Compare Constellations

Georgina Klitgaard Papers, 1917-1965

Title: Georgina Klitgaard Papers 1917-1965

Correspondence (1917-1965); artwork, including lithographic plates and sketches; photographs and reproductions of paintings; and printed material, including clippings (1928-1965), exhibition catalogs (1927-1965), and reviews. Correspondents include Bill Alexander, the American Artists Group, Inc., Erwin S. Barrie, Ray Bethers, George Biddle, Julius Bloch, Mortimer Borne, W. Sterry Branning, Lucile E. Bush, Millicent Carey, the Carnegie Institute, the Chesapeake and Ohio Railway Compnay, Van Cort, Russell Cowles, Katharine Day, Dorothy Dehner, Juliana Force, Kathryn Gamble, Daisy Gill, Lloyd Goodrich, Buckner Hollingsworth, Kaj Klitgaard, Yasuo Kuniyoshi, Archibald MacLeish, Hughes Mearns, Hermon More, Hobson Pittman, Frances M. Pollak, Henry Varnum Poor, Homer Saint-Gaudens, Silvia Saunders, Jean Paul Slusser, Charles A. Smart, Carl Spaatz, Eugene Speicher, Francis H. Taylor, Zoraida E. Weeks, and William Zorach.

ArchivalResource:

http://library.syr.edu/digital/guides/k/klitgaard_g.htm View

Force, Juliana, 1876-1948. Correspondence with Carl Zigrosser, 1918-1964.

Title: Correspondence with Carl Zigrosser, 1918-1964.

The earliest letters from Juliana Force to Carl Zigrosser regard the Whitney Studio Club and Alleyne Ireland's rental of rooms (Mrs. Force seems to be looking after Ireland, the rooms would appear to have been sublet from Zigrosser or his wife, Florence King). Other letters mention Rockwell Kent, invitations to previews and exhibition plans. There is a copy of the 1943 auction catalog of Juliana Force's collection of Victoriana. The later correspondence comes from the American Art Research Council.

ArchivalResource: 17 items (21 leaves and 1 catalog).

http://www.worldcat.org/oclc/155901067 View

Whitney Museum of American Art. Correspondence with Carl Zigrosser, 1934-1969.

Title: Correspondence with Carl Zigrosser, 1934-1969.

Zigrosser's early correspondence with the Whitney Museum of American Art deals primarily with sales and loans from the Weyhe Gallery to the Whitney. The bulk of the correspondence in this file concerns Zigrosser's 1942 exhibition at the Whitney, Between Two Wars: Prints by American Artists, 1914-1941. This includes letters of appreciation, press releases, clippings, bills, arrangements for loans, Zigrosser's notes and gallery floor plans, and copy for the catalog. Later letters are from Lloyd Goodrich and concern research questions. Other letters are from Hermon More and Juliana Force.

ArchivalResource: 53 items (162 leaves).

http://www.worldcat.org/oclc/155899830 View

Isabel Bishop papers

Title: Isabel Bishop papers

The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. Scattered biographical documents include awards and a file on her participation in art juries.Bishop was friends with many artists and cultural figures and her correspondence includes letters to and from artists such as John Taylor Arms, Peggy Bacon, Peter Blume, Warren Chappell (many letters from Chappell are illustrated), Sidney Delevante, Edwin Dickinson, Philip Evergood, John Folinsbee, Malvina Hoffman, Jo Hopper, James Kearns, Leon Kroll, Clare Leighton, Jack Levine, Alice Neel, Hobson Pittman, Fairfield Porter, Abraham Rattner, Katherine Schmidt, Henry Schnakenberg, Raphael Soyer, George Tooker, Stuyvesant Van Veen, Franklin Watkins, Mahonri Young, and William Zorach. Bishop not only corresponded with artists but also many poets, authors, historians, and dancers, such as Van Wyck Brooks, John Canaday, John Ciardi, Merce Cunningham, Babette Deutsch, Edna Ferber, Richmond Lattimore, Marianne Moore, Lewis Mumford, Kurt Vonnegut, and Glenway Westcott. Also found are letters from many galleries, museums, and schools which exhibited or purchased her work, including curators Juliana Force and Una Johnson. Bishop kept files from her affiliations with the American Society of Painters, Sculptors, and Gravers and the New Society of Artists, containing mostly membership and financial records, and a file on a UNESCO conference. Unfortunately, files documenting her membership and vice presidency of the National Institute of Arts & Letters are not found here. A small amount of Bishop's writings and notes include essays about friends and artists Reginald Marsh and Warren Chappell. Printed material consists of exhibition catalogs and announcements, news clippings, magazines, and a design by G. Alan Chidsey for a book about Bishop. Photographs depict Bishop with her husband and in her studio, her artwork, and also include three photographs of her friend, Reginald Marsh. Original artwork includes eight small sketchbooks, loose pen and ink sketches, intaglio prints, watercolor figure studies, and a drawing of Bishop by Aaron Bohrod.

