Skip to main content Smithsonian Institution

Search Results

Collections Search Center
2081 documents - page 1 of 105

Hide/Seek: "Unfinished Painting" by Keith Haring - National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
Youtube videos
Uploaded:
2011-04-08T14:54:25.000Z
Topic:
Portraits  Search this
Youtube Category:
Education  Search this
See more by:
NatlPortraitGallery
YouTube Channel:
NatlPortraitGallery
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:yt_qx1aIEm3Pko

Art Signs - Subway

Creator:
Smithsonian American Art Museum  Search this
Type:
Youtube videos
Uploaded:
2010-05-03T18:02:23.000Z
Topic:
Art, American  Search this
Youtube Category:
Education  Search this
See more by:
americanartmuseum
YouTube Channel:
americanartmuseum
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:yt_bpDxw1HvtoU

Guangzhou Bus Rapid Transit System_CITIES exhibition

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Youtube videos
Uploaded:
2012-12-05T16:01:54.000Z
Topic:
Design  Search this
Youtube Category:
Education  Search this
See more by:
cooperhewitt
YouTube Channel:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:yt_mo50OvHvt1g

Rick Araluce: The Final Stop

Creator:
Smithsonian American Art Museum  Search this
Type:
Youtube videos
Uploaded:
2017-11-27T15:49:53.000Z
Topic:
Art, American  Search this
Youtube Category:
Education  Search this
See more by:
americanartmuseum
YouTube Channel:
americanartmuseum
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:yt_kCK7yYNje9o

Oral history interview with Allan Sekula, 2011 August 20-2012 February 14

Interviewee:
Sekula, Allan, 1951-2013  Search this
Interviewer:
Panzer, Mary, 1955-  Search this
Subject:
Hassan, Ihab  Search this
Segalove, Ilene  Search this
Wall, Jeff  Search this
Beveridge, Karl  Search this
Lunn, Harry  Search this
Kramer, Hilton  Search this
Conde, Carol  Search this
Ruby, Jay  Search this
Rosler, Martha  Search this
Mandel, Mike  Search this
Schimmel, Paul  Search this
Fried, Howard  Search this
Lonidier, Fred  Search this
Salle, David  Search this
Reagan, Ronald  Search this
Little Richard  Search this
Knowles, Alison  Search this
Liebling, Jerome  Search this
Braderman, Joan  Search this
Halleck, DeeDee  Search this
Van Riper, Peter  Search this
Matta Echaurren, Roberto Sebastián  Search this
Kienholz, Edward  Search this
Bercovitch, Sacvan  Search this
Antin, Eleanor  Search this
Kosuth, Joseph  Search this
Kozloff, Max  Search this
Hayes, Woody  Search this
Lord, Catherine  Search this
Barthes, Roland  Search this
Salvesen, Britt  Search this
Steinmetz, Philip  Search this
Chayefsky, Paddy  Search this
Brach, Paul H. (Paul Henry)  Search this
Charlesworth, Sarah Edwards  Search this
Burch, Noël  Search this
Ascott, Roy  Search this
König, Kasper  Search this
Folks, Homer  Search this
Ross, David A.  Search this
Hanhardt, John G.  Search this
Altoon, John  Search this
Captain Beefheart  Search this
Heinecken, Robert  Search this
Baldessari, John  Search this
Wakoski, Diane  Search this
Sultan, Larry  Search this
Graham, Dan  Search this
Pommer, Richard  Search this
Hine, Lewis Wickes  Search this
Antin, David  Search this
Michelson, Annette  Search this
Connell, Brian  Search this
Mayer, Grace M.  Search this
Ginsberg, Allen  Search this
Evans, Walker  Search this
Bo Diddley  Search this
O'Doherty, Brian  Search this
Kirschenbaum, Baruch David  Search this
Stein, Sally  Search this
Graves, Michael  Search this
Burn, Ian  Search this
Ruscha, Edward  Search this
Krauss, Rosalind E. (Epstein)  Search this
Higgins, Dick  Search this
Farber, Manny  Search this
Mac Low, Jackson  Search this
Feldman, Ronald  Search this
Raskin, Jef  Search this
Fox, Terry  Search this
Lifson, Ben  Search this
Ramsden, Mel  Search this
Becker, Howard  Search this
Artforum  Search this
California Institute of the Arts  Search this
Ohio State University  Search this
Rhode Island School of Design  Search this
University of California, San Diego  Search this
Students for a Democratic Society (U.S.)  Search this
Type:
Sound recordings
Interviews
Topic:
Art, Modern  Search this
Activism  Search this
World War, 1914-1918  Search this
Music  Search this
Architecture  Search this
Antisemitism  Search this
Realism  Search this
Conceptual art  Search this
Korean War, 1950-1953  Search this
Photographers  Search this
Art  Search this
Photography  Search this
Documentary photography  Search this
Record number:
(DSI-AAA_CollID)16239
(DSI-AAA_SIRISBib)370420
AAA_collcode_sekula11
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_370420
Online Media:

Ralph and Bena Frank Mayer papers, [ca. 1920]-1964

Creator:
Mayer, Ralph, 1895-1979  Search this
Subject:
Frank, Bena  Search this
Florsheim, Richard A.  Search this
Burchfield, Charles Ephraim  Search this
Sloan, John French  Search this
MacKendrick, Lilian  Search this
Bishop, Isabel  Search this
Hurd, Peter  Search this
Brook, Alexander  Search this
Hirsch, Stefan  Search this
Pach, Walter  Search this
Rattner, Abraham  Search this
Smith, David  Search this
Biddle, George  Search this
Hammer, Victor Karl  Search this
Miller, Kenneth Hayes  Search this
Topic:
Art  Search this
Artists' materials  Search this
Record number:
(DSI-AAA_CollID)7091
(DSI-AAA_SIRISBib)209224
AAA_collcode_mayeralp
Theme:
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209224

Anna Walinska papers

Creator:
Walinska, Anna  Search this
Names:
Guild Art Gallery  Search this
Avery, Milton, 1885-1965  Search this
Beata, Welsing  Search this
Hacohen, Bracha  Search this
Littlefield, William Horace, 1902-1969  Search this
Nevelson, Louise, 1899-1988  Search this
Walinsky, Louis Joseph, 1908-2001  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Place:
Europe -- description and travel
Israel -- description and travel
Date:
1927-2002
bulk 1935-1980
Summary:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Scope and Contents:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.

Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.

Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series. There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.

Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.

There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.

Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.

Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)

Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)

Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)

Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)

Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)

Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)

Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)

Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)
Biographical / Historical:
Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.

Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.

In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.

From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.

In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.

Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.

Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.
Related Materials:
The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.
Provenance:
The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.
Topic:
Art dealers -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Drawing--Study and teaching  Search this
Educators -- New York (State) -- New York  Search this
Holocaust, Jewish (1939-1945), in art  Search this
Women painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Painting -- New York (State) -- New York  Search this
Asia--Description and travel  Search this
Middle East--Description and travel  Search this
Trinidad and Tobago--Description and travel  Search this
Genre/Form:
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Citation:
Anna Walinska papers, 1927-2002, bulk 1935-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.walianna
See more items in:
Anna Walinska papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-walianna
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Anna Walinska papers digital asset number 1
Online Media:

George Tooker papers

Creator:
Tooker, George, 1920-2011  Search this
Names:
Bachinski, Walter  Search this
Bishop, Isabel, 1902-1988  Search this
Cadmus, Paul, 1904-1999  Search this
Christopher, William R, 1924-1973  Search this
Dix, Otto, 1891-1969  Search this
French, Jared, 1905-1988  Search this
French, Margaret  Search this
Ginzburg, Ralph  Search this
Gonzalez, Xavier, 1898-1993  Search this
Isaacson, Robert  Search this
Kirstein, Fidelma  Search this
Kirstein, Lincoln, 1907-  Search this
Laning, Edward, 1906-  Search this
Lynes, George Platt, 1907-1955  Search this
Nordness, Lee  Search this
Perlin, Bernard, 1918-  Search this
Peterson, Joan, 1933-  Search this
Stamos, Theodoros, 1922-1997  Search this
Wescott, Glenway, 1901-  Search this
Wheeler, Monroe, 1899-  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Scrapbooks
Date:
circa 1851-2010
Summary:
The papers of painter George Tooker measure 5.1 linear feet and date from circa 1851 to 2010. The papers document Tooker's personal and professional life through biographical material, correspondence, project files, gallery files, exhibition files, printed material, artwork and one sketchbook, and numerous photographs, including some taken by noted photographer George Platt Lynes.
Scope and Contents:
The papers of painter George Tooker measure 5.1 linear feet and date from circa 1851 to 2010. The papers document Tooker's personal and professional life through biographical material, correspondence, project files, gallery files, exhibition files, printed material, artwork and one sketchbook, and numerous photographs, including some taken by noted photographer George Platt Lynes.

