Compare Constellations

Maryette Charlton papers

Title: Maryette Charlton papers

The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

ArchivalResource: 80.6 Linear feet; 0.34 Gigabytes

https://n2t.net/ark:/65665/mw914a42bb1-d069-466f-8948-94f4bf257230 View

Elizabeth McCausland papers

Title: Elizabeth McCausland papers

The papers of art critic, writer, and historian Elizabeth McCausland measure approximately 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1995. The collection provides a vast accumulation of data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the <emph render="italic">Changing New York</emph> book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.McCausland's personal papers consist of appointment books and engagement calendars, scrapbooks, student papers, works printed on her private press, financial records, biographical material, and scattered memorabilia, which together document other aspects of her life apart from her work. Correspondence includes incoming and outgoing letters along with enclosures, dating from McCausland's time as a journalist for <emph render="italic">The Springfield Republican</emph> in the 1920s and 1930s to her time as a freelance writer, art critic, and historian (1940s-1960s) and mostly concerning professional matters. Also included is a substantial amount of correspondence with artists, particularly Arthur Dove and Alfred Stieglitz, and some personal correspondence with her mother. General writings consists primarily of copies of McCausland's speeches and lectures on various art topics in addition to her early poems (dating from the 1930s) and scattered essays and articles.The most extensive part of the collection is comprised of McCausland's research and writing files pertaining to large research and curatorial projects, such as ones on the artists Alfred H. Maurer and Marsden Hartley (which was begun by the American Art Research Council and subsequently taken over by McCausland), and one for the American Processional exhibition at the Corcoran Gallery in 1950. A wide variety of smaller projects are also well-documented in the series Other Research and Writing Files, including ones on E. L. Henry, Lewis Hine, George Inness, her collaborative work with Berenice Abbott on the <emph render="italic">Changing New York</emph> book and series of photographs. Numerous other artists and art topics are covered as well, such as Arthur Dove, Robert Henri, Jacob Lawrence, Charles Hawthorne, film, and photography. Files for her book <emph render="italic">Careers in Art </emph>(1950), her many speaking and lecture engagements, and editing work are also found in this series. Files consist primarily of correspondence, notes, research material, manuscripts, bibliographies, photographs of works of art, completed research forms for works of art, card index files, and printed material.Also found are subject files containing printed material, scattered notes and correspondence, and photographs, which may have been used for reference and/or collected in the course of McCausland's research activities; files relating to various exhibitions organized by McCausland from 1939 to 1944, including ones of silk screen prints and modern photography; files relating to courses on art history taught by McCausland, especially the one she taught at Barnard College in 1956; and files stemming from her participation in various art organizations and committees, especially during the time period just before and during the Second World War.Printed material consists primarily of clippings and tear sheets of McCausland's newspaper articles and columns, which document her contributions to <emph render="italic">The Springfield Republican</emph> from 1923 to 1946, in addition to scattered exhibition catalogs, announcements, books, and miscellaneous publications. Photographs include ones of various artists and works of art, ones from the Farm Security Administration, and ones by photographers, such as Berenice Abbott (including ones from the Federal Art Project book, <emph render="italic">Changing New York</emph>), Barbara Morgan, Weegee, and Edward Weston, among others. Photographs, sometimes annotated or including notes, are scattered throughout her research files. Also included are photographs of McCausland, dating from her childhood. Art work found in the collection includes drawings, prints, and watercolors that were either given to McCausland by the artist or collected by her in the course of her work as an art critic and historian.Additional material belonging to Elizabeth McCausland and donated by the estate of Berenice Abbott includes biographical material; business and personal correspondence; professional project files and writings, including drafts and research materials related to the book projects <emph render="italic">Art in America</emph>, <emph render="italic">Conversations with March</emph>, and <emph render="italic">Frank Kleinholz</emph>; and printed materials, including reprints of critical essays and articles by McCausland.

ArchivalResource:

https://n2t.net/ark:/65665/mw9cebe32f8-0180-44bb-a2a8-8ed061f173c1 View

Frederick Kiesler : vertical file.

Title: Frederick Kiesler : vertical file.

