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Information: The first column shows data points from in red. The third column shows data points from Feitelson, Lorser, 1898-1978 in blue. Any data they share in common is displayed as purple boxes in the middle "Shared" column.
Name Entries
Shared
Feitelson, Lorser, 1898-1978
Feitelson, Lorser, 1898-
Name Components
Name :
Feitelson, Lorser, 1898-
Dates
- Name Entry
- Feitelson, Lorser, 1898-
Citation
- Name Entry
- Feitelson, Lorser, 1898-
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Contributors from initial SNAC EAC-CPF ingest
Feitelson, Lorser, 1898-1978
Name Components
Name :
Feitelson, Lorser, 1898-1978
Dates
- Name Entry
- Feitelson, Lorser, 1898-1978
Citation
- Name Entry
- Feitelson, Lorser, 1898-1978
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Contributors from initial SNAC EAC-CPF ingest
Feitelson, Lorser
Name Components
Name :
Feitelson, Lorser
Dates
- Name Entry
- Feitelson, Lorser
Citation
- Name Entry
- Feitelson, Lorser
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Contributors from initial SNAC EAC-CPF ingest
Feitelson, Lorser (American painter, muralist and teacher, 1898-1978 )
Name Components
Name :
Feitelson, Lorser (American painter, muralist and teacher, 1898-1978 )
Dates
- Name Entry
- Feitelson, Lorser (American painter, muralist and teacher, 1898-1978 )
Citation
- Name Entry
- Feitelson, Lorser (American painter, muralist and teacher, 1898-1978 )
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Contributors from initial SNAC EAC-CPF ingest
Lorser Feitelson
Name Components
Name :
Lorser Feitelson
Dates
- Name Entry
- Lorser Feitelson
Citation
- Name Entry
- Lorser Feitelson
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Contributors from initial SNAC EAC-CPF ingest
Citation
- Exist Dates
- Exist Dates
Citation
- Exist Dates
- Exist Dates
Painters; Los Angeles, California. Husband and wife. Feitelson, who also was a graphic artist and teacher, and director of the WPA in California, died in 1978. Lundeberg died in 1999.
eng
Latn
Citation
- BiogHist
- BiogHist
Painters; Los Angeles, Calif. Husband and wife. Feitelson, who also was a graphic artist and teacher, and director of the WPA in California, died in 1978. Lundeberg died in 1999.
Lorser Feitelson, b. 1898; d. 1978, Painter and art administrator, Federal Art Project of Los Angeles, Calif.
Lorser Feitelson (1898-1978) and Helen Lundeberg (1908-1999) were mural painters from California.
Painter and art administrator, Federal Art Project; Los Angeles, Calif.
eng
Latn
Citation
- BiogHist
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http://www.worldcat.org/oclc/220233279
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http://www.worldcat.org/oclc/646398005
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http://www.worldcat.org/oclc/122404065
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- http://www.worldcat.org/oclc/122404065
http://www.worldcat.org/oclc/83272152
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- http://www.worldcat.org/oclc/83272152
http://www.worldcat.org/oclc/78938500
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- http://www.worldcat.org/oclc/78938500
http://www.worldcat.org/oclc/312025218
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- http://www.worldcat.org/oclc/312025218
http://www.worldcat.org/oclc/220192522
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http://www.worldcat.org/oclc/77782359
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- http://www.worldcat.org/oclc/82548285
http://www.worldcat.org/oclc/81954798
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- http://www.worldcat.org/oclc/81954798
http://www.worldcat.org/oclc/435526898
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http://viaf.org/viaf/57549237
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http://www.worldcat.org/oclc/744428318
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- http://www.worldcat.org/oclc/744428318
http://www.worldcat.org/oclc/220192072
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http://www.worldcat.org/oclc/84232719
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http://www.worldcat.org/oclc/80437607
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http://www.worldcat.org/oclc/657037881
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- http://www.worldcat.org/oclc/657037881
Lorser Feitelson and Helen Lundeberg papers
Title:
Lorser Feitelson and Helen Lundeberg papers