Biographical material consists of membership and travel documents, writings on and by Tooker on his circle, an address book, resume, and papers regarding Tooker's education. Also included are biographical material related to Tooker's partner William Christopher who passed in 1973. A 1978 interview with Vermont Public radio on two sound reels is also featured.

Correspondence is with friends, colleagues, and organizations. Correspondents include Isabel Bishop, Paul Cadmus, Walter Bachinski, William Christopher, Otto Dix, Jared and Margaret French, Ralph Ginzburg, Xavier Gonzalez, Robert Isaacson, Edward Laning, Lincoln Kirstein, Lee Nordness, Bernard Perlin, Joan Peterson, Theodore Stamos, Bridget Tichenor, and others. Also included are family correspondence and correspondence regarding the Estate of William Christopher.

Project files document Tooker's commissions including the set and costume design for Gian-Carlo Menotti's opera The Saint of Bleecker Street and Tooker's participation in the selection of candidates for the Vestris Prize for Choreography. Files contain correspondence, business documents, printed ephemera, sketches, photographs, three volumes of vocal scores, and textile samples.

Gallery records include business correspondence and consignments with various key galleries in Tooker's career spanning the 1960s to the end of his career including D.C. Moore Gallery, Marisa Del Re Gallery, and Durlacher Bros..

Exhibition records include documents regarding the organization of several select exhibitions in Tooker's career incuding an early retrospective at the Fine Arts Museums of San Francisco (1974) and a later traveling retrospective from 2008-2009.

Printed material consists of invitations, press releases, news clippings and exhibition catalogs documenting the careers of both George Tooker and William Christopher.

Artwork includes numerous sketchbooks, loose drawings, and sketches from Tooker's studies at the Art Students' League in the mid 1940s, in addition to an early ex-libris print created by Tooker in his youth. Also included is a sketchbook by William Christopher, as well as a study for the work The Subway, in the collection of the Whitney Museum of American Art.

Photographic materials depict Tooker's family life as well as his early artistic collaborations depicted in a number of black and white photographs taken by George Platt Lynes and PaJaMa in the mid to late 1940s. A majority of the photographs depict artists and friends, among them: George Tooker and his companion William Christopher, Paul Cadmus, Jared and Margaret French, Lincoln and Fidelma Kirstein, Glenway Wescott, Monroe Wheeler, and Bridget Tichenor. Other photographs are of Tooker building his home, gardening, and working in his studio in Hartland, Vermont. Also included are installation views from the exhibition Painting in the United States (1949) at the Carnegie Institute in Pennsylvania. There are also a fair amount of photographs, transparencies, slides and negatives documenting artwork from both the studios of George Tooker and his late partner William Christopher.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, circa 1920-2005 (0.7 linear feet; Boxes 1, 5)

Series 2: Correspondence, circa 1932-2010 (1.2 linear feet; Boxes 1-2, Oversize 7)

Series 3: Project Files, circa 1935-1968 (0.3 linear feet; Boxes 2-3, 6)

Series 4: Gallery Records, circa 1960-2009 (0.3 linear feet; Box 3)

Series 5: Exhibition Files, circa 1967-2009 (0.3 linear feet; Boxes 1, 3)

Series 6: Printed Material, circa 1851-2010 (0.5 linear feet; Boxes 3, 5)

Series 7: Artwork and Sketchbook, circa 1932-2009 (0.7 linear feet; Boxes 3, 5, 8)

Series 8: Photographs, circa 1900-2010 (1.1 linear feet; Boxes 4-5, 8)
Biographical / Historical:
George Tooker (1920-2011) was a painter based in Hartland, Vermont and New York, New York. Tooker was born in Brooklyn, New York on August 5, 1920 to George Clair Tooker and Angela Montejo Roura. He graduated from preparatory school at Phillips Academy, Andover in 1938 and received a Bachelor of Arts in English from Harvard University in 1942. Tooker studied drawing and painting under Reginald Marsh, Kenneth Hayes Miller, and Harry Sternberg at the Art Students' League from circa 1944 to 1945.

Tooker became acquainted with American painter Paul Cadmus while studying at the Art Students' League. Cadmus introduced Tooker to a circle of artists and writers living and working in New York and Europe in the mid to late 1940s that included George Platt Lynes, Jared and Margaret French, Monroe Wheeler, Glenway Westcott, and Lincoln and Fidelma Kirstein. He lived and worked with his partner and fellow artist William Christopher in New York City and later Hartland, VT.

In 1953, Tooker was commissioned by writer and philanthropist Lincoln Kirstein to design the sets and costumes for The Saint of Bleecker Street, an opera by Gian-Carlo Menotti. In 1966, the Wasemquia Charitable Trust sponsored the Vestris Prize for Choreography in cooperation with the Boston Ballet Company and Tooker was invited by trustee Henry H. Crapo to participate on the Committee of Judges for the Vestris Prize. In 1968, NASA commissioned Tooker to produce drawings and one painting documenting the development of spacecraft at the Goddard Space Flight Center located in Greenbelt, Maryland.

Tooker's paintings are found in numerous art museums and galleries including the Whitney Museum of Art, Metropolitan Museum of Art, Museum of Modern Art, DC Moore Gallery, Robert Isaacson Gallery, and the Venice Biennale. In 1968, Tooker's paintings were featured in the art magazine, Avant-Garde.
Related Materials:
Available in the Archives of American Art is an oral history interview with George Tooker conducted in 1966 by Grace G. Alexander for radio station WNYC, New York City.

Materials related to the George Tooker papers can be found the William Christopher papers at the Archives of American Art.
Provenance:
George Tooker donated his papers to the Archives of American Art in 1973. A subsequent addition was donated in 2018 by Aaron Watkins, the executor to George Tooker's estate.
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 George Tooker 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:
Painters -- Vermont  Search this
Printmakers -- Vermont  Search this
Genre/Form:
Sketchbooks
Drawings
Scrapbooks
Citation:
George Tooker papers, circa 1851-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tookgeor
See more items in:
George Tooker papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tookgeor

Reuben Tam papers

Creator:
Tam, Reuben  Search this
Names:
Alan Gallery (Charles Alan)  Search this
Brooklyn Museum of Art  Search this
Coe Kerr Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
John Simon Guggenheim Memorial Foundation  Search this
Skowhegan School of Painting and Sculpture  Search this
Andrews, Dorothy, 1918-2008  Search this
Kienbusch, William, 1914-1980  Search this
Nesjar, Carl, 1920-  Search this
Solomon, Hyde, 1911-  Search this
Extent:
8.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Sound recordings
Poems
Drafts (documents)
Photographs
Prints
Diaries
Scrapbooks
Watercolors
Drawings
Date:
1931-2006
Summary:
The papers of landscape painter and educator Reuben Tam measure 8.1 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks.
Scope and Contents:
The papers of landscape painter and educator Reuben Tam measure 8.1 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks.

Biographical material includes school documents, records of his tenure as an instructor at the Brooklyn Museum of Art School, artwork consignment and sales records, and slides and accompanying audio cassette recording of the "Reuben Tam Show" about his work as an artist on Monhegan Island, Maine.

Correspondence is with family, fellow artists, including William Kienbusch and Hyde Solomon, as well as art organizations, schools, and museums, such as Brooklyn Museum of Art School, Guggenheim Memorial Foundation, Maine Coast Artists group, and the Skowhegan School of Painting and Sculpture. Also found is correspondence with the three galleries which represented his work: Downtown Gallery, Alan Gallery, and Coe Kerr Gallery.

The collection includes five bound diaries as well as diary entries written by Reuben Tam on loose sheets of paper, primarily documenting the 1940s. Other writings include drafts of poetry, one notebook, miscellaneous notes, and essays by others.

Printed material consists of school publications, exhibition catalogs and announcements for solo and group shows, brochures, flyers, magazines, bulletins, and news clippings. Eight scrapbooks found in this collection also include newspaper clippings, exhibition announcements and catalogs, as well as event invitations, membership cards, and letters, documenting 40 years of Reuben Tam's career.