ArchivalResource:

https://n2t.net/ark:/65665/mw9509a0a9a-9a45-4bf3-973e-4699c03f6ed8 View

Whitney Museum of American Art, Juliana Force papers

Title: Whitney Museum of American Art, Juliana Force papers

Correspondence; files on the Public Works of Art Project and WPA-FAP; notes; scrapbook; exhibition catalogs; and miscellany.

ArchivalResource:

https://n2t.net/ark:/65665/mw90749b3ba-87d3-4fea-b8e2-ab5b7ac7dfa8 View

Hathaway, Calvin Sutliff, 1907?-1974. Calvin Sutliff Hathaway papers, 1941-1954.

Title: Calvin Sutliff Hathaway papers, 1941-1954.

Correspondence, military documents, manuscripts, notes, and printed material of Hathaway, relating to the measures taken to protect and salvage artistic and historic monuments, documents, and art objects during World War II and its aftermath. The collection is concerned almost entirely with German art collections, especially those of Berlin. The papers contain the files of Juliana Force. The printed material consists of books, manuals, catalogs, pamphlets, and reports, along with scrapbooks of clippings. Major correspondents include J. William Fulbright, Hellmut Lehman-Haupt, and Wayne Morse. Also included are two scrapbooks of newspaper clippings on Mormonism belonging to one of Hathaway's ancestors, Jean G. Hathaway.

ArchivalResource: 7 linear ft. ( 14 boxes)

http://www.worldcat.org/oclc/460880115 View

Oral history interview with Inslee Hopper

Title: Oral history interview with Inslee Hopper

An interview of Inslee Hopper conducted 1981 July 28, by Robert Brown, for the Archives of American Art.

OralHistoryResource: Sound recording: 1 sound tape reel ; 5 in.Transcript: 44 p.

https://n2t.net/ark:/65665/mw9f78d7a86-5d09-4d2a-8513-0441342309ac View

Eugenie Gershoy papers

Title: Eugenie Gershoy papers

The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.

ArchivalResource:

https://n2t.net/ark:/65665/mw9140504d0-90c4-45af-91c8-9c39b74aa139 View

Herman Trunk papers

Title: Herman Trunk papers

Letters, writings, photographs, printed material, and a DVD videorecording relating to Trunk's career as a modernist painter. Letters are from Juliana Force, Arthur E. McFarlane, Henry McFee, author B.F. Morrow, and Charles J. Simpson, secretary of the American Veterans Society of Artists, Harry C. Richardson, Gertrude Herdle Moore, Holger Cahill, Audrey F. McMahon, Hugo C.M. Wendel, Kimon Nicolaides, Zoltan Hecht, and Marion M. Grant, among others. Writings include consignment forms and reports from the Dudensing Gallery, New York City, an artist statement, one notebook labeled Egyptian, Assyrian, Greek, Etruscan, and Greco-Roman, one notebook on fresco painting, and two notebooks listing information on art works by Trunk. Photographs are of Trunk, his wife, and others. Printed material consists of scrapbook pages, newspaper clippings, exhibition catalogs and pamphlets mostly concerning Trunk's exhibitions at Dudensing Gallery, New York. The DVD documents the 1989 Trunk exhibition at Hirschl & Adler Galleries, New York, filmed by the donor, Joseph Smith.

ArchivalResource:

https://n2t.net/ark:/65665/mw91040d8ba-0463-4213-888a-8a237d9ced19 View

Edna Reindel papers

Title: Edna Reindel papers

The papers of artist Edna Reindel measure 0.8 linear feet and date from circa 1918-1990. The collection contains biographical material, printed material, artist files and photographs that document Reindel's career and her friendships with Hollywood celebrities, art patrons, and artists.

ArchivalResource: 0.8 Linear feet

https://n2t.net/ark:/65665/mw947b0aba0-b812-4b8e-bbab-42901911ef66 View

Chaim Gross papers

Title: Chaim Gross papers

The papers of New York City sculptor and teacher Chaim Gross measure 21.1 linear feet and date from 1920-2004. The collection provides comprehensive documentation of Gross's career through biographical material, personal and professional correspondence with family, artists, writers, galleries, museums, educational institutions, and religious and philanthropic organizations, writings, personal business records, extensive printed and published material including motion picture film and video recordings of four documentaries, one hundred and fifteen sketchbooks spanning the bulk of Gross's career, and photographs of Gross, his family, many friends and colleagues from the art world, his studio, personal art collection, and works of art. An unprocessed addition of three sketchbooks was donated in 2020.

ArchivalResource: 21.1 Linear feet

https://n2t.net/ark:/65665/mw9e77fa914-8285-4fca-a0f9-63172974dee1 View

American Federation of Arts records

Title: American Federation of Arts records

The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.