ArchivalResource:

http://www.worldcat.org/oclc/84877923 View

Kiesler, Frederick. Letters received by Frederick Kiesler, 1937-1961.

Title: Letters received by Frederick Kiesler, 1937-1961.

The collection is principally comprised of letters from surrealists in Paris in the years immediately following the Second World War, and includes extended reportage and commentary relating to Breton's circle and to their publications and exhibitions. Kiesler visited and exhibited in Paris in 1947 and 1948 and collaborated at this time with Breton on his "Ode a Charler Fourier."

ArchivalResource: 89 items.use copy. 1 microfilm reel : positive, b/w ; 35 mm.printing master. 1 microfilm reel : negative, b/w ; 35 mm.archival master. 1 microfilm reel : positive, b/w ; 35 mm.

http://www.worldcat.org/oclc/79154103 View

Leo Castelli Gallery records

Title: Leo Castelli Gallery records

The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films. The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner. Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie. The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series. Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction. Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries. Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well. Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records. The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.<ref actuate="onLoad" show="embed" target="ref6685" title="Index List">See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics</ref>,publish:true,subnote_guid:281c0be7088f1f39331d3d4bdfd1131f}]}

ArchivalResource:

https://n2t.net/ark:/65665/mw9a74e5e8f-9538-4152-8f10-6561763eb241 View

Kiesler, Frederick J. Letter, 1931, to Lewis Mumford.

Title: Letter, 1931, to Lewis Mumford.

ArchivalResource: 1 item (1 l.).

http://www.worldcat.org/oclc/155870802 View

Waldorf panel on sculpture

Title: Waldorf panel on sculpture

A two part panel discussion on sculpture (6 7" tapes), partially transcribed on 141 pages. Participants are Peter Agostini, Will Barnet, Elaine De Kooning, Herbert Ferber, John Ferren, Donald Judd, Frederick Kiesler, Ibram Lassaw, Robert Mallary, Nicholas Marsicano, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Philip Pavia (organizer), Ad Reinhardt, Rachel Rosenthal, Sal Schwartz, George Segal, David Slivka, and James Wines.

ArchivalResource: 6 sound tapes

https://n2t.net/ark:/65665/mw926bd3be9-ef0c-46b5-9734-b1346609dc83 View

Howard Wise Gallery records

Title: Howard Wise Gallery records

The records of the Howard Wise Gallery in New York, and its predecessor the Howard Wise Gallery of Present Day Painting and Sculpture in Cleveland, Ohio, measure 11.4 linear feet and date from 1943-1989. Records consist of correspondence, artist files, exhibition files, business records, writings, and video recordings that document the activities of Wise's gallery in Cleveland from 1957-1961 and, to a lesser extent, his gallery in New York City from 1960-1970. Wise's activities following the closing of the Howard Wise Gallery are also found among the correspondence, artist files, business records, writings, and video recordings. Correspondence documents the operations of Wise's galleries in Cleveland and New York. A few subject files and a small amount of Howard Wise's personal correspondence (some pre-dating and post-dating the galleries) are also included in this series.Artist files contain varying combinations of correspondence, printed material, notes and writings, and photographs. Most artists represented in this series were affiliated with Howard Wise Gallery either in Cleveland or New York City, but some files are for individuals of potential interest to the gallery, and those of continued interest to Wise after the closing of the gallery. Exhibition files contain correspondence, printed material, guest lists, and notes. Exhibition files are not a comprehensive record of exhibitions held in Wise's galleries.Business records include records of cash disbursements that are primarily for Howard Wise's travel and entertainment expenses. Business memoranda and correspondence between the Cleveland and New York galleries document sales, inventory, shipments and financial information. Also among the business records are photographs of the Howard Wise Gallery of Present Day Painting and Sculpture in Cleveland, a set of slides of artworks and installation views dating to the late 1950s, and inventories and loan documentation related to Howard Wise's personal art collection. Writings consist of essays and speeches by Howard Wise, writings on Howard Wise and the Howard Wise Gallery artists by Douglas MacAgy and Marita Sturken, and a typescript recollection of a dinner party conversation with Supreme Court Justice Warren Burger from 1973.Video recordings include 41 videoreels and videocassettes, a log book of video shot by Wise in the early 1970s, and a program for a screening of his videos held in Wellfleet, Mass. Recordings are mainly unedited footage of interviews with artists and community figures, gallery openings, and other community events in Wellfleet, Mass. and the greater Cape Cod region. A log book and detailed labels on videos provide details about their content. Three edited works made by Wise from the raw footage include "video portraits" of Serge Chermayeff, Edwin Dickinson, and Jack Tworkov. Also found is footage from the premiere performance of Jean Dubuffet's Coucou Bazaar at the Guggenheim Museum, and a dinner party attended by Dubuffet. Video of works by other artists include footage from media and kinetic artworks shown in the Howard Wise Gallery from 1964-1967, as well as a video performance by Hannah Wilke from 1974.