Photographs are of Reuben Tam, Tam with friends and family, and artwork. One photograph album contains photographs from Tam's visits to Maine from 1946 to 1948, and includes photographs of fellow artists Hyde Solomon, Carl Nesjar, Dorothy Andrews, and William Kienbusch. Artwork in the collection includes prints, drawings, and watercolors as well as seventeen large sketchbooks documenting the coastal landscape of Monhegan Island, Maine.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1934-1993 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1931-2006 (Box 1-4; 3.5 linear feet)

Series 3: Diaries, 1932-1974 (Box 4-5; 0.4 linear feet)

Series 4: Writings, 1939-1987 (Box 5; 7 folders)

Series 5: Printed Material, 1935-1997 (Box 5-6, 9; 1.2 linear feet)

Series 6: Photographs, circa 1930-1990 (Box 6-7, 9; 1.0 linear foot)

Series 7: Artwork, circa 1936-1975 (Box 7, 9-10, OV 11; 0.7 linear feet)

Series 8: Scrapbooks, 1938-1978 (Box 7-8; 0.9 linear feet)
Biographical / Historical:
Reuben Tam (1916-1991) was a landscape painter and educator in New York, Maine, and Hawaii. Tam was born in Kapaa, Hawaii, in 1916. He received a degree in education in 1937 from the University of Hawaii and was briefly a public school teacher before attending graduate courses at the California School of Fine Arts. In 1941 he moved to New York and took courses in art history and philosophy at the New School for Social Research and Columbia University. Tam became affiliated with the Downtown Gallery in 1945 and was a prolific exhibitor in national and regional shows, winning critical praise as an abstract landscape painter. In 1948 he was awarded a Guggenheim Fellowship and first exhibited in the National Academy's annual exhibition in 1947.

Tam was an instructor at the Brooklyn Museum of Art School from 1946 to 1974. While there he taught advanced studies in painting and was chairman of the graduate painting department. He also served as a visiting professor at Oregon State University, Haystack, and Queens College, CUNY.

Beginning in 1948, Tam and his wife, Geraldine, spent summers at their home and studio on Monhegan Island, Maine. Tam's work was deeply influenced by coastal landscapes both in Maine and in his native Hawaii. In 1981 he and his wife moved back to Kapaa, Hawaii, where he continued to paint and exhibit his new works until his death in 1991.
Related Materials:
Reuben Tam papers, 1958-1966, are also located at Syracuse University.
Provenance:
Scrapbooks were lent for microfilming 1970 by Reuben Tam and were subsequently donated in 2009 along with additional papers by Geraldine King Tam, Reuben Tam's widow.
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 Reuben Tam 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 -- Maine  Search this
Painters -- New York (State) -- New York  Search this
Educators -- Hawaii  Search this
Educators -- Maine  Search this
Educators -- New York (State)  Search this
Painters -- Hawaii  Search this
Genre/Form:
Sketchbooks
Sound recordings
Poems
Drafts (documents)
Photographs
Prints
Diaries
Scrapbooks
Watercolors
Drawings
Citation:
Reuben Tam papers, 1931-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tamreub
See more items in:
Reuben Tam papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tamreub
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Reuben Tam papers digital asset number 1
Online Media:

Jack Stewart papers

Creator:
Stewart, Jack, 1926-2005  Search this
Names:
New York City Transit Authority  Search this
World Trade Center (New York, N.Y.)  Search this
Yale University -- Students  Search this
Baxter, Violet  Search this
Egan, Charles, 1911-  Search this
Gold, Nancy  Search this
Goulet, Lorrie, 1925-  Search this
Kahn, Wolf, 1927-  Search this
Romano, Clare  Search this
Thomas, Steffen, 1906-  Search this
Toney, Anthony  Search this
Townsend, Rodman  Search this
Walker, Herbert Brooks, 1927-  Search this
Weiner, Sam  Search this
Extent:
9.9 Linear feet
7.31 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Date:
1926-2010
Summary:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.
Scope and Content Note:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.

Biographical materials include a "Video Archive" in digital format, consisting mainly of Jack Stewart being interviewed on several occasions by Nancy Gold for her television show, "What It Takes." In addition to discussions about Stewart's career, the shows include examples of his paintings and murals along with views of him at work.

Correspondence mostly documents Stewart's artistic career and work as an educator and administrator; there is some personal correspondence, as well. Of particular note are letters to Rodman Townsend who commissioned a mural about the human brain; they discuss the details of the project and its evolution, brain research, and subsequent exhibitions of related paintings. Illustrated letters and greeting cards with original artwork are from Violet Baxter, Lorrie Goulet, Wolf Kahn, Clare Romano, Anthony Toney, and Sam Weiner. Herbert Brooks Walker sent several pieces of mail art and, while in Italy, collected graffiti information for Stewart. Letters Stewart wrote to his mother span decades; the best represented periods are the years he served in the U.S. Army and studied at Yale University.

Writings and notes consist of Stewart's dissertation ("Subway Graffiti: An Aesthetic Study of Graffiti on the Subway"), miscellaneous writings and notes, and art and architecture notebooks. Dissertation documentation includes the manuscript, drafts, and related records. Among the miscellaneous writings and notes - published and unpublished - are shorter pieces, articles, student papers, and teaching notes. Of particular interest are notes/instructions for a performance piece titled "Endless Subway," "Memories of Steffan Thomas" and "My Recollection of Charles Egan." Also found are minutes of Cooper Union adjunct faculty meetings (1965-1966), and reports written when provost of the Rhode Island School of Design. Art and architecture notebooks (5 volumes) were compiled while at Yale University.

Research files on graffiti contain many sound recordings and some transcripts of interviews with graffiti writers, voluminous lists of graffiti writers' names/tags, correspondence, notes, photographs, and a wide variety of printed material. Some of the material is in digital format. Stewart began collecting these materials as his interest in graffiti developed. They were used for his dissertation and material continued to be added after the dissertation was completed.

Printed material mentioning Stewart or containing reproductions of his work includes exhibition catalogs, posters, and newsletters.

Artwork by Jack Stewart consists of drawings, paintings, and one etching; also found are designs and plans for tables, murals, and other projects. Drawings include figure studies, heads, and landscapes; most are in pencil and some in ink. The small number of paintings are oil on canvas (removed from stretchers), and gouache on paper and board. Sketchbooks (44 volumes) contain mostly pencil drawings and sketches, and a few studies for paintings and murals. Two volumes include writings about travels and events; of particular interest are "Notes on Kline's funeral May 1962," "Visit to Roman Bronze Art Foundry," and "Notes on My Development."

Photographic materials consist mainly photographs, but also include digital images and 35-mm color slides. Images of Stewart include views of him with paintings and working in his studio. Identified individuals with whom he appears are: Regina Stewart (wife), Brandon Stewart (son), Lil Stewart (mother), Ninalee Craig, Irving Sandler, and students in Urbino, Italy. Photographs of artwork document murals such as Raw Material (composed of shirt labels), and Versailles Hotel in Miami Beach; among the paintings documented are State of the Union, Icons of Western Art and Revelation XVI-16 (both with keys to individuals portrayed). Exhibition openings and installations are shown in photographs, color slides, and video recordings. Also found are photographs of the World Trade Center site taken by Stewart in December 2001.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Materials, 1926-circa 2009 (Boxes 1,11; 0.6 linear foot, ER01-ER02, 3.92 GB)

Series 2: Correspondence, 1944-2009 (Boxes 1-2; 0.7 linear foot)

Series 3: Writings and Notes, circa 1947-2003 (Boxes 2-5; 3.1 linear foot)

Series 4: Research Files on Graffiti, 1972-2010 (Boxes 5-7,11; 2.8 linear foot, ER03-ER05, 3.18 GB)

Series 5: Printed Material, circa 1945-2002 (Boxes 8, 11, OV 13; 0.7 linear foot)

Series 6: Scrapbooks, circa 1990-2003 (Box 8; 0.2 linear foot)

Series 7: Artwork, 1946-2000 (Boxes 8, 11, OV 12; 0.3 linear foot)

Series 8: Sketchbooks, 1951-2004 (Boxes 8-9; 1.3 linear foot)

Series 9: Photographic Materials, circa 1950s-2010 (Boxes 10-11; 0.4 linear foot, ER06-ER07, 0.208 GB)
Biographical Note:
Jack Stewart (1926-2005) was a painter, muralist, designer, educator and administrator in New York City. After developing an interest in graffiti in the 1970s, Stewart eventually wrote a dissertation on the subject, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989) and was recognized as an expert on mass transit art.

Jack Stewart began studying art at the High Museum School in his hometown of Atlanta when he was 10 years old. At age 14, he began a 4 year apprenticeship with painter and sculptor Steffen Thomas. After serving in World War II, he enrolled at Yale University (B.F.A. 1951) as a sculpture student, but soon switched to the painting department where he studied with Josef Albers and Willem de Kooning. After graduation, Stewart began receiving mural commissions and enrolled in classes at Columbia University School of Architecture (1951-1953). His interest in architecture was tied to understanding how to work effectively with architects on mural projects. Later, Stewart developed an interest in graffiti which he pursued through graduate study at New York University (M.A., 1975 and Ph.D., 1989).

