1975, 1977, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1986, 1987, 1988, undated

Geddes, Robert L., 1977

General Services Administration, 1973

Giella, Alfonso and Bobbi, 1967, 1974, 1982

Gill, Dorothy, 1985

Giovannini, Joseph (Gio), 1979, 1981, 1986, 1988, 1989, undated

Goldberger, Paul, 1972, 1973, 1975

Goldman, Shifra M., 1979, undated

Goldstein, Barbara, 1981, 1982, 1985, 1989, undated

Gordon, Don, 1980, undated

Gould, Jean, 1965

Graham Foundation for Studies in the Fine Arts (Carter Manny), 1964, 1965, 1966, 1968, 1969, 1970, 1971, 1974, 1975, 1978, 1979, 1981, 1983, 1984, 1985, 1986, 1987, undated

Granger, Kathleen, 1981

Gray, Paul, 1977

Greenbaum, Katherine, 1980

Greene, Herb, 1971, 1972, 1976, undated

Greenhill, Nigel, 1973

Gregory, Dan, 1982, 1984, 1986, 1987

Guss, Jack, 1961

Hall, Milly, 1970, 1976, 1977

Hanks, David, 1986

Harnish, John, 1960

Harper and Row, 1979

Harper's Bazaar -- , 1951, 1952, 1961

Harris, Robert, 1981, 1982

Harvard Architecture Review -- , 1977, 1979

Harvey, Harold E., 1972, 1973

Haupt, Peter, 1967

Hayden, Dolores, 1984, undated

Helene Wurlitzer Foundation of New Mexico, 1967, 1969

Hernandez, Diana, 1976, undated

Herron, Ron, 1969

Hess, Alan, 1985

Hillyer, Elinor, 1949

Hinerfeld, Susan and Robert, 1984

Hines, Tom, 1971, 1975

Historical Society of Southern California, 1988, 1989

Hitchcock, H. R., 1956

Hite, Garron S., 1972

Hoag, Paul Sterling, 1981

Hollein, Hans, 1960, 1963, 1964, 1965, 1966, 1972, 1976, 1984, undated

Hollywood Revitalization Committee, 1979

Holt, Rinehart and Winston, 1977

Houvener, Robert, 1969

Howe, John H., 1980

Howe, Sanora Babb, 1980, 1982, 1989

Humanities West -- , 1984, 1985

Huxley, Aldus, 1960

Ingalls, David K., 1987

Interiors -- , 1984, 1985

Istituto Nazionale per il Commercio Estero, 1970

Jansen, Virginia, 1978

Japan Architect -- , 1968

Jarrico, Paul, 1971

Johnson, Mark R., 1981

Jokl, Magda, 1978

Jonas, Susan, 1963

Jones, A. Quincy and Elaine, 1968, 1969, 1970, 1971, 1974, 1975, 1979, 1981, 1984, 1986, 1987, 1988, undated

Jordy, William H., 1959, 1961, 1967, 1972, 1973, 1974, 1977, 1978, 1979, 1984

Jourdan, Erven, 1951

Jurney, David, 1957

Kahn, Louis, 1960

Kamerling, Bruce, 1980, 1985

Kappe, Raymond and Shelly, 1970, 1973

Kazin, Alfred, 1961, 1984

KCRW 89.9 FM, 1989

Kennedy, Jacqueline (letter to and reply from secretary), 1964

Kershner, Irvin, 1960

Khoury, E. M., 1960, 1963

Killingsworth, Edward, 1989

King, Jean, 1975, 1977, 1987, undated

King, Robert I., 1963

Kirsch, Jonathan, 1977

Koeper, Fred, 1980

Kotas, Jerry, 1971, 1973, undated

Kripacz, Francisco, 1985

Kultermann, Udo, 1967

Lagorio, Elena, 1975

La Jolla Museum of Contemporary Art, 1977, 1986

Lamb, Paul, 1982

Landau, Sarah B., 1971

Langer, Elinor, 1975, 1983

Lawson, John Howard (Jack), 1947

Lebovich, William, 1979

Lee, Joyce, 1975

Leedy, Walter, 1970, 1971, 1972, 1973, 1976, undated

Legorreta, Ricardo, 1971

Lehman, John, 1948

Le Veque, Ann, 1980

Library of Congress, 1983

Lindauer, Theodore, 1983

Lingeman, Richard, 1986, 1987

Longstreth, Richard, 1982

Lorman, William, 1954

Los Angeles Conservancy, 1984, 1986

Los Angeles County Museum of Art, 1966, 1967, 1982

Los Angeles Times, 1957, 1959, 1960, 1966, 1968, 1969, 1971, 1976, 1977, 1978, 1980, 1981, 1983, 1985