The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.Biographical documentation is found for both artists. Lundeberg's early life is documented by school notebooks, yearbooks, diplomas, calendars, awards, and a "memory book." Feitelson's biographical materials include family certificates and documents compiled by Lundeberg regarding Feitelson's funeral. Also found are curriculum vitae and biographical sketches for both artists. Correspondence is extensive and includes both personal and professional correspondence for both Feitelson and Lundeberg. Materials consist of letters with critics, museums, artists, and friends, including Karl Benjamin, Frederick Hammersley, Reuben Kadish, John McLauglin, Diane Moran, and Abraham Rattner. Of special interest is Feitelson and Lundeberg's correspondence with Museum of Modern Art curator Dorothy Canning Miller. A small amount of exhibition materials, mostly loan agreements and checklists, are found in the papers documenting exhibitions and loans of their artwork to exhibitions. Personal business records concern the management of their artwork and personal collections. Found here are lists of artwork, price lists, appraisal reports, sales invoices, purchase receipts, tax documents, and a set of index cards for their artwork. There are a few scattered legal documents as well. In addition to personal business records, there is a series of records of the Lorser Feitelson and Helen Lundeberg Foundation, established by Lundeberg in 1978. Scattered research and teaching files are mostly Feitelson's. They document his personal research, teaching activities, and television programs, particularly the program <emph render="italic">Feitelson on Art</emph>. Writings, however, are found for both artists and include artist statements, writings about art and art styles and movements, writings about each artist, and writings about the Federal Arts Program in southern California. Of interest are numerous writings by other contemporary writers and critics, including Jan Butterfield, Jules Langsner, Stephen Longstreet, Esther McCoy, Diane Moran, Henry Seldis, and Millard Sheets. A small amount of artwork is found within the collection by Feitelson and Lundeberg, mostly sketches and drawings. There is one print by Hans Burkhardt. Printed materials include newsclippings, exhibition announcements and catalogs, lecture announcements, posters, press releases, and printed reproductions of Feitelson's and Lundeberg's artwork. There are also pamphlets produced by the Works Progress Administration Federal Arts Program and Lundeberg's poetry.Photographs are extensive and include many of Lorser Feitelson and Helen Lundeberg, as well as of family, friends, and students. There are four photo albums and numerous photographs of Feitelson's and Lundeberg's artwork, including some exhibition installations.There is one circa 1957 reel-to-reel sound recording of an episode of <emph render="italic">Feitelson on Art</emph>, focusing on Paul Gauguin. An addition of 0.2 linear feet received in 2014 includes Feitelson's art history and teaching notes, writings by Feitelson, and photographs and contact sheets of Feitelson and works of art.
ArchivalResource: 15.6 linear feet
https://n2t.net/ark:/65665/mw9b512ba00-6fa2-476e-a0d1-2012bb1179cd View
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Citation
- Resource Relation
- Feitelson, Lorser, 1898-. Lorser Feitelson and Helen Lundeberg papers, 1924-1999.
Oral history interview with Anton Blazek
Title:
Oral history interview with Anton Blazek
Blazek speaks of his childhood in Baltimore; early art and music training; commercial art; ceramics; working with aluminum; his move to Los Angeles; works completed for federal projects; his paintings of California missions; the lack of government censorship; and the value of federal projects. He recalls David Ebstrom, Lorser Feitelson, and Stanton Macdonald-Wright.
OralHistoryResource: Sound recording: 2 sound tape reels ; 3 in.Transcript: 34 p.
https://n2t.net/ark:/65665/mw95b505067-bc13-4313-9e29-5dad09b6efed View
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Citation
- Resource Relation
- Blazek, Anton James, 1902-1974. Anton Blazek interview, 1965 Apr. 13.
Katharine Kuh papers
Title:
Katharine Kuh papers
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and <emph render="italic">The Saturday Review</emph>. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, <emph render="italic">Technics and Creativity</emph>, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics. Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for <emph render="italic">The Saturday Review</emph>, exhibition announcements and catalogs, calendars of events, programs, brochures, books including <emph render="italic">Poems</emph> by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
ArchivalResource: 12 linear feet
https://n2t.net/ark:/65665/mw987a0763e-de6c-4f9e-b143-4875b3a2244a View
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Citation
- Resource Relation
- Katharine Kuh papers, 1875-1994, bulk 1930-1994
Oral history interview with Lorser Feitelson and Helen Lundeberg
Title:
Oral history interview with Lorser Feitelson and Helen Lundeberg
An interview of Lorser Feitelson and Helen Lundeberg conducted 1967 Mar. 17, by Betty Hoag McGlynn, for the Archives of American Art.
OralHistoryResource: Sound recordings: 3 sound tape reels ; 3 in.Transcript: 42 p.
https://n2t.net/ark:/65665/mw96b4be3eb-d5bf-4e97-a79d-1619b15bd501 View
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Citation
- Resource Relation
- Feitelson, Lorser, 1898-1978. Oral history interview with Lorser Feitelson and Helen Lundeberg, 1965 Mar. 17.