Stewart created murals in ceramic tile, mixed media and stained glass. In addition to mosaic murals, he designed tables with mosaic tops. As an outgrowth of his mosaic work, Stewart developed a technique for laminating stained glass onto plate glass that, by eliminating the need for lead, opened new design possibilities. Mural commissions included work for Hamilton Hotel in Chicago, Versailles Hotel in Miami Beach, Public School 28 in New York City, and several ocean liners. The most unusual mural, Raw Material commissioned by Cluett Peabody and Company, was composed of shirt labels embedded in acrylic.

Beginning in 1950 Stewart participated regularly in group shows and enjoyed solo exhibitions mainly in the New York City area. He also showed in Philadelphia, Georgia, Rhode Island, Mexico and Italy, and was included in exhibitions circulated by the American Federation of Arts.

Stewart taught at the college level for nearly thirty years, including: The New School (art and architecture, 1953-1958); Pratt Institute (interior architectural design, 1955-1960); The Cooper Union for the Advancement of Science and Art (painting, drawing, human anatomy, art history, 1960-1976; Art Department Chairman, 1971-1976); International Center of Mythymna, American Division, Lesbos, Greece (summer school, 1962-1965); Columbia University (M.F.A. program instructor, 1966-1976); and New York University (drawing, 1967-1975). In 1976 he was appointed Vice President and Provost of the Rhode Island School of Design.

Stewart was active in several professional organizations. He served as New York Artists Equity Association Secretary (1986-1987) and President (1987-1989); President of the National Society of Mural Painters (1996-2000); member of the advisory board of the Steffen Thomas Museum and Archives, Buckhead, GA (1997- 2000s); and President of the Fine Arts Federation of New York (2003-2004). The National Academy of Design elected Jack Stewart an Academician in 1995.

Jack Stewart and Margot Schwarzhaupt, an artist, were married in 1947; they had one son, Brandon. Painter and arts administrator, Regina Serniak, became Jack Stewart's wife in 1976.

Jack Stewart died in New York City in 2005.
Provenance:
Donated in 2010 by Regina Stewart, widow of Jack Stewart.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. This collection is copyright restricted.
Rights:
The Jack Stewart 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:
Street art  Search this
Muralists -- New York (State) -- New York  Search this
Mail art  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Graffiti  Search this
Graffiti artists  Search this
Arts administrators -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Drawings
Sound recordings
Paintings
Photographs
Sketchbooks
Illustrated letters
Interviews
Transcripts
Color slides
Video recordings
Greeting cards
Designs
Citation:
Jack Stewart papers, 1926-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stewjack
See more items in:
Jack Stewart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stewjack

Nancy Spero papers

Creator:
Spero, Nancy, 1926-2009  Search this
Names:
A.I.R. Gallery (New York, N.Y.)  Search this
Golub, Leon, 1922-2004  Search this
Extent:
27.5 Linear feet
19.12 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Slides
Sound recordings
Interviews
Transcripts
Photographs
Video recordings
Date:
1940s-2009
Summary:
The papers of painter, collage artist, and printmaker Nancy Spero measure 27.5 linear feet and 19.12 GB and are dated 1940s-2009. Biographical materials, correspondence, interviews, writings, subject files, personal business records, printed and digital material, and photographic materials provide an overview of her exhibitions, major projects, and personal life. Also documented is her interest and participation in political movements and social issues including anti-war, women's rights, animal rights, repressive regimes, and the treatment of political prisoners.
Scope and Contents:
The papers of painter, printmaker, and collage artist Nancy Spero measure 27.5 linear feet and 19.12 GB and are dated 1940s-2009. Biographical materials, correspondence, interviews,writings, subject files, personal business records, printed and digital material, and photographic materials provide an overview of her exhibitions, major projects, and personal life. Also documented is her interest and participation in political and social movements including anti-war, women's rights, animal rights, and raising awareness about repressive regimes, and the treatment of political prisoners.

Biographical materials include 26 audiovisual recordings about Nancy Spero and her work. Also found are biographical notes, resumes, and her passport. Correspondence concerns exhibitions, projects, travel, general news of family and friends, social events, and fundraising for political and social causes that Spero supported.

Interviews with Spero, conducted for a variety of purposes, include 7 audiovisual recordings, many transcripts, and published versions. Also, there are several joint interviews with Nancy Spero and Leon Golub. Spero's writings consist of notes, artist's statements, and articles. Also included are 7 audiovisual recordings of talks by Spero and her participation in panel discussions.

Subject files document many of Spero's personal and professional projects, relationships, and interests. Especially well documented is A.I.R. Gallery which includes 42 sound cassettes of talks presented in its "Current Issues and Events" series (1982-1984), gallery correspondence, exhibition documentation, and records of the A.I.R. Partnership. Some materials are in digital format.

Personal business records include many inventories and lists. Also documented are gifts, loans, sales, prices, reproduction permissions and fees. Printed material consists of a variety of items such as books, clippings, exhibition catalogs and announcements, periodicals, press releases, digital materials and reproductions. Many items mention Spero and/or include reproductions of her work. Also found with printed material are 22 commercially produced audiovisual recordings about various subjects.

Photographic materials include photographs, digital images, slides, negatives and color transparencies of artwork, exhibition installations, and people. Artwork is mainly by Spero and exhibition installations record some of her solo shows. Images of people include Nancy Spero, Leon Golub, unidentified friends and family members.
Arrangement:
The collection is arranged in 9 series:

Series 1: Biographical Material, 1950-2009 (Boxes 1-2, FC 31; 1.5 linear feet, ER01-ER04; 9.58 GB)

Series 2: Correspondence, 1946-2009 (Boxes 2-4; 2 linear feet)

Series 3: Interviews, 1973-2007 (Boxes 4-5; 0.8 linear foot)

Series 4: Writings, 1950-2003 (Box 5; 0.8 linear foot)

Series 5: Subject Files, circa 1950-2009 (Boxes 6-18, 29, RD 30; 12.6 linear feet, ER05-ER15; 5.02 GB)

Series 6: Personal Business Records, circa 1976-2008 (Boxes 18-19; 1 linear foot)

Series 7: Printed Material, 1949-2009 (Boxes 19-25; 6.1 linear feet, ER16-ER17; 4.36 GB)

Series 8: Photographic Material, 1940s-2009 (Boxes 25-26, 29; 1.2 linear feet, ER18-ER19; 0.151 GB)

Series 9: Video Recordings, 1970s-1990s (Boxes 26-28; 1 linear foot)
Biographical / Historical:
Nancy Spero (1926-2009) was a figurative painter, printmaker, and collage artist in New York City whose multi-media work often incorporated text. She was an ardent feminist and activist whose political and social concerns were expressed in her art.

Born in Cleveland, Nancy Spero lived in Chicago from the time she was a very young child until completing her studies at the School of the Art Institute of Chicago (BFA 1949) where she met her future husband, painter Leon Golub (1922-2004). She studied briefly in Paris and lived in New York City, returning to Chicago after her marriage in 1951. The couple and their two sons lived in Italy from 1956 to 1957. In 1959, after a few years in New York, the family moved to Paris where Spero developed an interest in existentialism and produced a series of black paintings. When Spero and Golub returned to New York in 1964, their family consisted of three sons.

Nancy Spero was strongly affected by the war in Vietnam and the many social changes of the period. She became a social activist and feminist, joined various organizations, and participated in a variety of demonstrations. Work such as the War series began to include political and sexual imagery. Spero was among the founding members of the women's cooperative A.I.R. Gallery established in 1972. In 1974 she decided to make women in mythology, history, art, and literature the exclusive subject of her work. Included in this vein are major series and installations, among them Torture of Women, Notes in Time on Women, The First Language, and her 66th Street/Lincoln Center subway station mosaic mural Artemis, Acrobats, Divas and Dancers.

Spero exhibited in the 1950 Salon des Independents and her first solo exhibition (in tandem with Leon Golub) was held at Indiana University in 1958. Thereafter, she showed sporadically until nearly 30 years later when her career flourished and she enjoyed international stature. Beginning in 1986, each year brought multiple solo exhibitions at galleries and museums in the United States and internationally. In addition, she continued to participate in group shows such as "Documenta" and the Venice Biennale. Her work is included in the permanent collections of museums throughout the world.

Awards and honors included the Skowhegan Medal for Works on Paper (1995), Hiroshima Art Prize shared with Leon Golub (1996), The Women's Caucus for Art award for Outstanding Achievement in Visual Arts (2003), and The Women's Caucus for Art Distinguished Artist Award for Lifetime Achievement (2005). Spero was awarded honorary Doctorates of Fine Arts by The School of the Art Institute of Chicago (1991) and Williams College (2001), and was elected a member of the American Academy of Arts and Letters (2006).