ArchivalResource:

https://n2t.net/ark:/65665/mw9a8458d87-04fa-43f0-aad5-bb5e4f078196 View

Kiesler, Frederick. Correspondence with Carl Zigrosser, 1945.

Title: Correspondence with Carl Zigrosser, 1945.

This file contains a postcard from Paris signed by Kiesler and "Sandy" Calder.

ArchivalResource: 1 item (1 leaf).

http://www.worldcat.org/oclc/155901780 View

Cummings, E. E. (Edward Estlin), 1894-1962. Additional papers, 1870-1969.

Title: E. E. Cummings additional papers, 1870-1969

Correspondence, poems, prose, notes, and drawings by American poet Edward Estlin Cummings. Also includes papers of his third wife Marion Morehouse Cummings.

ArchivalResource: 156 boxes (78 linear ft.)

http://id.lib.harvard.edu/ead/hou01075/catalog View

Frederick Kiesler papers

Title: Frederick Kiesler papers

Contains stage designs, architectural drawings and plans, photographs, glass slides, blueprints, clippings, scrapbooks, programs, exhibition catalogues and magazine articles documenting Kiesler's career.

ArchivalResource: 9.65 linear feet (25 boxes and 85 folders)

https://id.lib.harvard.edu/ead/hou01713/catalog View

Juilliard School. Juilliard Opera Center. Production records, 1929-1987.

Title: Production records, 1929-1987.

Photographs, negatives, slides, correspondence, background material, newsclippings, advertisements, programs and other material documenting opera performances at Juilliard, including workshop and seminar productions and master classes.

ArchivalResource: 9 cubic feet (28 boxes).

http://www.worldcat.org/oclc/25391847 View

Smithsonian Institution. Libraries. Hirshhorn Museum and Sculpture Garden Library audio archive collection, 1969-2004.

Title: Hirshhorn Museum and Sculpture Garden Library audio archive collection, 1969-2004.

Searchable digital collection of Hirshhorn Museum and Sculpture Garden Library Audio Collection. Digital collection contains 306 digital audio files reformatted from audio cassettes containing recorded symposiums, lectures, interviews and events ranging in date from 1969 to 2004. The content of the audio collection includes: event recordings and interviews dating back to the founding days of the Hirshhorn Museum and Sculpture Garden, interviews of renowned modern and contemporary artists, lectures and symposium focusing on significant themes in 20th century art.

ArchivalResource: 306 audio files : digital.

http://www.worldcat.org/oclc/699816143 View

Abbott, Berenice, 1898-1991. Karpel archive of 20th century artists and exhibitions.

Title: Karpel archive of 20th century artists and exhibitions. ca. 1930s-1979.

Photographs from exhibitions held at MOMA and other New York area museums and galleries. Included are installation shots, photographs of individual works of art, portraits of artists, and publicity shots.

ArchivalResource: 1 typescript letter.

http://www.worldcat.org/oclc/78132240 View

George Freedley papers, 1861-1971, 1935-1966

Title: George Freedley papers 1861-1971 1935-1966

Papers of George Freedley, author, educator, theatre critic, librarian and founder of the Theatre Collection of the New York Public Library.