Dorothy C. Miller papers
Title:
Dorothy C. Miller papers
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the <emph render="italic">First Municipal Art Exhibition </emph>(1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of <emph render="italic">The Nelson A. Rockefeller Collection: Masterpieces of Modern Art.</emph> Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, <emph render="italic">Art At Work: Chase Manhattan Bank Collection</emph>. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art. Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing <emph render="italic">Edward Hicks: His Peaceable Kingdom and Other Paintings</emph>. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the <emph render="italic">First Municipal Art Exhibition </emph>(1934) held at the RCA Building in Rockefeller Center. Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.
ArchivalResource:
https://n2t.net/ark:/65665/mw9f1ed6cb6-f194-4b76-a8dd-fce3352c09b8 View
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Citation
- Resource Relation
- Miller, Dorothy Canning, 1904-2003. Dorothy C. Miller papers, circa 1912-1992, bulk 1959-1984.
Oral history interview with Millard Sheets
Title:
Oral history interview with Millard Sheets
An interview with Millard Sheets conducted 1986 October-1988 July, by Paul Karlstrom, for the Archives of American Art.
OralHistoryResource: Sound recording: 8 sound cassettes.Transcript: 167 p.
https://n2t.net/ark:/65665/mw99b040f34-68ec-4a79-b405-0e9a667037b0 View
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- Resource Relation
- Sheets, Millard, 1907-. Oral history interview with Millard Sheets, 1986 Oct.-1988 July [sound recording].
FEITELSON, LORSER. Artist file : miscellaneous uncataloged material.
Title:
Artist file : miscellaneous uncataloged material.
ArchivalResource: 1 folder.
http://www.worldcat.org/oclc/122459099 View
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- Resource Relation
- FEITELSON, LORSER. Artist file : miscellaneous uncataloged material.
Katharine Kuh papers
Title:
Katharine Kuh papers
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and <emph render="italic">The Saturday Review</emph>. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, <emph render="italic">Technics and Creativity</emph>, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics. Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for <emph render="italic">The Saturday Review</emph>, exhibition announcements and catalogs, calendars of events, programs, brochures, books including <emph render="italic">Poems</emph> by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
ArchivalResource: 12 linear feet
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- Resource Relation
- Kuh, Katharine. Katharine Kuh papers, 1875-1994, bulk, 1930-1994.
Jules Langsner papers
Title:
Jules Langsner papers
The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling.The 0.9 linear feet of correspondence is of both a personal and professional nature. A significant portion of the correspondence is between Langsner and publications for which he wrote such as <emph render="italic">Art News</emph>, the <emph render="italic">New York Times</emph>, Meridian Books, <emph render="italic">Craft Horizons</emph>, <emph render="italic">Art International</emph>, and <emph render="italic">Art in America</emph>; galleries and museums where he lectured or curated exhibitions including the Art Institute of Chicago, California Water Color Society, Los Angeles County Museum of Art, Pasadena Art Museum, Santa Barbara Museum of Art, Museum of Modern Art, Guggenheim Museum, and the Fine Arts Patrons of Newport Harbor; colleges and organizations where he taught or was involved with such as the Graham Foundation, University of Southern California, International Association of Art Critics, and Ford Foundation; and artists that he worked with or knew personally including Rico Lebrun, William Turnbull, Man & Julie Ray, Lorser Feitelson, Helen Lundeberg, Adelaide Fogg, and Clinton Adams.Letters to June Harwood were written while Langsner was traveling in 1964 and 1965 and discuss his travels and their relationship which culminated in marriage in Italy in 1965.Among the 2.8 linear feet of the writings of Jules Langsner are articles for <emph render="italic">Art News</emph>, <emph render="italic">Art in America</emph>, <emph render="italic">Art International</emph>, <emph render="italic">Arts & Architecture</emph>, <emph render="italic">Aware</emph>, <emph render="italic">Beverly Hills Times</emph>, <emph render="italic">Craft Horizons</emph>, <emph render="italic">Creative Crafts</emph>, <emph render="italic">Goya Revista De Arte</emph>, <emph render="italic">Yomiuri</emph>, and <emph render="italic">Zodiac</emph>. There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts. There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art. There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects.Exhibition files concern "Black and White" (1958), "California Hard-Edge Painting" (1964), the Man Ray Exhibition (1966), and the William Turnbull Exhibition (1966).Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.Photographs are of people, places, works of art, and exhibitions. There are photographs of Jules Langsner, June Harwood, Philip Guston, Musa Guston, William Brice, Eddy Feldman, Rube Kadish, Stanton MacDonald-Wright, Frank Perls, and unidentified individual people and groups. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Photographs of exhibitions include California Art Club, "Black and White," "California Painters & Sculptors, 35 & Under," and unidentified exhibitions. Photographs of works of art are by William Turnbull, Jack Zajac, Walter Mix, Marion Aldrich, Roger Majorowicz, and Jasper Johns.Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The reel-to-reel tapes are of two lectures by Langsner, You & Art/Berlin Party, and of eulogies given at Langsner's funeral by Clement Greenberg, Henry Seldis, Peter Selz, Richard Brown, Donald Brewer, Tom Leavitt, Lorser Feitelson, Sam Francis, June Wayne, Gifford Phillips, and others. The cassette tape is a copy of eulogies.