Lovell, Gary, 1968, 1978

Lovell, Leah, 1960

Lovell, Philip, 1968, 1972

Lowenkopf, Anne, 1975

Lumsden, Anthony, 1969, 1974

Luna, Fernando, 1971, 1974

Lyman, Frederic, 1974, 1989

Lyndon, Maynard, 1983, 1984, undated

MacDowell Colony Fellows, 1988

Mangiarotti, Angelo, 1970

Manson, Grant, 1974

Massachusetts Institute of Technology, 1984

Maston, Carl, 1969, 1970, 1972

May, Cliff, 1983, 1985

McCoy, John, 1954, 1976, 1977, 1979, 1981, 1986, 1987, 1988

McCoy, Tori, 1974

McCulloch, Peter, 1962

McWilliams, Carey, 1980

Mendelsohn, Mrs. Eric, 1974, 1975

Meyer, Kurt, 1969

Middleton, Robin, 1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984, 1986, 1987, 1988

Mies Van Der Rohe Centennial Project, 1984

Miller, R. Craig, 1973

Miller, Donald M., 1986

Minister, Chancery of Pakistan, 1965

Moholy-Nagy, Sibyl, 1966, 1969

Mouton, Pierre, 1986, 1988, 1989

Muller, Louis, 1988

Murphy, William (Bill), 1969, 1970, 1982, 1983, 1984, 1985, 1986, 1987, 1988, 1989, undated