ArchivalResource: 79.8 Linear feet

https://n2t.net/ark:/65665/mw9c7dd55d7-d3cb-43e7-8f4e-cd346add3d2e View

Selections from the Philadelphia Museum of Art's Archives of American Art collection

Title: Selections from the Philadelphia Museum of Art's Archives of American Art collection

Correspondence, printed material, writings, and other personal papers collected by Carl Zigrosser and Leila Mechlin and later added to by others, all relating to American art.

ArchivalResource:

https://n2t.net/ark:/65665/mw9a2730a20-b93d-4840-8872-6bd20fe24b55 View

Oral history interview with Arnold Blanch

Title: Oral history interview with Arnold Blanch

An interview of Arnold Blanch conducted by Dorothy Seckler (31 pages) on 1963 June 13 for the Archives of American Art, and a lecture by Blanch recorded by Seckler (6 pages), August 1, 1963.

OralHistoryResource: Sound recordings: 5 sound tape reels ; 5 in.Transcript: 37 p.

https://n2t.net/ark:/65665/mw90ce9ffe3-ba4d-4131-b160-99f0588088aa View

Lena Gurr papers

Title: Lena Gurr papers

The Lena Gurr papers date from 1908 to 1979 and measure 7.0 linear feet. The collection presents a good overview of Gurr's career as a painter and printmaker, and her relationship with her husband, painter Joseph Biel. Through biographical material, correspondence, notes, an interview with Lena Gurr, original artwork by Gurr and others, scrapbooks, printed material, photographs of Gurr, family, and friends, and photographs of artwork by Gurr and others, the collection offers researchers a valuable resource for studying the New York art community of the pre-war era.

ArchivalResource:

https://n2t.net/ark:/65665/mw9b8b94bfb-1abb-4321-91f1-2693c1f4fcc8 View

Oral history interview with F. Wynn Graham

Title: Oral history interview with F. Wynn Graham

An interview of F. Wynn Graham conducted 1965 July 22, by Sylvia Loomis, for the Archives of American Art. Graham speaks of her background and her education at the Art Students League; working on lithography at the Harlem Arts Center; joining the WPA Federal Art Project (FAP) in 1935; working on the easel painting project; the Artists' Union; the effects of the FAP on her career and on art; and her post-FAP career. She recalls Juliana Force.

OralHistoryResource: Sound recordings: 1 sound tape reel (1 hour) ; 7 in.Transcript: 25 p.

https://n2t.net/ark:/65665/mw98ebf3593-9efd-44ba-8ec0-34e100175f2c View

Austin Merrill Mecklem and Marianne Greer Appel papers

Title: Austin Merrill Mecklem and Marianne Greer Appel papers

The Austin Merrill Mecklem and Marianne Greer Appel papers measure 5.0 linear feet and 0.035 GB and date from 1910-2006, with the bulk of materials dating from 1928-1977. Correspondence, writings, drawings, printed and digital material, miscellaneous items and photographs document Mecklem as an artist, muralist and art instructor and Appel as an artist, puppet designer and author and illustrator of children's books. A significant portion of Appel's papers consist of drafts of two illustrated children's books.Austin Mecklem's papers include biographical materials, personal and professional correspondence and letters, and printed material from the WPA. Printed material includes newspaper clippings, exhibition catalogs, announcements and press releases, and an article from Fortune Magazine concerning the Coulee Dam, a subject of interest to Mecklem. Digital material consists of "Catalogue Raisonee as of February 2009".Of particular note are Mecklem's lecture and teaching notes on the "Fundamentals of Art" prepared for his class at the Albright Art School. Also, there are photographs of Mecklem's paintings and murals, including his design for a mural for the Recorder of Deeds Building in Washington, D. C. Original artwork by Mecklem includes the blueprint for the Portland, Connecticut Post Office mural, drawings on tissue paper, a watercolor landscape, and a cartoon entitled "Life at the High."Appel's papers consist of drafts of children's books, "The Story of Juliet" (1945) and "Perlydew" (after 1953), correspondence, writings, sketches and clippings from the period after Mecklem's death. Correspondence includes personal letters and letters from the Federal Works Agency Public Buildings Administration regarding the Agency's purchase of Appel's artwork. Also found are sketch books and an original watercolor signed by Appel.Also found are photographs of friends and family as well as photographs of Appel's paintings and puppets she designed. Some photographs of puppets carry notes by Jim Henson, creator of the Muppets. Appel's book drafts include manuscripts, both typed and hand-written, with layouts and illustrations in tempera or gouache.This collection contains scattered notes by the donors which identify or explain materials.There is an unprocessed addition of 3.6 linear feet donated in 2019 relating to Marianne Greer Appel including biographical material, correspondence, writings, rare published and printed material, photographs, and preliminary works of art.

ArchivalResource:

https://n2t.net/ark:/65665/mw90b63e232-23ed-4d68-bb8f-8b15579f8520 View

FORCE, JULIANA. Artist file : miscellaneous uncataloged material.

Title: Artist file : miscellaneous uncataloged material.