ArchivalResource:
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- Langsner, Jules, 1911-1967. Jules Langsner papers, 1938-1974.
Daniel M. Mendelowitz papers
Title:
Daniel M. Mendelowitz papers
Correspondence, class lecture notes; manuscripts for published books, "History of American Art" (1960, 1969), "Drawing" (1967), "Drawing: A Work Book and A Guide to Drawing;" financial material; minutes from faculty meetings and plans for a new art building at Stanford University; exhibition catalogs and announcements; and clippings.
ArchivalResource: 5.2 linear feet
https://n2t.net/ark:/65665/mw90965da37-0cb6-4b82-a951-cf34bd50e3e7 View
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- Mendelowitz, Daniel Marcus. Daniel M. Mendelowitz papers, [ca. 1950-1970].
Feitelson, Lorser, 1898- : [miscellaneous ephemeral material].
Title:
Feitelson, Lorser, 1898- : [miscellaneous ephemeral material].
The folder may include clippings, announcements, small exhibition catalogs, and other ephemeral items.
ArchivalResource: 1 folder.
http://www.worldcat.org/oclc/199333462 View
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- Resource Relation
- Feitelson, Lorser, 1898- : [miscellaneous ephemeral material].
Oral history interview with Harold Lehman
Title:
Oral history interview with Harold Lehman
An interview of Harold Lehman conducted 1997 Mar. 28, by Stephen Polcari, for the Archives of American Art. Lehman speaks of his early educational and artistic experiences in New York; taking sculpture classes; moving to California; going to school at Manual Arts; going to Ojai and learning the religious philosophy of Krishnamurti; participating in literary discussion groups and the books he read; his years at Otis Art Institute; working with Sisqueiros, and how the frescoes they created were destroyed by the Red Squad; when he became interested in painting; working with Lorser Feitelson; working with the Public Works of Art Project; moving back to New York and working with the Federal Arts Project; his experiences with Sisqueiros and the artist workshop they set up; his thoughts on the Molotov-Ribbentrop Pact, Stalin and Trotsky; his thoughts on social realism; the project he did on Rikers Island; doing mural art; breaking both his arms two months before the attack on Pearl Harbor and how he managed to stay out of the army; working on his mural in Woodstock; working on war bond painting for the government; his art work during the war years; recollections of Jackson Pollack and his interest in Indian Art; going to see the Picasso show; his artistic influences; his thoughts on America's involvement in World War II; his life after the war and what inspired him; his memories of Phil Guston; thoughts on Harold Rosenberg and Clement Greenberg; his life after the war, and other recollections about his life and friends. He recalls Max Maikowski, Jean de Laffiere, Rutolo, Frederick J. Schwankovsky, Phil Guston, Jackson Pollack, Manuel Tolegian, Rueben Kadish, George Stanley, Roger Noble Vernon, D.A. Siqueiros, Luis Arenal, Lorser Feitelson, Helen Lundberg, Leo Katz, Merle Armiduke, Stanley McCoy, Axel Horr (Horn), Carla Mahl (Clara Moore), Louie Serstadt, Diego Rivera, Jose Orozco, Arnold Blanch, Harold Rosenberg, Clement Greenberg, Arnold Blanch, and many others.
OralHistoryResource: Sound recording: 7 sound cassettes (560 min.): analog.Transcript: 144 p.
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- Lehman, Harold, 1913-. Oral history interview with Harold Lehman, 1997 Mar. 28.
Oral history interview with Dorr Bothwell
Title:
Oral history interview with Dorr Bothwell
An interview of Dorr Bothwell conducted 1965 February 27, by Mary Fuller McChesney, for the Archives of American Art. Bothwell describes her education and art training in San Francisco; painting for the Public Works of Art Project; Federal Art Project murals in Los Angeles; effects of the federal projects on her artistic development; and friends and colleagues Grace Clements, Lorser Feitelson, and Stanton Macdonald-Wright.
OralHistoryResource: Sound recordings: 1 sound tape reel ; 5 in.Transcript: 17 p.
https://n2t.net/ark:/65665/mw9e791fbe4-04c2-493e-ad4c-5ebe5a8a2603 View
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- Bothwell, Dorr. Dorr Bothwell interview, 1965 Feb. 27.