Museum of Contemporary Art, Los Angeles, 1984, 1985, 1986, 1987, 1989

Museum of Fine Arts, Houston, 1976

Museum of Modern Art, 1961, 1964, 1976

Mutlow, John, 1982

Nakamura, Toshio, 1981, 1982, 1984, 1985

National Building Museum, 1981

National Committee for the Defense of Political Prisoners, 1933

National Endowment for the Arts, 1971, 1975, 1980, 1981, 1982

National Trust for Historic Preservation, 1970, 1971, 1972, 1973, 1977

Nelson, June Kompass, 1985

Nelson, Sara, 1974

New West -- , 1976

New Yorker -- , 1953, 1962, 1968, 1974, 1975, 1876, undated

Nichols, Henry L., 1982, 1987

Nishimoto, Kenneth, 1959, 1968

Nixon, Peg and Chuck, 1976, 1989, undated

North Carolina State University, 1983

Novotny, Norbert, 1973

Nunis, Doyce, Jr., 1989

Oakley, Susan H., 1974

O'Gorman, Brit and Peter, 1983

O'Gorman, James F., 1973, 1984

Ohannesian, Paul B., 1978, 1979

On Site -- , 1975

Owen, Tom, 1963, undated

Pacific Design Center, 1985

Palazzo Dell'Edilizia, 1963, 1964

Pan American World Airways System, 1955, 1956

Pardee, Clark, 1989

Park, Donald, 1986

Park, Helen, 1979

Paul, Stella, 1988

Peregrine Press, 1971, 1977, 1986, 1989

Perspecta (Jeff Limerick), 1961, 1975, 1976, undated

Pflueger, Donald, 1989

Pidgeon, Monica, 1973, 1974, 1980, 1982, 1986

Plantin Press, Ltd., 1984

Praeger Publishers, Inc., 1972

Price, Joe D., 1969

Price, Martin, 1964

Prinsloo, Ivor, 1988

Producer-Writers Guild of America Pension Plan, 1960

Pyne Press, 1974

Rand, Marvin, 1989

Read, Gardner, 1968

Reinhold Book Division, 1968

Reinhold Publishing Division, 1960, 1970

Rhode Island Historical Society, 1977

Rhode Island School of Design, 1977

Ricasoli, Bettino, 1960

Ricci, Leonardo, 1966

Rice Design Alliance, 1976

Richardson, Betty, 1982

Richardson, Sara, 1987

Riggs, Lutah Maria, 1978

Rinehart, Arley, 1977, 1978

Roark, I. L., Jr., 1948

Robertson, A. G., 1954

Robinson, Sidney, 1973

Roche, Kevin, 1968

Rosa, Joseph, 1987, 1988

Rose, Ronald, 1984

Rosenberg, George, 1952

Rosenstone, Robert, 1973, 1974

Ross, Michael Franklin, 1979

Ross, William D., 1952

Roth, Leland, 1978

Rouillard, Dominique, 1985

Rucker, Karen Conan, 1985, 1986

Ruff, Carl, 1977

Ruocco, Ilse, 1946

Russell, Julia, 1982

Rydell, Roy, 1974, 1976

Sadler, H. G., 1973

San Diego City Council, 1984

San Diego Museum of Art, 1979

San Francisco State College, 1968

Sanders, Terry, 1965

Sanguinetti, Vittorio, 1963, 1964

Santa Monica Landmarks Commission, 1981

Santini, Pier Carlo, 1964

Saturday Evening Post -- , 1959, 1960

Sauer, Louis, 1968

Sawelson-Gorse, Naomi, 1989

Secrest, Meryle, 1988

Serulnic, Mrs. George, 1967

Sewell, Elaine K., 1966

Shapira, Nathan, 1966, 1967, 1968, 1969, 1979, 1983, undated

Shaw, Lawrence C., 1948

Shultz, Susan, 1969

Simo, Melanie, 1987, 1988

Simon and Schuster, Inc., 1963

Smith, C. Ray, 1972

Smith, Frank Folsom, 1967

Smith, Kathryn, 1979, 1987, 1988, undated

Smith, Robert, 1972

Smith, Whitney, 1970

Smithson, Alison, 1983, 1985

Snow, C. P., 1960, 1961

Solomon, Barbara Probst, 1984

Southern California Institute of Architecture, 1989

Southwest Review -- , 1952

Space Design -- , 1984

Speiss, Fred, 1977, undated

Stahlberg, Arlen, 1976

Stanfield, Cecil E., 1949

Stegner, Wallace, 1947, 1951

Steinbrueck, Victor, 1964

Stern, Robert and Lynn, 1965, 1966, 1973

Sterner, Carl John, 1974

Stickney, Charles, 1964, 1967

Stone Magazine -- , 1965

Strand, Janann, undated

Straub, Calvin, 1970

Sunset Magazine -- , 1981

Sussman, Deborah, 1987, 1989, undated

Super, Rob, 1974

Taylor, Crombie, 1967

Tazewell, E. Bradford, Jr., 1967

Temko, Allan, 1957, 1966, 1970, 1988, 1989

The Modern Quarterly -- , 1948

The Pacific Spectator -- , 1947

Thiry, Paul, 1949

Tigerman, Stanley, 1965, 1977

Toland, James, 1955, 1957

Travers, David, 1963, 1964, 1966, 1967, 1968, 1972, 1977, 1987, undated

Tulane University, 1982, 1983, undated

Turner, George P., 1960

Underhill, Anna A., 1941

University of California, Berkeley, 1974, 1978

University of California Extension, 1974

University of California, Santa Barbara, 1966, 1969, 1972, 1982, 1987

University of California, Santa Cruz, 1972, 1973, 1974, 1978, 1979

University of Cambridge, Department of Architecture, 1975

University of Oklahoma, 1949, 1985

University of Pennsylvania, 1984

University of Southern California, 1970

University Press of Kentucky, 1974

University Prints, 1957

University Women's Club, 1972, 1975, 1983

Vaccarino, Donna, 1989

Van Doren, Phyllis, 1984

Veret, Jean-Louis, 1960

Ventre, Francis T., 1985

Veronesi, Giulia, 1966, 1974

Via -- , 1976

Victor Gruen Foundation for Environmental Planning, 1972

Victor, Michael, 1983

Voelcker, John, 1968

Von Breton, Harriette, 1969

Von Eckardt, Wolf, 1981, 1983, 1984

Vreeland, Thomas, 1965, 1969, 1974, 1984

W. W. Norton and Co., 1966

Walker Art Center, 1975

Walker, Derek, 1982

Walker, Sam, 1985

Walton, Billy, 1986

Ward, Robert and Sandra Williams Photography of Architecture, 1977, 1978

Ward, Robertson, 1981

Wasserman, Steve, 1984, 1985, 1986

Waugh, Arthur B., 1959

Wayne, June, 1981, 1985

Weirick, James, 1970, 1974

Weiss, Peggy, 1982, 1984

Wemple, Emmet L., 1974, undated

Western Association of Art Museums, 1967

Wicks, Ebba L., 1949

Wight, Frederick S., 1966

Wilk, Christopher, 1987

William Morris Agency, 1957

William Morrow and Company, Inc., 1950

Williams, Alexander Kruse, 1985

Williams, Wayne R., 1952, 1953, 1972

Wills, David, 1969

Wilson, Forrest, 1972, 1975, 1983,1987

Wilson, Richard Guy, 1981

Winslow, Carleton Monroe, 1969, undated

Winter, Bob, 1964, 1975, 1976, undated

Woman's Building, 1987

Woman's Day -- , 1957

Women's Architectural League, 1981

Wood, Donna, 1981

Woodbridge, Sally, 1977, 1982

Woollen, Evans, 1983, 1984

Wright, Eric Lloyd, 1984

Writers Guild of America, West, 1967, 1969

Wurster, William, 1964

Zevi, Bruno, 1959, 1960, 1963, 1965, 1974
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Collection Rights:
The Esther McCoy papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccoesth, Subseries 2.3
See more items in:
Esther McCoy papers
Esther McCoy papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccoesth-ref115

Saint Paul Institute, Science Museum

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 71, Folder 38
Type:
Archival materials
Date:
1938-1946
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 1: Correspondence Files / 1.1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref10259

Society of Arts and Sciences

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 75, Folder 24
Type:
Archival materials
Date:
1932
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 1: Correspondence Files / 1.1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref10468

Telfair Academy of Arts and Sciences

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 78, Folder 20
Type:
Archival materials
Date:
1917-1946
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 1: Correspondence Files / 1.1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref10701

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