ArchivalResource: 1 folder.

http://www.worldcat.org/oclc/86149674 View

Ogden M. Pleissner papers

Title: Ogden M. Pleissner papers

The papers of painter Ogden M. Pleissner measure 3.2 linear feet and date from 1928-1976. Found within the papers are biographical material, scattered letters, artwork, eight scrapbooks, printed material, and photographs.Biographical material includes Pleissner's U. S. Army Certificate of Service, an autobiographical essay, and miscellaneous notes. Scattered letters dating from 1942-1976 primarily concern Pleissner's service in the U. S. Army. There are also letters from colleagues and friends including artists Harrison Cady and Stow Wengenroth. Nine scrapbooks contain clippings, exhibition announcements and catalogs, and scattered letters from art organizations and colleagues including Juliana Force, Charles Vezin, and Stow Wengenroth. An additional 1.2 linear feet of printed material consists primarily of clippings, and exhibition catalogs and announcements. Also found within the papers is one etching, and photographs of Pleissner, his colleagues, exhibitions and artwork.

ArchivalResource: 3.2 linear feet

https://n2t.net/ark:/65665/mw91f51e776-8d6f-4f92-8e70-be23ab922f2b View

Pereira, I. Rice (Irene Rice), 1902-1971. Papers, 1929-1976 (inclusive).

Title: Papers, 1929-1976 (inclusive).

Correspondence, manuscripts of her writings, notebooks on philosophy, articles, poems, painting inventories, photos, both personal and of art work, exhibition catalogs, financial records, grant applications, and printed material pertain to Pereira's interests and career.

ArchivalResource: 10 linear ft.

http://www.worldcat.org/oclc/122565755 View

Oral history interview with Alexander Brook

Title: Oral history interview with Alexander Brook

An interview of Alexander Brook conducted 1977 July 7-8, by Paul Cummings, for the Archives of American Art. Brook speaks of his childhood and family; his early interest in painting; studying at the Art Students League with Dmitri Romanowsky and Kenneth Hayes Miller; women at the Art Students League; his first wife, Peggy Bacon; his travels in Europe; the Penguin Club; the Whitney Studio Club; working as a "talent scout" for Juliana Reiser Force; sharing a studio with Alexander Calder and Reuben Nakian; art sales in the 1930s; women as subjects; his portraits of Katharine Hepburn; and his painting technique. He recalls William Murrell Fisher, Lloyd Goodrich, Edward Hopper, Yasuo Kuniyoshi, and others.

OralHistoryResource: Sound recording: 2 sound tape reels ; 5 in.Transcript: 91 p.

https://n2t.net/ark:/65665/mw913ef31b3-d328-4bf2-bb60-0f0c1d61520d View

Flannagan, John Bernard, 1895?-1942. Correspondence with Carl Zigrosser, 1926-1942, n.d.

Title: Correspondence with Carl Zigrosser, 1926-1942, n.d.