Jules Langsner papers
Title:
Jules Langsner papers
The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling.The 0.9 linear feet of correspondence is of both a personal and professional nature. A significant portion of the correspondence is between Langsner and publications for which he wrote such as <emph render="italic">Art News</emph>, the <emph render="italic">New York Times</emph>, Meridian Books, <emph render="italic">Craft Horizons</emph>, <emph render="italic">Art International</emph>, and <emph render="italic">Art in America</emph>; galleries and museums where he lectured or curated exhibitions including the Art Institute of Chicago, California Water Color Society, Los Angeles County Museum of Art, Pasadena Art Museum, Santa Barbara Museum of Art, Museum of Modern Art, Guggenheim Museum, and the Fine Arts Patrons of Newport Harbor; colleges and organizations where he taught or was involved with such as the Graham Foundation, University of Southern California, International Association of Art Critics, and Ford Foundation; and artists that he worked with or knew personally including Rico Lebrun, William Turnbull, Man & Julie Ray, Lorser Feitelson, Helen Lundeberg, Adelaide Fogg, and Clinton Adams.Letters to June Harwood were written while Langsner was traveling in 1964 and 1965 and discuss his travels and their relationship which culminated in marriage in Italy in 1965.Among the 2.8 linear feet of the writings of Jules Langsner are articles for <emph render="italic">Art News</emph>, <emph render="italic">Art in America</emph>, <emph render="italic">Art International</emph>, <emph render="italic">Arts & Architecture</emph>, <emph render="italic">Aware</emph>, <emph render="italic">Beverly Hills Times</emph>, <emph render="italic">Craft Horizons</emph>, <emph render="italic">Creative Crafts</emph>, <emph render="italic">Goya Revista De Arte</emph>, <emph render="italic">Yomiuri</emph>, and <emph render="italic">Zodiac</emph>. There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts. There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art. There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects.Exhibition files concern "Black and White" (1958), "California Hard-Edge Painting" (1964), the Man Ray Exhibition (1966), and the William Turnbull Exhibition (1966).Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.Photographs are of people, places, works of art, and exhibitions. There are photographs of Jules Langsner, June Harwood, Philip Guston, Musa Guston, William Brice, Eddy Feldman, Rube Kadish, Stanton MacDonald-Wright, Frank Perls, and unidentified individual people and groups. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Photographs of exhibitions include California Art Club, "Black and White," "California Painters & Sculptors, 35 & Under," and unidentified exhibitions. Photographs of works of art are by William Turnbull, Jack Zajac, Walter Mix, Marion Aldrich, Roger Majorowicz, and Jasper Johns.Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The reel-to-reel tapes are of two lectures by Langsner, You & Art/Berlin Party, and of eulogies given at Langsner's funeral by Clement Greenberg, Henry Seldis, Peter Selz, Richard Brown, Donald Brewer, Tom Leavitt, Lorser Feitelson, Sam Francis, June Wayne, Gifford Phillips, and others. The cassette tape is a copy of eulogies.
ArchivalResource:
https://n2t.net/ark:/65665/mw96ca20c0c-5a91-42e5-9ff4-d5217f7fd266 View
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- Resource Relation
- Langsner, Jules, 1911-1967. Jules Langsner papers, circa 1910-1998, bulk, 1950-1967.
Molly Saltman "Art and Artists" interviews
Title:
Molly Saltman "Art and Artists" interviews
The Molly Saltman "Art and Artists" interviews measure 2.4 linear feet and contain 62 sound recording interviews and lectures with art collectors, teachers, actors, and artists. The interviews were conducted by Molly Saltman from 1966-1967 as part of the “Art and Artists” radio series broadcast on the KPAL radio station in Palm Springs, California. Additional recordings of KPAL content and nonbroadcast content were discovered upon digitization, including a Los Angeles Art Association anniversary event and a Charles White slide lecture.
OralHistoryResource: 94 sound tape reels (ca. 20 min. each) : analog, 7 1/2 ips, 3-5 in.
https://n2t.net/ark:/65665/mw91ffc8013-4e72-420d-91c1-23c284716c62 View
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- Resource Relation
- Saltman, Molly, 1915-. Molly Saltman "Art and Artists" interviews, 1965-1966.