ArchivalResource: 29.5 linear feet, 52 boxes (5 vols., 1 oversize folder

http://archives.nypl.org/the/21717 View

Philadelphia Museum of Art. Marcel Duchamp research collection.

Title: Marcel Duchamp research collection.

The Marcel Duchamp research collection contains a variety of material related to Duchamp, his life, work, and legacy. The material was collected from various sources by the staff of the Department of Modern and Contemporary Art (formerly the Twentieth Century Art Department), Philadelphia Museum of Art, and compiled as a research collection to support the curatorial and scholarly work of Museum staff and outside researchers. The collection includes subject files concerning portraits of Duchamp in various media ("Portraits"); artists whose work refers to or is otherwise influenced or inspired by Duchamp ("Artists Inspired by Duchamp"); and exhibitions, films, seminars, symposia, and other events about or related to Duchamp ("Exhibitions and Events"). The collection also includes copies and originals of Duchamp's correspondence ("Correspondence"); photographs of Duchamp, his works of art, and related subjects ("Photographs"); and published and unpublished writings about Duchamp ("Writings"). The "Kiesler research material" series contains Frederick Kiesler's research notes, interviews, layouts, photographs, and other preparatory material related to his two published articles on Marcel Duchamp, "Design-Correlation" (Architectural Record) and "Les Larves d'Image" (View VI).

ArchivalResource: 9 cubic feet.

http://www.worldcat.org/oclc/79954766 View

Elenore Lust papers

Title: Elenore Lust papers

The papers of painter and gallery owner Elenore Lust measure 0.9 linear feet and date from circa 1940 to 1991, with the bulk of the material dating from 1943-1949. Four scrapbooks containing letters, photographs and printed material, annotated by Lust, document her career as a painter, teacher, and owner of the Norlyst Gallery. Also found are items related to Piet Mondrian, including two letters from Mondrian to Lust.

ArchivalResource:

https://n2t.net/ark:/65665/mw930847134-5410-4579-86b7-9bb1f7dbc084 View

Herbert Matter papers, ca. 1937-1984

Title: Herbert Matter papers ca. 1937-1984

Original artwork, photographs, letters, manuscripts, process materials, memorabilia, negatives, transparencies, film, printed material, and working equipment.

ArchivalResource: ca. 310 linear feet

http://www.oac.cdlib.org/ark:/13030/kt4p3021rd View

Horvat, Frank, 1928-. [Robert Rauschenberg and others at the Robert Rauschenberg Retrospective at the Jewish Museum] [graphic] / Frank Horvat.

Title: [Robert Rauschenberg and others at the Robert Rauschenberg Retrospective at the Jewish Museum] [graphic] / Frank Horvat. [1963.]

Photographed by Frank Horvat at the Robert Rauschenberg retrospective at Jewish Museum, 1963. Standing left to right are: Sherman Drexler, Claes Oldenburg, Richard Lippold, Merce Cunningham, Robert Murray, Peter Agostini, Edward Higgins, Barnett Newman, Robert Rauschenberg, Perle Fine, Alfred Jensen, Ray Parker, Friedel Dzubas, Ernst Van Leyden, Andy Warhol, Marisol, James Rosenquist, John Chamberlain and George Segal. Kneeling left to right: Jon Schueler, Arman, David Slivka, Alfred Leslie, Tania, Frederich Kiesler, Lee Bontecou, Isamu Noguchi, Salvatore Scarpitta and Allan Kaprow.

ArchivalResource: 1 photographic print : b&w ; 46 x 30 cm.

http://www.worldcat.org/oclc/220213800 View

Lillian and Frederick Kiesler papers

Title: Lillian and Frederick Kiesler papers

The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

ArchivalResource: 49.1 Linear feet; 0.001 Gigabytes

https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915 View

Maryette Charlton papers

Title: Maryette Charlton papers

The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

ArchivalResource: 80.6 Linear feet; 0.34 Gigabytes

https://n2t.net/ark:/65665/mw914a42bb1-d069-466f-8948-94f4bf257230 View

Kiesler, Frederick John, 1896-1965 : [miscellaneous ephemeral material].