After several years of declining health, Nancy Spero died from heart failure in New York City, October 18, 2009.
Related Materials:
Also among the holdings of the Archives of American Art an interview of Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, and the papers of Spero's husband, Leon Golub.
Provenance:
Gift of Nancy Spero in 1979. The majority of the collection was donated by her sons, Stephen Golub, Philip Golub, and Paul Golub in 2013.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Nancy Spero 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 -- Political aspects  Search this
Feminism  Search this
Collagists -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Peace movements  Search this
Genre/Form:
Slides
Sound recordings
Interviews
Transcripts
Photographs
Video recordings
Citation:
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.spernanc
See more items in:
Nancy Spero papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-spernanc
Online Media:

National Society of Mural Painters records

Creator:
National Society of Mural Painters (New York, N.Y.)  Search this
Names:
American Federation of Arts  Search this
Federal Art Project  Search this
Fine Arts Federation of New York  Search this
Municipal Art Society of New York  Search this
Red Cross  Search this
United States Capitol Historical Society  Search this
Baskerville, Charles, 1896-  Search this
Covey, Arthur Sinclair, 1877-1960  Search this
Cox, Allyn, 1896-1982  Search this
Fausett, Dean, 1913-  Search this
Fortel, Ruth  Search this
Lanning, Edward P.  Search this
Millet, Francis Davis, 1846-1912  Search this
Molinari, Everett  Search this
Stewart, Jack, 1926-2005  Search this
Treadwell, Helen, 1902-  Search this
Williams, J. Scott (John Scott), b. 1877  Search this
Extent:
13.1 Linear feet
Type:
Collection descriptions
Archival materials
Lantern slides
Photographs
Scrapbooks
Date:
1895 - circa 2007
Summary:
The records of the National Society of Mural Painters measure 13.1 linear feet and date from 1895 to circa 2007. The activities of the society are documented through administrative files, membership files, correspondence, committee files, exhibition and competition files, artist files, financial and legal records, printed material, a scrapbook, and photographic materials.
Scope and Contents:
The records of the National Society of Mural Painters measure 13.1 linear feet and date from 1895 to circa 2007. The activities of the society are documented through administrative files, membership files, correspondence, committee files, exhibition and competition files, artist files, financial and legal records, printed material, a scrapbook, and photographic materials.

Administrative files include meeting minutes and agendas, historical information, and newsletter drafts, and the organization's constitution and by-laws. Membership files contain correspondence with members about their applications and acceptance or denial of membership, member voting ballots, and lists of members. General correspondence is with artists, members, organizations, universities, and federal commissions, and documents a wide varity of NSMP activities; additional correspondence is scattered throughout other series. Correspondence is with Charles Baskerville, Arthur Covey, Allyn Cox, Dean Fausett, Ruth Fortel, Edward Lanning, Everett Molinari, Jack Stewart, and Helen Tredwell, as well as with the American Federation of Arts, the Commission of Fine Arts on War Memorials, Fine Arts Federation, and the U. S. Capitol Historical Society.

Committee files document the work of various NSMP standing and ad hoc committees. Exhibition and competition files include correspondence, photographs, catalogs, itineraries, and printed materials for the NSMP's 1976 U.S. Bicentennial celebration projects, including the "Freedom Murals," "Caravan of Freedom," and "Momentous Events in American History." Additional files document the Red Cross Canteen Project, Federal Art Project, the Municipal Art Society exhibition in 1940, New York City subway murals, and other competitions and public art mural projects.

Artist files primarily date from the 1960s through the 1990s and often include biographies, resumes, correspondence, and photographs of works of art. Financial and legal records include the NSMP treasurer's files, ledgers, and miscellany. Also found in the records are printed materials; a mixed media scrapbook dating from 1923-1935; photographs of meetings, events, exhibitions, and works of art; photo collages of members with examples of their works of art. There are also lantern slides of Francis D. Millet in his studio and with his murals, and of J. Scott Williams with his art work.
Arrangement:
The collection is arranged as 10 series reflecting the original order of the records.

Series 1: Administrative Files, 1895-circa 2007 (2.2 linear feet; Boxes 1-3)

Series 2: Membership Files, 1915-2001 (1.1 linear feet; Boxes 3-4)

Series 3: Correspondence, 1912-2001 (1.0 linear feet; Boxes 4-5)

Series 4: Committee Files, 1909-1960s (0.3 linear feet; Box 5)

Series 5: Exhibition and Competition Files, 1917-1998 (2.0 linear feet; Boxes 5-7)

Series 6: Artist Files, 1915-1990s (1.3 linear feet; Boxes 7-8, 18)

Series 7: Financial and Legal Records, 1895-1996 (1.5 linear feet; Boxes 8-10)

Series 8: Printed Material, 1915-2000 (0.9 linear feet; Boxes 10-11)

Series 9: Scrapbook, 1923-1935 (0.2 linear feet; Box 11)

Series 10: Photographic Material, circa 1900-1997 (2.5 linear feet; Boxes 12-18)
Biographical / Historical:
Originally named The Mural Painters, the National Society of Mural Painters (NSMP) was founded in 1895 in New York City by a group of artists, including John W. Alexander, Kenyon Cox, Edwin Blashfield, and John LaFarge, who were concerned with the design and execution of mural art for architecture in the United States. The organization's first president was Frederic Crowninshield. For well over one hundred years members of NSMP have created significant and monumental works of art across the country. Many significant American artists have been members and served as past presidents, such as George Biddle, Hildreth Meiére, Arthur S. Covey, Allyn Cox, Helen Treadwell, and Xavier Gonzales, among many others.

Since its founding, the NSMP has collaborated with the Fine Arts Section of the Treasury Department, the federal WPA Arts Project, and the design boards of several World's Fairs. As a member of Artists for Victory, NSMP coordinated the execution of murals for barracks and camps, as well as many triptych alterpieces.

NSMP organizes exhibitions and conductes competitions. In celebration of its one hundredth anniversary, a centennial exhibition was held in October 1995 at the Art Students League. Society members work with other organizations, actively sponsoring legislation for the development and commission of public works of art. Still active today, the current president is Jeff Greene.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel NSM1) including 83 photographs of mural paintings and mural studies, and 25 exhibition boards showing sculptures, mosaics, and mural paintings with the artist's name, medium, title, and location listed. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The National Society of Mural Painters lent materials for microfilming in 1963 and donated records in 1965-1966. The National Society of Mural Painters, via President Jeff Greene, gave papers in 2009.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The National Society of Mural Painters records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as posessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Muralists -- United States  Search this
Topic:
Subways -- New York (N.Y.)  Search this
American Revolution Bicentennial, 1776-1976  Search this
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Mural painting and decoration -- 19th century -- United States  Search this
Mural painting and decoration -- 20th century -- United States  Search this
Genre/Form:
Lantern slides
Photographs
Scrapbooks
Citation:
National Society of Mural Painters records, 1895 - circa 2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.natimurp
See more items in:
National Society of Mural Painters records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-natimurp

Subway Murals, New York City

Collection Creator:
National Society of Mural Painters (New York, N.Y.)  Search this
Container:
Box 5, Folder 62
Type:
Archival materials
Date:
1939-1940
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The National Society of Mural Painters records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as posessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
National Society of Mural Painters records, 1895 - circa 2007. Archives of American Art, Smithsonian Institution.
See more items in:
National Society of Mural Painters records
National Society of Mural Painters records / Series 5: Exhibition and Competition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-natimurp-ref133

Miss Subway Attack

Collection Creator:
Sarchiapone, Cosmos Andrew, 1931-2011  Search this
Container:
Box 28, Folder 2
Type:
Archival materials
Date:
1970s
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.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Collection Rights:
The Cosmos Andrew Sarchiapone 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:
Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.
See more items in:
Cosmos Andrew Sarchiapone papers
Cosmos Andrew Sarchiapone papers / Series 7: Artwork / Series 7.1: Named Art Projects and Series
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sarccosm-ref886

Mock-up, Subway Design

Collection Creator:
Sánchez, Juan, 1954-  Search this
Container:
Box 5, Folder 6
Type:
Archival materials
Date:
1994-1996
Collection 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.
Collection Citation:
Juan Sánchez papers, circa 1972-2010. Archives of American Art, Smithsonian Institution.
See more items in:
Juan Sánchez papers
Juan Sánchez papers / Series 3: Artwork
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sancjuan-ref28

Esther McCoy papers

Creator:
McCoy, Esther  Search this
Names:
Historic American Buildings Survey  Search this
Society of Architectural Historians  Search this
University of California, Los Angeles. School of Architecture and Urban Planning  Search this
Ain, Gregory, 1908-1988  Search this
Barragán, Luis, 1902-  Search this
Bradbury, Ray, 1920-  Search this
Davidson, Julius Ralph, b. 1889  Search this
Dreiser, Theodore, 1871-1945  Search this
Ellwood, Craig  Search this
Gill, Irving, 1870-1936  Search this
Grotz, Dorothy  Search this
Hollein, Hans, 1934-  Search this
Jones, A. Quincy (Archie Quincy), 1913-1979  Search this
Maybeck, Bernard R.  Search this
Neutra, Richard Joseph, 1892-1970  Search this
O'Gorman, Juan, 1905-  Search this
Rand, Marvin  Search this
Schindler, R. M. (Rudolph M.), 1887-1953  Search this
Shulman, Julius  Search this
Soriano, Rafael, 1920-  Search this
Watanabe, Makoto  Search this
Worlidge, T. (Thomas), 1700-1766  Search this
Extent:
44.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Etchings
Photographs
Sound recordings
Interviews
Video recordings
Slides (photographs)
Transcripts
Drawings
Memoirs
Date:
circa 1876-1990
bulk 1938-1989
Summary:
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.4 linear feet and date from 1876 to 1990 (bulk 1938-1989). The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.
Scope and Content Note:
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.4 linear feet and date from 1876 to 1990 (bulk 1938-1989). The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.