The earliest correspondence concerns Flannagan's work on small pieces, sales, and exhibitions. Attentive and informative letters from 1928 written by Florence Rollins discuss Flannagan's problems in Woodstock, his inability to handle money or "behave decently," and his drinking. Miss Rollins had befriended Flannagan and let him live and work at her country place; her growing disillusionment is evident in her blunt letters. There are also reconciling letters from Flannagan to Rollins in the file that describe his life and his work. An exchange of letters from this time between Zigrosser and Juliana Force is the beginning of an informal alliance between the two to help arrange for sales of Flannagan's work. Flannagan's own letters often give simple, philosophical statements about the motivation of his work, his choice of subject and material. There is also misleading biographical information, references to sales, and requests for funds. Mid 1929 letters make reference to Jo Davidson and Grace Briggs, John Flannagan's future wife. Some letters are addressed to Laura Canadé, an employee of Weyhe Gallery and Carl Zigrosser's second wife. A March, 1930 contract sets up a purchase system at Weyhe, providing quarterly payments to Flannagan in return for the delivery of works of art. In June of 1930, Flannagan and his wife went to Ireland for a year's concerted work. Monthly letters give details about stone the available, setting up a household, his optimism about work and staying sober, financial arrangements, Ireland and the Irish, the complications of shipping his work, and the birth of his daughter. Flannagan's moods are quite changeable: each cheerful, optimistic letter full of plans is matched by one of nervous gloom full of plans, and another of miserable dejection. In April, 1931, the small family relocated to Paris, and in May of that year Grace and the baby left a horribly drunken Flannagan and returned to the United States. There is a gap in the correspondence until the spring of 1932, which brings a flurry of legal notices attempting to put a lien on Flannagan's work at the Weyhe Gallery. The next few letters from Flannagan are from 1934 and describe his work in metal casting and some carving projects. Early 1935 brings letters from Bloomingdale, a psychiatric hospital in New York City, where Flannagan is undergoing treatment for alcohol addiction and mental problems. The letters are desperate and unguarded. Flannagan worries about never being able to sculpt again, the removal of his teeth, and expresses his bitterness towards his wife and pleads his case to Zigrosser. By October of 1935, Flannagan is out of the hospital and living in Boston with Margharita La Centra, sculpting and making sales. April of 1936 brings a long letter about Flannagan's plan to purchase an old stone farmhouse near Woodstock, N.Y. with barns for sculpting in -- the purchase of which would require financial help from Erhard Weyhe. Zigrosser tried unsuccessfully to solicite help from other sources, including Chauncey Stillman, a well-to-do collector. Stillman's response is negative, but compassionate about helping Flannagan solve his personal problems. Flannagan's work was selling well at the time, but his underlying weaknesses remained unresolved. The letters from this time are excitable, full of plans, loaded down with financial problems and excuses for slow work. Letters from 1937 refer to Flannagan's hospitalization for a broken leg after he was struck by a car, and his recuperating in Ridgefield, Conn. at the home of Stephen Luce Brown. His work is slowed by his injury, and by the first symptoms of the recurring brain tumors that would complicate his last years. Other topics include a visit by Padraic Colum, Flannagan's feelings of lost time, his work on Jonah and the Whale (including a sketch of the sculpture), some comments on chemical coatings for his outdoor work, and the types and colors of stones he prefers. At this time, Flannagan's commission from the Fairmount Park Art Association of Philadelphia for his figure, the Miner, was coming to a head. A December, 1937 letter from Henri Marceau to Zigrosser reports of a meeting with the artist about the project at which Flannagan was not sober. Hospitalizations and recoveries create gaps in the letters from Flannagan. In 1939, his reduced stamina results in Flannagan working with metal casting instead of stone, and letters report his exhaustion and struggle with sobriety, as well as the infrequent sales of his work. 1940 brings fatalistic letters in which Flannagan writes about having a retrospective and comments on his poverty and how it effects his work. In July of that year, a postcard reports the sale at auction of all tools in Flannagan's "erstwhile studio." A letter to Zigrosser from Domenico Mortellito suggests making reproductions of Flannagan's work to get money for the artist. Letters for 1941 include a typescript of Flannagan's letters to Curt Valentin of Buchholz Gallery arranging sales and an exhibition. Letters to Zigrosser mention setting up a new studio, projects and work completed, and thoughts about suicide. The 1941 correspondence with Zigrosser is slimmer, but still quite personal and bearing a tone of resignation. Flannagan killed himself in his New York studio on January 6, 1942. Several folders of material follow the correspondence. Included are letters from various people involved with Flannagan, often resolving old conflicts. Not long after Flannagan's death, a Newsweek article characterized the Weyhe Gallery as profiteering from Flannagan during his lifetime. Letters between Erhard Weyhe, Laura Canadé and Carl Zigrosser record their initial dismay and defense of the Gallery's treatment of Flannagan. There are letters from researchers working on Flannagan. There is a folder of business receipts, a folder of clippings from magazines and newspapers, a folder of exhibition catalogs, a folder of comments and writings by Carl Zigrosser, and a folder of lists of Flannagan's sculptures.

ArchivalResource: 192 items (455 leaves).

http://www.worldcat.org/oclc/155901034 View

Papers, 1929-1976

Title: Papers, 1929-1976

Correspondence, manuscripts, notebook, etc., of I. Rice (Irene Rice) Pereira, abstract painter, poet, and philosopher.

ArchivalResource: 10 cartons, 32 folio, 25 folio+, 11 oversize folders, 1 supersize folder, photographs, and slides

http://id.lib.harvard.edu/ead/sch00849/catalog View

Lena Gurr papers

Title: Lena Gurr papers

The Lena Gurr papers date from 1908 to 1979 and measure 7.0 linear feet. The collection presents a good overview of Gurr's career as a painter and printmaker, and her relationship with her husband, painter Joseph Biel. Through biographical material, correspondence, notes, an interview with Lena Gurr, original artwork by Gurr and others, scrapbooks, printed material, photographs of Gurr, family, and friends, and photographs of artwork by Gurr and others, the collection offers researchers a valuable resource for studying the New York art community of the pre-war era.

ArchivalResource:

https://n2t.net/ark:/65665/mw9b8b94bfb-1abb-4321-91f1-2693c1f4fcc8 View

Force, Juliana. Force, Juliana: Art World Personality Files.

Title: Force, Juliana: Art World Personality Files.