Lorser Feitelson and Helen Lundeberg papers
Title:
Lorser Feitelson and Helen Lundeberg papers
The papers of Los Angeles painters and art instructors Lorser Feitelson and Helen Lundeberg measure 15.6 linear feet and date from circa 1890s to 2002. The papers document the careers of the two artists, including their establishment of the Post-surrealism movement in southern California, their work for federal arts programs, and their later abstract artwork. Found are biographical materials, correspondence, personal business records, exhibition files, printed materials, photographs, and one sound recording.Biographical documentation is found for both artists. Lundeberg's early life is documented by school notebooks, yearbooks, diplomas, calendars, awards, and a "memory book." Feitelson's biographical materials include family certificates and documents compiled by Lundeberg regarding Feitelson's funeral. Also found are curriculum vitae and biographical sketches for both artists. Correspondence is extensive and includes both personal and professional correspondence for both Feitelson and Lundeberg. Materials consist of letters with critics, museums, artists, and friends, including Karl Benjamin, Frederick Hammersley, Reuben Kadish, John McLauglin, Diane Moran, and Abraham Rattner. Of special interest is Feitelson and Lundeberg's correspondence with Museum of Modern Art curator Dorothy Canning Miller. A small amount of exhibition materials, mostly loan agreements and checklists, are found in the papers documenting exhibitions and loans of their artwork to exhibitions. Personal business records concern the management of their artwork and personal collections. Found here are lists of artwork, price lists, appraisal reports, sales invoices, purchase receipts, tax documents, and a set of index cards for their artwork. There are a few scattered legal documents as well. In addition to personal business records, there is a series of records of the Lorser Feitelson and Helen Lundeberg Foundation, established by Lundeberg in 1978. Scattered research and teaching files are mostly Feitelson's. They document his personal research, teaching activities, and television programs, particularly the program <emph render="italic">Feitelson on Art</emph>. Writings, however, are found for both artists and include artist statements, writings about art and art styles and movements, writings about each artist, and writings about the Federal Arts Program in southern California. Of interest are numerous writings by other contemporary writers and critics, including Jan Butterfield, Jules Langsner, Stephen Longstreet, Esther McCoy, Diane Moran, Henry Seldis, and Millard Sheets. A small amount of artwork is found within the collection by Feitelson and Lundeberg, mostly sketches and drawings. There is one print by Hans Burkhardt. Printed materials include newsclippings, exhibition announcements and catalogs, lecture announcements, posters, press releases, and printed reproductions of Feitelson's and Lundeberg's artwork. There are also pamphlets produced by the Works Progress Administration Federal Arts Program and Lundeberg's poetry.Photographs are extensive and include many of Lorser Feitelson and Helen Lundeberg, as well as of family, friends, and students. There are four photo albums and numerous photographs of Feitelson's and Lundeberg's artwork, including some exhibition installations.There is one circa 1957 reel-to-reel sound recording of an episode of <emph render="italic">Feitelson on Art</emph>, focusing on Paul Gauguin. An addition of 0.2 linear feet received in 2014 includes Feitelson's art history and teaching notes, writings by Feitelson, and photographs and contact sheets of Feitelson and works of art.
ArchivalResource: 15.6 linear feet
https://n2t.net/ark:/65665/mw9b512ba00-6fa2-476e-a0d1-2012bb1179cd View
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- Feitelson, Lorser, 1898-1978. Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002 (bulk 1919-1999).
Lucien and Marcelle Labaudt papers
Title:
Lucien and Marcelle Labaudt papers
Correspondence, photographs, exhibition materials, scrapbooks, journals, printed matter, essays, gallery records and other business records, and miscellaneous papers.
ArchivalResource:
https://n2t.net/ark:/65665/mw9a9f5e236-5785-4470-ba27-6403b1b8667d View
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- Labaudt, Lucien, 1880-1943. Lucien and Marcelle Labaudt papers, 1896-1987.