Biographical and family material consists of awards, resumes, identification documents, and other documentation of McCoy's personal life. Included are a transcript of a 1984 interview of McCoy by Makoto Watanabe and material relating to her friend, Theodore Dreiser.

Correspondence focuses on her personal relationships with family, friends, and lovers, and general correspondence relating primarily to her work as a writer. McCoy's personal correspondence is valuable to researchers who are interested in her personal life, her struggles as a young writer, and the way in which her family, friends, lovers, mentors, and colleagues helped to shape her work and career. As documented in this correspondence, her life offers a glimpse into twentieth-century American social and political history, especially the radical leftist movements of the 1920s and 1930s. Researchers interested in the roots of feminism in the United States should also find these papers useful in documenting the life of a creative and productive woman who was successful in a field then almost entirely dominated by men. Correspondents of note include her husband Berkeley Tobey, lovers Geoffrey Eaton and Albert Robert, writers Ray Bradbury and Theodore Dreiser, and artists and architects, such as Dorothy Grotz, Craig Ellwood, A. Quincy Jones, Hans Hollein, and J. R. Davidson. General correspondence is primarily with researchers, professors, architects, publishers, and professional organizations.

Personal writings include McCoy's diaries, notebooks, and memoirs, and writings by others including friends, lovers, and colleagues. Also included are drafts of McCoy's fictional works, both published and unpublished, including short stories, teleplays, and novels.

The collection contains in-depth documentation of McCoy's pioneering study of the modernist work of twentieth-century architects in Southern California. The bulk of her papers consist of her writing files for books, exhibition catalogs, articles, and lectures on architecture. Because many of the architects about whom McCoy wrote were her contemporaries, she developed personal relationships with several of them through her research and writing. Her writing files include drafts, notes, research material, photographs, and correspondence. McCoy also traveled extensively, particularly in Italy and Mexico, and wrote about architecture, craft, and culture in those countries. Project files document McCoy's other activities related to architectural history, such preservation projects, juries, grants, the Dodge House Preservation Campaign and related film project, her work for the Society of Architectural Historians and the Historic American Buildings Survey (HABS), and her work at the UCLA School of Architecture and Urban Planning, compiling a slide library and cataloging the Richard Neutra's papers. McCoy also maintained architect files which may contain correspondence, notes, photographs, research material, interview transcripts, about architects and their works. Among these extensive records, the files documenting the careers of R. M. Schindler, Irving Gill, Richard Neutra, and Juan O'Gorman are particularly rich.

Printed material in this collection documents McCoy's career as well as her personal interests. Included are books, clippings, magazines, newsletters, press releases, as well as publications arranged by subject such as architecture, art, Italy, and Mexico. McCoy also collected literary and leftist publications. The small amount of artwork in this collection consists of artwork sent to her by friends, including a drawing of her by Esther Rollo and etchings by various artists including Thomas Worlidge.

There are personal photographs of family and friends and of McCoy at different times in her life, as well as photographs gathered during the course of her research on architecture. Found here are photographs of architects and their works, including a large number depicting the work of Gregory Ain, Luis Barragan, J. R. Davidson, Irving Gill, Bernard Maybeck, Juan O'Gorman, R. M. Schindler, and Raphael Soriano. Many of these photographs were taken by notable architectural photographers Julius Shulman and Marvin Rand. Also found are photographs of architecture designed for the Case Study House program of Arts & Architecture magazine; exhibition photographs, primarily for the exhibition "Ten Italian Architects" in 1967; and other research photographs primarily documenting architecture and craft in other countries and the history of architecture in California. This series also includes approximately 3,600 slides of architecture.

Audio and video recordings include a videocassette of McCoy's 80th birthday party and 55 taped interviews with architects, people associated with architectural projects, and artists.
Arrangement:
The collection is arranged into 10 series:

Series 1: Biographical and Family Material, 1881-1989 (boxes 1, 48; 0.6 linear feet)

Series 2: Correspondence, 1896-1989 (boxes 1-6, 4.9 linear feet)

Series 3: Personal Writings, 1919-1989 (boxes 6-14; 8.1 linear feet)

Series 4: Architectural Writings, 1908-1990 (boxes 14-24, 42, 49, 50; 10.2 linear feet)

Series 5: Projects, circa 1953-1988 (boxes 24-26, 47, FC 53-56; 2.5 linear feet)

Series 6: Architect Files, 1912-1990 (boxes 26-28, 42; 2.2 linear feet)

Series 7: Printed Material, circa 1885-1990 (boxes 28-31, 42; 2.9 linear feet)

Series 8: Artwork, 1924-1967, undated (box 31; 0.4 linear feet)

Series 9: Photographs and Slides, circa 1876-1989 (boxes 31-38, 41-46, 51; 8.7 linear feet)

Series 10: Audio and Video Recordings, 1930-1984 (boxes 38-40, 47; 2.5 linear feet)
Biographical Note:
Esther McCoy (1904-1989) is remembered best for her pioneering work as an architectural historian, critic, and proponent of Southern California modern architecture of the early to mid-twentieth century. Although her professional interests ranged from writing fiction to studying the folk architecture and crafts of Mexico, McCoy achieved her most notable success for her numerous articles, books, and exhibitions about Southern California architecture and the architects associated with the modernist movement.

Born in Arkansas in 1904, Esther McCoy grew up in Kansas and attended various schools in the Midwest. In 1926 she left the University of Michigan to launch a writing career in New York, where she moved in avant-garde literary circles and conducted research for Theodore Dreiser. She began writing fiction in New York and continued to write after moving to Los Angeles in 1932, working on short stories, novels, and screenplays. She published numerous short stories between 1929 and 1962, with works appearing in the New Yorker, Harper's Bazaar, and university quarterlies. Her short story, "The Cape," was reprinted in Best Short Stories of 1950. Many of the novels that she wrote from the mid-1960s through the 1980s were related thematically to architects and architecture.

During the late 1920s and throughout the 1930s, McCoy participated in the politically radical movements of the period and wrote for leftist publications. Her interest in the lowcost housing projects of modern architects was prompted by one of her articles about slums for Epic News. During World War II she entered a training program for engineering draftsmen at Douglas Aircraft and in 1944 was hired as an architectural draftsman for the architect R.M. Schindler. As she became increasingly interested in modern architecture and design, she combined her two major career interests and began to focus her energies on architectural research, writing, and criticism. Her first article on architecture, "Schindler: Space Architect," was published in 1945 in the journal Direction.

McCoy began writing about architecture in earnest in 1950 as a free-lance contributor to the Los Angeles Times. From then until her death in 1989, she wrote prolifically for Arts & Architecture magazine, Los Angeles Times, Los Angeles Herald Examiner, Architectural Record, L'Architectura, Zodiac (Italy), Progressive Architecture, Lotus (Italy), and Architectural Forum. In addition to her numerous articles, McCoy wrote several books on Southern California modern architecture and architects. Her first major work, Five California Architects, published in 1960, is now recognized as a classic work in modern architectural history. It promoted a serious study of modern architecture in Southern California and introduced to the world several leading California architects and their work: Bernard Maybeck, Irving Gill, Charles and Henry Greene, and R.M. Schindler. That same year, she published another important book focusing on the work of the California architect Richard Neutra. Other books by McCoy include Modern California Houses: Case Study Houses (1962), Craig Ellwood (1968), Vienna to Los Angeles: Two Journeys (1979), and The Second Generation (1984).