ArchivalResource: 2 folders.

http://www.worldcat.org/oclc/228431447 View

Ben Benn papers

Title: Ben Benn papers

The papers of modernist painter Ben Benn measure 6.3 linear feet and date from 1906 through 1977, with the bulk of the papers dating from circa 1920 - circa 1970. The collection includes correspondence between Benn and his wife Velida de Benn and letters from Oscar Bluemner, Max Weber, Joseph Stella, and other artists. Also found are biographical materials, sketches, sketchbooks, diaries, scrapbooks, personal business records, clippings, photographs, exhibition catalogs, art journals, and auction catalogs. Some of the printed material is quite rare.The bulk of the collection consists of correspondence files dating from 1906 through 1993, and includes personal, professional, and family correspondence of Ben Benn and wife Velida Benn, as well as personal correspondence between the Benn's. Much of the professional correspondence relates to exhibitions and other projects and is with museums, galleries, and art associations, including the Whitney Museum of American Art, The Artists' Gallery, and the College Art Association. Additional correspondence contains letters from friends and colleagues including Alfred Barr, Oscar Bluemner, Rita Benton, Holger Cahill, Juliana Force, Sidney Geist, Kaj Klitgaard, Audrey McMahon, Julio Osma, Harry Salpeter, Hugh Stix, Hudson D. Walker, and Marguerite Zorach, among others. Letters exchanged between Ben Benn and Velida Benn primarily relate to Benn's activities in Woodstock, N.Y., Gloucester, Ma., and St. Augustine, Fla., places he visited during the early part of his career. Many of Benn's letters are illustrated. Velida Benn's correspondence includes letters from her brother Bernard Lopez, William M. Fisher (Metropolitan Museum of Art), Bessie Beatty, Rita Benton, Sidney Geist, and Julio Osma. Also found are brief notes from Joseph Stella, Max Weber, and Marsden Hartley.Diaries (1943-1977) contain entries by Velida Benn and reflect her activities and personal observations; also found are numerous references to Benn's exhibitions and projects. Three scrapbooks (1915-1972) document Benn's exhibitions and include copies of correspondence, announcements, checklists, price lists, and clippings; many of the items are annotated. Artwork (1937-1974) consists of sketchbooks and various loose sketches of portraits, figures, and still lifes; also included are fashion sketches by Velida Benn.Printed material (1905-1991, bulk 1930s-1970s) includes exhibition announcements and catalogs, newspaper and magazine clippings, printed programs, reproductions, and monographs. Of particular interest are Artists' and Writers' Chap Books (1933-1935) that include the work of Ben and Velida Benn. Photographs (1920-1969) contain images of works of art, of Ben Benn, individually and with Velida, and exhibition installation shots.

ArchivalResource:

https://n2t.net/ark:/65665/mw928843ebf-2403-418a-a333-69b5b8d63fc4 View

Wendell Jones papers

Title: Wendell Jones papers

Letters, undated and 1937-1961, mostly dealing with Jones' mural in the Rome, N.Y. Post Office, done for the Section of Fine Arts; correspondence with Edward Bruce, Forbes Watson, Juliana Force, Edward Rowan, and Eugene Speicher; photographs of Jones, his family, his paintings, and of other Woodstock area artists including Philip Guston, Yasuo Kuniyoshi, Harry Burlin, Herman Cherry, Marion Greenwood, Raoul Hague, Fletcher Martin, and Dorothy Varian; a contract, 1940, for a the Post Office mural; and other business records including check stubs, vouchers and receipts.

ArchivalResource: 0.5 linear ft. (200 items)

https://n2t.net/ark:/65665/mw92e0994ee-887c-45bb-b5d9-cbefdbc30b78 View

Force, Juliana, 1876-1948. Artist file.

Title: Artist file.

ArchivalResource: 1 folder.

http://www.worldcat.org/oclc/122396916 View

Forbes Watson papers

Title: Forbes Watson papers

The papers of New York City art critic, writer, and lecturer Forbes Watson date from 1840-1967 with the bulk of materials dating from 1900-1960 and measure 13.5 linear feet. Found are biographical materials, correspondence, business records relating to the Arts Publishing Corporation, records documenting Watson's work for the Public Works of Art Project and the Section of Painting and Sculpture, reference files, an exhibition file from the Pepsi-Cola Company's Third Annual Exhibition, writings and notes, ten scrapbooks and loose pages, printed materials, and photographs.

ArchivalResource: 13.92 Linear feet

https://n2t.net/ark:/65665/mw9b62b4c1c-aa40-4979-bbf3-d90fa4e127b6 View

Ganso, Fanny. Correspondence with Carl Zigrosser, 1933-1953, n.d.

Title: Correspondence with Carl Zigrosser, 1933-1953, n.d.

Although there are some letters from Fanny Ganso to Carl Zigrosser dated earlier, most of Mrs. Ganso's letters date from the years just after Emil Ganso's death in 1941 and concern the artists's estate and posthumous career. Mrs. Ganso displays rare level-headedness in her letters: she writes to Zigrosser that she is unhappy with the Whitney Museum's 1941 plans for a memorial exhibit because there will be no prints in it, just paintings. She writes of difficulties with Juliana Force over the exhibition. Mrs. Ganso went to work for Weyhe Gallery, and some letters contain news of Zigrosser's old workplace. Fanny writes weighing various options proposed to her for a biography of Emil Ganso. Letters report life in the artists colony at Woodstock, her failed friendship at Weyhe Gallery with Laura Canadé, Erhard Weyhe's support, exhibitions of Ganso's work,intimations of gossip about Grant Wood, and some later exhibition announcements from her own Ganso Gallery.