Jules Langsner papers
Title:
Jules Langsner papers
The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling.The 0.9 linear feet of correspondence is of both a personal and professional nature. A significant portion of the correspondence is between Langsner and publications for which he wrote such as <emph render="italic">Art News</emph>, the <emph render="italic">New York Times</emph>, Meridian Books, <emph render="italic">Craft Horizons</emph>, <emph render="italic">Art International</emph>, and <emph render="italic">Art in America</emph>; galleries and museums where he lectured or curated exhibitions including the Art Institute of Chicago, California Water Color Society, Los Angeles County Museum of Art, Pasadena Art Museum, Santa Barbara Museum of Art, Museum of Modern Art, Guggenheim Museum, and the Fine Arts Patrons of Newport Harbor; colleges and organizations where he taught or was involved with such as the Graham Foundation, University of Southern California, International Association of Art Critics, and Ford Foundation; and artists that he worked with or knew personally including Rico Lebrun, William Turnbull, Man & Julie Ray, Lorser Feitelson, Helen Lundeberg, Adelaide Fogg, and Clinton Adams.Letters to June Harwood were written while Langsner was traveling in 1964 and 1965 and discuss his travels and their relationship which culminated in marriage in Italy in 1965.Among the 2.8 linear feet of the writings of Jules Langsner are articles for <emph render="italic">Art News</emph>, <emph render="italic">Art in America</emph>, <emph render="italic">Art International</emph>, <emph render="italic">Arts & Architecture</emph>, <emph render="italic">Aware</emph>, <emph render="italic">Beverly Hills Times</emph>, <emph render="italic">Craft Horizons</emph>, <emph render="italic">Creative Crafts</emph>, <emph render="italic">Goya Revista De Arte</emph>, <emph render="italic">Yomiuri</emph>, and <emph render="italic">Zodiac</emph>. There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts. There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art. There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects.Exhibition files concern "Black and White" (1958), "California Hard-Edge Painting" (1964), the Man Ray Exhibition (1966), and the William Turnbull Exhibition (1966).Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.Photographs are of people, places, works of art, and exhibitions. There are photographs of Jules Langsner, June Harwood, Philip Guston, Musa Guston, William Brice, Eddy Feldman, Rube Kadish, Stanton MacDonald-Wright, Frank Perls, and unidentified individual people and groups. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Photographs of exhibitions include California Art Club, "Black and White," "California Painters & Sculptors, 35 & Under," and unidentified exhibitions. Photographs of works of art are by William Turnbull, Jack Zajac, Walter Mix, Marion Aldrich, Roger Majorowicz, and Jasper Johns.Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The reel-to-reel tapes are of two lectures by Langsner, You & Art/Berlin Party, and of eulogies given at Langsner's funeral by Clement Greenberg, Henry Seldis, Peter Selz, Richard Brown, Donald Brewer, Tom Leavitt, Lorser Feitelson, Sam Francis, June Wayne, Gifford Phillips, and others. The cassette tape is a copy of eulogies.
ArchivalResource:
https://n2t.net/ark:/65665/mw96ca20c0c-5a91-42e5-9ff4-d5217f7fd266 View
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- Jules Langsner papers, circa 1910s-1998, bulk 1950-1967
Oral history interview with Joan Ankrum
Title:
Oral history interview with Joan Ankrum
An interview of Joan Ankrum conducted 1997 November 5-1998 February 4, by Paul Karlstrom, for the Archives of American Art, in Pasadena, California.
OralHistoryResource: Sound recording: 6 sound cassettes (60 min. each) : analog.Transcript: 195 p.
https://n2t.net/ark:/65665/mw977864658-a763-4f66-a3c3-5d0321352cd1 View
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- Ankrum, Joan. Oral history interview with Joan Ankrum, 1997 Nov. 5-1998 Feb. 4.
Dorothy C. Miller papers
Title:
Dorothy C. Miller papers
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the <emph render="italic">First Municipal Art Exhibition </emph>(1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of <emph render="italic">The Nelson A. Rockefeller Collection: Masterpieces of Modern Art.</emph> Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, <emph render="italic">Art At Work: Chase Manhattan Bank Collection</emph>. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art. Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing <emph render="italic">Edward Hicks: His Peaceable Kingdom and Other Paintings</emph>. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the <emph render="italic">First Municipal Art Exhibition </emph>(1934) held at the RCA Building in Rockefeller Center. Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.
ArchivalResource:
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- Resource Relation
- Dorothy C. Miller papers, circa 1912-1992, bulk 1959-1984
Oral history interview with Clinton Adams
Title:
Oral history interview with Clinton Adams
An interview of Clinton Adams conducted 1995 August 2-3, by Paul Karlstrom, for the Archives of American Art, at his home, in Albuquerque, New Mexico.
OralHistoryResource: Sound recordings: 4 sound cassettes (60 min. each) : analog.Transcript: 149 p.
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- Resource Relation
- Adams, Clinton, 1918-2002,. Oral history interview with Clinton Adams, 1995 Aug. 2-3 [sound recording].
Oral history interview with Lorser Feitelson
Title:
Oral history interview with Lorser Feitelson
An interview of Lorser Feitelson conducted 1964 May 12-1964 June 9, by Betty Hoag for the Archives of American Art.
OralHistoryResource: Sound recordings: 2 sound tape reels ; 5 in.Transcript: 52 p.
https://n2t.net/ark:/65665/mw9930e34ca-a182-4ad8-8e93-aaf967921b17 View
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- Resource Relation
- Feitelson, Lorser, 1898-1978. Lorser Feitelson interviews, 1964 May 12-June 9 [sound recording].