In addition to these books, McCoy organized and wrote catalogs for several significant exhibitions focusing on contemporary architects. Her first was the R.M. Schindler Retrospective, a 1954 exhibition at the Landau Art Gallery in Los Angeles. Her other exhibitions and accompanying catalogs include Roots of California Contemporary Architecture, 1956, Los Angeles Municipal Art Department; Felix Candela, 1957, University of Southern California, Los Angeles; Irving Gill, 1958, Los Angeles County Museum of Art; Juan O'Gorman, 1964, San Fernando Valley State College; and Ten Italian Architects, 1967, Los Angeles County Museum of Art. Moreover, McCoy contributed numerous essays to other exhibition catalogs and publications, lectured at the University of Southern California, participated in preservation projects, organized tours for the Society of Architectural Historians, and contributed to a number of documentary films. Her energy and interests also led her to catalog and transcribe Richard Neutra's papers at the University of California Los Angeles Archives.

McCoy received national recognition from the American Institute of Architects for her seminal and prolific work in the field of Southern California modern architectural history and criticism. Her interests, however, were not exclusively bound to California. She traveled the world and was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. She made five extended trips to Italy during the 1950s and 1960s, publishing regularly about the architecture there and curating the exhibition Ten Italian Architects. She was a contributing editor to two Italian journals, Zodiac and Lotus, and was awarded the Star of Order of Solidarity in 1960 by the Republic of Italy for her research and writing.

Esther McCoy died of emphysema on December 30, 1989, at the age of eighty-five. Her last contribution was an essay for the exhibition catalog Blueprints for Modern Living: History and Legacy of the Case Study House. The show opened at the Museum of Contemporary Art in Los Angeles one month before her death.

1904 -- Born November 18 in Horatio, Arkansas. Raised in Kansas.

1920 -- Attended preparatory school at Central College for Women, Lexington, Missouri.

1922-1925 -- College education: Baker University, Baldwin City, Kansas; University of Arkansas, Fayetteville; Washington University, St. Louis, Missouri; University of Michigan.

1924 -- Visited Theodore Dreiser in Michigan.

1926-1938 -- Began writing in New York City.

1926-1938 -- Researched and read for Theodore Dreiser.

1926-1938 -- Worked for editorial offices and publishers.

1926-1938 -- Traveled to write in Paris (1928), Key West, Florida (1930), and Los Angeles, California (1932-1935).

1938 -- Moved to Santa Monica, California.

1941 -- Married Berkeley Greene Tobey.

1942-1944 -- Employed as engineering draftsman at Douglas Aircraft.

1944-1947 -- Worked as architectural draftsman for R.M. Schindler.

1945 -- Began architectural writing career.

1950 -- Wrote script for film Architecture West.

1950 -- Joined editorial board of Arts & Architecture.

1950-1968 -- Worked as free-lance writer for the Los Angeles Times.

1951-1955 -- Traveled to, researched, and wrote about Mexico and Mexican art and architecture.

1954 -- R.M. Schindler Retrospective exhibition at the Landau Art Gallery, Los Angeles.

1956 -- Roots of California Contemporary Architecture exhibition, Los Angeles Municipal Art Department.

1957 -- Felix Candela exhibition, University of Southern California, Los Angeles.

1958 -- Irving Gill exhibition, Los Angeles County Museum of Art. Traveled to Italy.

1959-1968 -- Contributing editor to Italian periodicals Zodiac and Lotus.

1960 -- Five California Architects (New York: Reinhold).

1960 -- Richard Neutra (New York: G. Braziller).

1960 -- Awarded Star of Order of Solidarity by the Republic of Italy for reporting on arts and crafts in Italy.

1962 -- Death of Berkeley Greene Tobey.

1962 -- Modern California Houses: Case Study Houses (New York: Reinhold) (reprinted as Case Study Houses, Los Angeles: Hennessey and Ingalls, 1978).

1963 -- Resident Fellow at Huntington Hartford Foundation.

1964 -- Juan O'Gorman exhibition, San Fernando Valley State College, Northridge, Calif.

1965 -- Consultant for the California Arts Commission.

1965-1966 -- Wrote and produced the film Dodge House.

1965-1968 -- Lecturer at University of California at Los Angeles, School of Architecture and Urban Planning.

1966 -- Resident Fellow at MacDowell Colony, New Hampshire.

1967 -- Ten Italian Architects exhibition, Los Angeles County Museum of Art.

1967 -- Honorary Associate of the Southern California Chapter of the American Institute of Architects.

1967 -- Regents' Lecturer at University of California, Santa Barbara.

1968 -- Craig Ellwood (New York: Walker).

1968 -- Distinguished Service Citation from the California Council of AIA.

1969-1970 -- Lecturer at the University of California, Santa Barbara.

1969-1989 -- Contributing editor of Progressive Architecture.

1971-1978 -- Graham Foundation Grants.

1974 -- Regents' Lecturer at the University of California,Santa Cruz.

1979 -- Vienna to Los Angeles: Two Journeys (Santa Monica, Calif.: Arts & Architecture Press).

1979 -- Guggenheim Foundation Fellowship.

1981 -- Los Angeles Chapter Women's Architectural League Honorary Member.

1982 -- Los Angeles County Museum of Art's Modern and Contemporary Art Council Award for Distinguished Achievement.

1983 -- Home Sweet Home: The California Ranch House exhibition at California State University.

1984 -- The Second Generation (Salt Lake City: Peregrine Smith Books).

1985 -- American Institute of Architects, Institute Honor.

1986 -- High Styles exhibition at the Whitney Museum of American Art.

1987 -- Vesta Award for outstanding scholarship.

1989 -- Award from the Historical Society of Southern California.

1989 -- Award from the City of Los Angeles Department of Cultural Affairs.

1989 -- Blueprints for Modern Living: History and Legacy of the Case Study House exhibition at the Museum of Contemporary Art, Los Angeles. Died in Santa Monica, California, December 30.
Related Material:
Also in the Archives of American Art are eight sound cassettes of a transcribed interview with Esther McCoy conducted by Joseph Giovannini, June 8-November 14, 1987.
Provenance:
The collection was given to the Archives of American Art by Esther McCoy in 1986. Before her death in 1989, McCoy assisted in the organization and identification of the papers. Original pre-print film elements for Dodge House 1916 were donated to the Archives of American Art by the Academy Film Archive in 2018.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
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.
Occupation:
Art critics -- California  Search this
Topic:
Architecture, Modern -- 20th century -- Mexico  Search this
Architectural historians -- California  Search this
Architects -- Italy  Search this
Architecture, Domestic -- California  Search this
Authors -- California  Search this
Architecture, Modern -- 20th century -- California  Search this
Architecture, Modern -- 20th century -- Europe  Search this
Architects -- California  Search this
Feminism  Search this
Genre/Form:
Diaries
Etchings
Photographs
Sound recordings
Interviews
Video recordings
Slides (photographs)
Transcripts
Drawings
Memoirs
Citation:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccoesth
See more items in:
Esther McCoy papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mccoesth
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Esther McCoy papers digital asset number 1
Online Media:

Japan

Collection Creator:
De Land, Colin, 1955-2003  Search this
Container:
Box 2, Folder 2
Type:
Archival materials
Photographs
Date:
circa 1992 January
Scope and Contents:
Includes photos of meal with Peter Fend and others in Japan. Also includes an altered postcard with a woman on the subway and bulldogs.
Collection Restrictions:
Use of original material requires an appointment. The audio visual material in this collection has access restrictions and requires written permission for use.
Collection Rights:
The Colin de Land 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:
Colin de Land papers, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Colin de Land collection
Colin de Land collection / Series 1: Photographic Material / 1.1: Snapshots
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-delacoli-ref68

Subway Art

Collection Creator:
Cronbach, Robt.(Robert M.), 1908-  Search this
Container:
Box 3, Folder 14
Type:
Archival materials
Date:
1936-1938
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 Robert M. Cronbach papers, 1914-2004 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:
Robert M. Cronbach papers, 1914-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Robert M. Cronbach papers
Robert M. Cronbach papers / Series 6: Printed Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cronrobe-ref109

Palmer C. Hayden papers

Creator:
Hayden, Palmer C., 1890-1973  Search this
Names:
United States. Works Progress Administration  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Sketchbooks
Photographs
Date:
1920-1970
Summary:
The papers of African-American painter Palmer C. Hayden date from 1920-1970 and measure 2.4 linear feet. The collection contains biographical material, including 32 diaries documenting Hayden's daily activities, scattered correspondence relating to art sales and Hayden's work for the Works Progress Administration, printed material, 47 sketchbooks compiled over a period of almost forty years, and photographs of Hayden and his artwork.
Scope and Contents:
The papers of African-American painter Palmer C. Hayden date from 1920-1970 and measure 2.4 linear feet. The collection contains biographical material, including 32 diaries documenting Hayden's daily activities, scattered correspondence relating to art sales and Hayden's work for the Works Progress Administration, printed material, 47 sketchbooks compiled over a period of almost forty years, and photographs of Hayden and his artwork.
Arrangement:
The collection is arranged as 6 series:

Series 1: Biographical Material, 1920-1969 (Box 1; 2 folders)

Series 2: Diaries, 1938-1967 (Boxes 1-2; 0.5 linear ft.)