ArchivalResource: 46 items (51 leaves).

http://www.worldcat.org/oclc/155901049 View

Eugenie Gershoy papers

Title: Eugenie Gershoy papers

The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.

ArchivalResource:

https://n2t.net/ark:/65665/mw9140504d0-90c4-45af-91c8-9c39b74aa139 View

Lee Woodward Zeigler papers

Title: Lee Woodward Zeigler papers

Biographical material, correspondence files, writings, photographs, and printed material.

ArchivalResource:

https://n2t.net/ark:/65665/mw9169e7e38-30b4-46ff-bdda-2fbc155123ec View

Marchal Landgren Papers

Title: Marchal Landgren Papers

The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

ArchivalResource: 15.3 Linear feet

https://n2t.net/ark:/65665/mw946a644a0-83cc-46a7-8c56-e9c63db0e1b4 View

Ben Benn papers

Title: Ben Benn papers

The papers of modernist painter Ben Benn measure 6.3 linear feet and date from 1906 through 1977, with the bulk of the papers dating from circa 1920 - circa 1970. The collection includes correspondence between Benn and his wife Velida de Benn and letters from Oscar Bluemner, Max Weber, Joseph Stella, and other artists. Also found are biographical materials, sketches, sketchbooks, diaries, scrapbooks, personal business records, clippings, photographs, exhibition catalogs, art journals, and auction catalogs. Some of the printed material is quite rare.The bulk of the collection consists of correspondence files dating from 1906 through 1993, and includes personal, professional, and family correspondence of Ben Benn and wife Velida Benn, as well as personal correspondence between the Benn's. Much of the professional correspondence relates to exhibitions and other projects and is with museums, galleries, and art associations, including the Whitney Museum of American Art, The Artists' Gallery, and the College Art Association. Additional correspondence contains letters from friends and colleagues including Alfred Barr, Oscar Bluemner, Rita Benton, Holger Cahill, Juliana Force, Sidney Geist, Kaj Klitgaard, Audrey McMahon, Julio Osma, Harry Salpeter, Hugh Stix, Hudson D. Walker, and Marguerite Zorach, among others. Letters exchanged between Ben Benn and Velida Benn primarily relate to Benn's activities in Woodstock, N.Y., Gloucester, Ma., and St. Augustine, Fla., places he visited during the early part of his career. Many of Benn's letters are illustrated. Velida Benn's correspondence includes letters from her brother Bernard Lopez, William M. Fisher (Metropolitan Museum of Art), Bessie Beatty, Rita Benton, Sidney Geist, and Julio Osma. Also found are brief notes from Joseph Stella, Max Weber, and Marsden Hartley.Diaries (1943-1977) contain entries by Velida Benn and reflect her activities and personal observations; also found are numerous references to Benn's exhibitions and projects. Three scrapbooks (1915-1972) document Benn's exhibitions and include copies of correspondence, announcements, checklists, price lists, and clippings; many of the items are annotated. Artwork (1937-1974) consists of sketchbooks and various loose sketches of portraits, figures, and still lifes; also included are fashion sketches by Velida Benn.Printed material (1905-1991, bulk 1930s-1970s) includes exhibition announcements and catalogs, newspaper and magazine clippings, printed programs, reproductions, and monographs. Of particular interest are Artists' and Writers' Chap Books (1933-1935) that include the work of Ben and Velida Benn. Photographs (1920-1969) contain images of works of art, of Ben Benn, individually and with Velida, and exhibition installation shots.

ArchivalResource:

https://n2t.net/ark:/65665/mw928843ebf-2403-418a-a333-69b5b8d63fc4 View

Isabel Bishop papers

Title: Isabel Bishop papers

The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. Scattered biographical documents include awards and a file on her participation in art juries.Bishop was friends with many artists and cultural figures and her correspondence includes letters to and from artists such as John Taylor Arms, Peggy Bacon, Peter Blume, Warren Chappell (many letters from Chappell are illustrated), Sidney Delevante, Edwin Dickinson, Philip Evergood, John Folinsbee, Malvina Hoffman, Jo Hopper, James Kearns, Leon Kroll, Clare Leighton, Jack Levine, Alice Neel, Hobson Pittman, Fairfield Porter, Abraham Rattner, Katherine Schmidt, Henry Schnakenberg, Raphael Soyer, George Tooker, Stuyvesant Van Veen, Franklin Watkins, Mahonri Young, and William Zorach. Bishop not only corresponded with artists but also many poets, authors, historians, and dancers, such as Van Wyck Brooks, John Canaday, John Ciardi, Merce Cunningham, Babette Deutsch, Edna Ferber, Richmond Lattimore, Marianne Moore, Lewis Mumford, Kurt Vonnegut, and Glenway Westcott. Also found are letters from many galleries, museums, and schools which exhibited or purchased her work, including curators Juliana Force and Una Johnson. Bishop kept files from her affiliations with the American Society of Painters, Sculptors, and Gravers and the New Society of Artists, containing mostly membership and financial records, and a file on a UNESCO conference. Unfortunately, files documenting her membership and vice presidency of the National Institute of Arts & Letters are not found here. A small amount of Bishop's writings and notes include essays about friends and artists Reginald Marsh and Warren Chappell. Printed material consists of exhibition catalogs and announcements, news clippings, magazines, and a design by G. Alan Chidsey for a book about Bishop. Photographs depict Bishop with her husband and in her studio, her artwork, and also include three photographs of her friend, Reginald Marsh. Original artwork includes eight small sketchbooks, loose pen and ink sketches, intaglio prints, watercolor figure studies, and a drawing of Bishop by Aaron Bohrod.