Seldis, Henry J. Henry J. Seldis interviews [sound recording], 1958-1978.
Title:
Henry J. Seldis interviews [sound recording], 1958-1978.
Interviews with Henry Moore conducted by Henry Seldis in preparation for his book, Henry Moore in America. Also included are interviews conducted by Seldis with artists such as Lorser Feitelson and Frederick Hammersley, and several tapes from the Art and Artists program that Seldis hosted on radio station KPFK in 1959 and 1960.
ArchivalResource: 17 sound cassettes : analog, 1 7/8 ips, mono ; 3 7/8 x 2 1/4 in., 1/8 in. tape original.11 sound tape reels : analog, 7 1/2 ips, mono ; 7 in., 1/4 in tape. original.
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- Seldis, Henry J. Henry J. Seldis interviews [sound recording], 1958-1978.
Oral history interview with Helen Lundeberg
Title:
Oral history interview with Helen Lundeberg
An interview of Helen Lundeberg conducted 1980 July 19-Aug. 29, by Jan Butterfield, for the Archives of American Art.
OralHistoryResource: 82 pages
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- Resource Relation
- Lundeberg, Helen, 1908-1999. Oral history interview with Helen Lundeberg, 1980 July 19-Aug. 29.
Henry John Weeks papers
Title:
Henry John Weeks papers
Correspondence, Weeks' masters thesis about Southern California painters, and miscellany.
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- Resource Relation
- Weeks, Henry John. Henry John Weeks papers, 1965-1973.
Citation
- Constellation Relation
- Federal Art Project (Calif.)
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- Constellation Relation
- Langsner, Jules, 1911-1967.
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- Constellation Relation
- Lundeberg, Helen, 1908-
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- Adams, Clinton, 1918-2002,
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- Ankrum, Joan
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- Benjamin, Karl.
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- Blazek, Anton James, 1902-1974.
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- Bothwell, Dorr,
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- Buff, Conrad, 1886-1975.
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- Constellation Relation
- Butterfield, Jan.
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- Cahill, Holger, 1887-1960.
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- Durston, Arthur.
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- Federal Art Project (Calif.)
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- Constellation Relation
- Federal Art Project (Calif.)
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- Constellation Relation
- Federal Art Project (Calif.)
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- Constellation Relation
- Federal Art Project (Calif.)
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- Constellation Relation
- Hammersley, Frederick, 1919-
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- Kadish, Reuben, 1913-
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- Kuh, Katharine.
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- Constellation Relation
- Labaudt, Lucien, 1880-1943.
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- Constellation Relation
- Langsner, Jules, 1911-1967.
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- Constellation Relation
- Lehman, Harold, 1913-
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- Constellation Relation
- Longstreet, Stephen, 1907-
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- Constellation Relation
- Lundeberg, Helen, 1908-1999.
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- McCoy, Esther.
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- Constellation Relation
- McGlynn, Betty Hoag,
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- McLaughlin, John, 1898-1976.
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- Constellation Relation
- Mendelowitz, Daniel Marcus.
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- Constellation Relation
- Miller, Dorothy Canning
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- Constellation Relation
- Miller, Dorothy Canning, 1904-2003.
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- Moran, Diane De Gasis.
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- Constellation Relation
- New Deal and the Arts Oral History Project.
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- Constellation Relation
- New Deal and the Arts Oral History Project.
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- Constellation Relation
- New Deal and the Arts Oral History Project.
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- Constellation Relation
- Rattner, Abraham.
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- Constellation Relation
- Saltman, Molly, 1915-
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- Constellation Relation
- Seldis, Henry J.
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- Constellation Relation
- Sheets, Millard, 1907-
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- Constellation Relation
- Weeks, Henry John.
Painters
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- Subject
- Painters
Painters
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- Subject
- Painters
Art
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- Subject
- Art
Art and state
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- Subject
- Art and state
Arts administrators
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- Subject
- Arts administrators
Federal aid to the arts
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- Subject
- Federal aid to the arts
Muralists
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- Subject
- Muralists
Mural painting and decoration
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- Subject
- Mural painting and decoration
Americans
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- Nationality
- Americans
Citation
- Place
- California--Los Angeles
California--Los Angeles
Parsed from SNAC EAC-CPF.
Citation
- Place
- California--Los Angeles
California--Los Angeles
Parsed from SNAC EAC-CPF.
Citation
- Place
- California--Los Angeles
California--Los Angeles
Parsed from SNAC EAC-CPF.
Citation
- Place
- California
California
Parsed from SNAC EAC-CPF.
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- Convention Declaration
- Convention Declaration 121