Series 3: Correspondence, 1922-1967 (Box 2; 2 folders)

Series 4: Printed Material, 1926-1969 (Box 2; 2 folders)

Series 5: Sketchbooks and Sketches, 1924-circa 1960 (Boxes 2-6; 1.8 linear ft.)

Series 6: Photographs, 1932-1970 (Box 6; 4 folders)
Biographical / Historical:
Born Peyton Cole Hedgeman, in Widewater, Virginia in 1890, Palmer Hayden received his first art instruction through correspondence courses, then studied in 1925 with Asa Grant Randall at the Boothbay Art Colony, in Maine, specializing in marine subjects. In 1927, Hayden's seascape, Schooners, won first prize for "Distinguished Achievement in Fine Arts" in the Harmon Foundation's first awards ceremony. With that award, and an additional grant from a patron, Hayden was able to continue his studies in Paris, where he further developed his skills in seascapes and ethnic subject matter. Hayden was among the first African-American artists to use African-American subjects and designs in his painting.

Hayden returned to the United States in 1932 and worked steadily over the next several years for the United States government, including the Treasury Relief Art Project and the Works Progress Administration. In 1944 Hayden began work on his noted Ballad of John Henry series of twelve paintings that would occupy him for a decade. In his later work, Hayden continued to focus on African-American themes, capturing both rural gatherings in the South and the urban milieu of New York.

Palmer Hayden died in 1973.
Provenance:
The collection was donated by Palmer C. Hayden in 1970 and a portion of it was microfilmed shortly after receipt.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Palmer Hayden 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:
African American painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Sketchbooks
Photographs
Citation:
Palmer C. Hayden papers, 1920-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.haydpalm
See more items in:
Palmer C. Hayden papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-haydpalm
4 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Palmer C. Hayden papers digital asset number 1
  • View Palmer C. Hayden papers digital asset number 2
  • View Palmer C. Hayden papers digital asset number 3
  • View Palmer C. Hayden papers digital asset number 4
Online Media:

Correspondence

Collection Creator:
Hervey, Wilna, 1894-1979  Search this
Extent:
3.8 Linear feet (Box 1-10, OV 13)
Type:
Archival materials
Date:
1890-1985
Scope and Contents note:
Correspondence is mostly personal letters and covers subjects such as personal matters, updates on the lives of Woodstock residents, and the careers of artist friends. Early correspondence highlights Wilna Hervey's film career and travels. Other than the letters written by Nan Mason to Wilna Hervey, there are very few letters in this series written by either Hervey or Mason.

Notable correspondents include artists and friends Albert Heckman, Georgina Klitgaard, Manuel Komroff, Leon Kroll, Doris Lee, Fred Dana Marsh, Henry Lee McFee, William Pachner, Caroline and Paul Rohland, Andrée Ruellan, Eugene Speicher, and Dorothy Varian. There are over 250 letters from Elsie Speicher, wife of portrait artist Eugene Speicher. The bulk of Elsie Speicher's correspondence is from the months of November - March; between April to October each year the Speichers were usually in Woodstock with Hervey and Mason. Speicher occasionally sends correspondence from friends in common, notably Louise Lindin, Daphne Mattson, Caroline Rohland, Jean Rosen, and Andrée Ruellan.

Early correspondence from Karin Whiteley concerns a project to publish Hervey's memoirs (which were never published). Whiteley's correspondence also includes numerous enclosed newspaper clippings regarding Dan Mason's acting career. Additional correspondence from Karin Whiteley regarding the memoirs is located in Series 3: Memoir Book Production, 1883-1959. Other items of interest in this series includes a letter from Robert Pollack (1918) that includes a Smileage Book (movie coupons from the Military Entertainment Service), a New York City subway ticket, and caricatures drawn by Wilna Hervey, illustrated letters by cartoonist John Striebel, and occasional snapshots of artists and friends. Correspondence to Dan Mason from Hervey and Nan Mason has been separated and is filed with the other personal files of Dan Mason in Series 6, 1919-1928.

This series also includes correspondence that was neither written by Hervey or Mason, nor sent to them. It may be that the letters were sent to Hervey and Mason as enclosures in other correspondence. Such correspondence is arranged at the end of this series as Miscellaneous Collected Correspondence.

See Appendix for list of selected correspondents in Series 2.
Arrangement note:
Correspondence is arranged alphabetically by the correspondent's last name and then chronologically within folders; undated letters are located at the end of the folder. Correspondents with fewer than five letters are filed by last name in folders labeled alphabetically. Letters from unidentified correspondents are filed at the end of the series.
Appendix: Selected Correspondents in Series 2:
Adams, Kenneth M.: 1955

Antenucci, Margaret: 1961

Arndt, Paul Wesley: 1976

Baumann, Mag and George: 1964, 1970

Bellows, Emma: 1948-1958

Bentley, John W. (Jack): 1922, 1931

Bettels, Kathryn: 1926

Blanch, Lucile and Arnold: 1931, 1955

Booth, Jean Bellows: 1945-1978

Cannon, Eleanor Rixson: 1950-1954

Capra, Frank: 1935, 1973

Carlson, Margaret: 1958

Cator, Bruce: 1948-1959

Cator, Eleanor: circa 1924

Cator, Thomas Vincent: 1928-1929

Chavez, Edward and Jenne: 1950-1952

Clark, Susan: 1960-1966

Clement, Jean: 1931, undated

Currie, Bruce: 1946, circa 1951-1952

De La Vergne, Gladys Hurlbut: 1959, undated

Eddy, Ruth: 1934-1959

Ganso, Emil and Nina: 1933

Gonzales, Betty (Mrs. Boyer Gonzales): 1959

Gonzales, Nell (Mrs. Boyer Gonzales): 1936

Harris, Alexandrina (Allie): 1926, 1931, 1959

Harrison, Jenny (Mrs. Birge Harrison): 1941, 1945

Heckman, Albert and Florence: 1949-1964

Hervey, Anna: 1908-1922

Hervey, W.R.: 1913-1925

Hervey, Wilna: circa 1919-1961

Hitzig, William M.: 1940-1972

Holt, Percy W.: 1923-1930, 1953

Karoly: 1939

Kesselring, Joe and Charlotte: 1949-1952

Klitgaard, Georgina: 1933, 1974, undated

Komroff, Odette and Manuel: 1945-1978

Kroll, Leon: 1939, 1963

Laufman, Beatrice (Mrs. Sidney Laufman): 1970

Lee, Doris: 1950-1953

Lindin, Louise (Mrs. Carl Lindin): 1936-1968

Loederer, Richard: 1923-1924

Magafan, Ethel: 1957

Marsh, Fred Dana: 1948-1952

Mason, Dan: 1921-1929

Mason, Nan: 1919-1921

Mattson, Henry and Daphne: 1931-1959

McFee, Aileen (Mrs. Henry Lee McFee): circa 1928-1936

McFee, Henry Lee: 1931-1936

Mearns, Hughes and Fagley: 1942, circa 1952-1960

More, Edna (Mrs. Hermon More): 1930-1943

Pachner, Lorraine "Zombie" (Mrs. William Pachner): 1949-1978

Pachner, William: circa 1950-1975

Petersham, Maud and Miska: circa 1930s-1959

Pollock, Muriel "Mollie" (Donaldson): circa 1916-1959

Rheinish, Arthur: 1920-1921

Rohland, Caroline Speare: 1926-1960

Rohland, Paul: circa 1931, 1935

Rosen, Jean (Mrs. Charles Rosen): 1936-circa 1961

Rosen, M. (Mrs. Charles Rosen): 1924-1927

Rosen, Polly: before 1959

Ruellan, Andrée (Mrs. John Taylor): 1943-1977

Search, Frederick Preston: 1933

Shore, Henrietta: 1933

Smith, Georgine Wetherell: 1951-1953

Speicher, Charles: 1931-1945

Speicher, Elsie (Mrs. Eugene Speicher): 1926-1959

Speicher, Eugene: 1935-1961

Striebel, Fritzi (Mrs. John H. Striebel): 1946-1978

Striebel, John H.: 1961

Summers, D.: 1952-1961

Summers, Pauline "Paul": 1952-1961

Varian, Dorothy: 1954-1977

Webster, Florence: 1954, 1978

Weston, Brett: 1958

Weston, Edward: 1935, 1951

Whiteley, Karin: 1945-1981
Collection Restrictions:
Use of the original papers requires an appointment.
Collection Rights:
The Wilna Hervey and Nan Mason 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:
Wilna Hervey and Nan Mason papers, 1883-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hervwiln, Series 2
See more items in:
Wilna Hervey and Nan Mason papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-hervwiln-ref19

Modify Your Search







or


Narrow By