ArchivalResource:

https://n2t.net/ark:/65665/mw9509a0a9a-9a45-4bf3-973e-4699c03f6ed8 View

Ogden M. Pleissner papers

Title: Ogden M. Pleissner papers

The papers of painter Ogden M. Pleissner measure 3.2 linear feet and date from 1928-1976. Found within the papers are biographical material, scattered letters, artwork, eight scrapbooks, printed material, and photographs.Biographical material includes Pleissner's U. S. Army Certificate of Service, an autobiographical essay, and miscellaneous notes. Scattered letters dating from 1942-1976 primarily concern Pleissner's service in the U. S. Army. There are also letters from colleagues and friends including artists Harrison Cady and Stow Wengenroth. Nine scrapbooks contain clippings, exhibition announcements and catalogs, and scattered letters from art organizations and colleagues including Juliana Force, Charles Vezin, and Stow Wengenroth. An additional 1.2 linear feet of printed material consists primarily of clippings, and exhibition catalogs and announcements. Also found within the papers is one etching, and photographs of Pleissner, his colleagues, exhibitions and artwork.

ArchivalResource: 3.2 linear feet

https://n2t.net/ark:/65665/mw91f51e776-8d6f-4f92-8e70-be23ab922f2b View

American Federation of Arts records

Title: American Federation of Arts records

The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.

ArchivalResource: 79.8 Linear feet

https://n2t.net/ark:/65665/mw9c7dd55d7-d3cb-43e7-8f4e-cd346add3d2e View

Oral history interview with Audrey McMahon

Title: Oral history interview with Audrey McMahon

An interview of Audrey McMahon conducted 1964 Nov. 18, by Harlan Phillips, for the Archives of American Art.

OralHistoryResource: Sound recordings: 1 sound tape reel (2 hr.) ; 7 in.Transcript: 41 p.

https://n2t.net/ark:/65665/mw9864ed5b9-a17e-4270-8f11-238311a58054 View

Carl Rieser papers relating to Juliana Force

Title: Carl Rieser papers relating to Juliana Force

Rieser's letters concerning the publication of Juliana Force's biography in NOTABLE AMERICAN WOMEN, 1977 (one, to Lloyd Goodrich was inadvertently not microfilmd); copies and photographs of 19th century family documents; articles about Force by Rieser, Avis Berman, and others; and a typescript, "Juliana Rieser Force: A Family Memoir," by Rieser, detailing Force's family life.

ArchivalResource:

https://n2t.net/ark:/65665/mw9986fbe62-29bb-4773-8668-a1404766c073 View

Oral history interview with Adolph Glassgold

Title: Oral history interview with Adolph Glassgold

An interview of Adolph Glassgold conducted by Harlan Phillips on 1964 Dec. 9 for the Archives of American Art.

OralHistoryResource: Sound recording: 1 sound tape reel ; 7 in.Transcript: 41 p.

https://n2t.net/ark:/65665/mw9dbbc6213-c78b-40c5-8b75-e1bc86378f65 View

Oral history interview with Lloyd Goodrich

Title: Oral history interview with Lloyd Goodrich

An interview of Lloyd Goodrich conducted 1962 June 13-1963 March 25, by Harlan Phillips, for the Archives of American Art. Goodrich speaks of his youth in Nutley, New Jersey; his family background; his father's influence; his friendship with Reginald Marsh; studying at the Art Students League under Kenneth Hayes Miller; attending the National Academy of Design; his interest in music and poetry; deciding upon a career in art; working as a writer, editor, and critic for "The Arts"; his travels for "The Arts"; critics he knew; his book on Thomas Eakins; his work with the Public Works of Art Project; political problems with government support of the arts in the 1930s through the 1950s; working as a curator at the Whitney Museum of American Art; the problem of forgeries; the Whitney's relationship with other museums; and politics at the Whitney. He recalls Juliana Force, Forbes Watson, Alfred Stieglitz and Hamilton Easter Field.

OralHistoryResource: 511 p. transcript on one microfilm reel.

https://n2t.net/ark:/65665/mw9eb332c1e-f482-4b6c-8f48-05fdcdbac176 View