Title: Kiesler, Frederick John, 1896-1965 : [miscellaneous ephemeral material].

The folder may include clippings, announcements, small exhibition catalogs, and other ephemeral items.

ArchivalResource: 1 folder.

http://www.worldcat.org/oclc/199122193 View

KIESLER, FREDERICK. Franklin Furnace artist file : miscellaneous uncataloged material.

Title: Franklin Furnace artist file : miscellaneous uncataloged material.

ArchivalResource: 1 folder

http://www.worldcat.org/oclc/80469126 View

Lillian and Frederick Kiesler papers

Title: Lillian and Frederick Kiesler papers

The papers of New York artist Lillian Kiesler and architect and sculptor Frederick Kiesler measure 49.1 linear feet and 0.001 GB and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed and digital material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

ArchivalResource: 49.1 Linear feet; 0.001 Gigabytes

https://n2t.net/ark:/65665/mw92be035c5-5063-4d6e-8ac2-5f08c17ef915 View

Maryette Charlton papers, ca. 1934-2009.

Title: Maryette Charlton papers, ca. 1934-2009.

Preliminary box list only for the papers of American painter, printmaker, photographer, and film maker, Maryette Charlton.

ArchivalResource: 23 boxes + poster tube (23 linear ft.)

http://id.lib.harvard.edu/ead/hou02161/catalog View

John Little papers

Title: John Little papers

Correspondence, including letters from Sam Hunter, Hans Hofmann, Betty Parsons, Guild Hall, and Frederick Kiesler; clippings; correspondence; photographs of Little and his work; printed brochures, one which includes a large Hans Namuth photograph of Little; an exhibition catalog of Elizabeth Parker; and a clipping about the Signa Gallery.

ArchivalResource:

https://n2t.net/ark:/65665/mw9b728e85b-7f16-41da-bcd5-40e05d945d45 View

Leo Castelli Gallery records

Title: Leo Castelli Gallery records

The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films. The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner. Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie. The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series. Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction. Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries. Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well. Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records. The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.<ref actuate="onLoad" show="embed" target="ref6685" title="Index List">See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics</ref>,publish:true,subnote_guid:281c0be7088f1f39331d3d4bdfd1131f}]}

ArchivalResource:

https://n2t.net/ark:/65665/mw9a74e5e8f-9538-4152-8f10-6561763eb241 View

Ten years of American opera design [graphic], 1931-1941

Title: Ten years of American opera design [graphic] 1931-1941

The collection includes photographs, original drawings for set and costume designs, and blueprints; as well as miscellaneous exhibition materials such as catalogs, labels, display case notes, programs, and periodicals containing material about the operas. Set and costume designers include Frederick John Kiesler, Nathalie Swan, Bruno Funaro, Daniel Brenner, and others. Most of the photographs were taken by Samuel H. Gottscho.

ArchivalResource: 7 boxes + 2 map case drawers

http://archives.nypl.org/mus/20152 View

Matter, Herbert, 1907-1984. Herbert Matter papers, circa 1937-1984.

Title: Herbert Matter papers, circa 1937-1984.

The collection represents the photography and graphic design career of Herbert Matter, his commercial and personal work. This includes original artwork (collages, sketches), photographs (predominately black and white prints, contact prints, working prints), manuscripts, process materials (paste-ups, proof sheets), memorabilia, negatives, transparencies, slides, 16mm motion picture film, printed material, and working equipment. There is considerable correspondence with particularly noteworthy letters from Gregory Ain, John Cage, John Entenza, Walter Gropius, Gyorgy Kepes, Isamu Noguchi, Irving Penn, and Brett Weston among others.

ArchivalResource: circa 350 linear feet (467 containers)

http://www.worldcat.org/oclc/754863387 View

Kiesler, Lillian 1910?-2001. Lillian and Frederick Kiesler papers, [circa 1910]-2003, bulk 1958-2000.

Title: Lillian and Frederick Kiesler papers, [circa 1910]-2003, bulk 1958-2000.

The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 48.2 linear feet and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed material, writings and interviews, monographs, photographic material, and sound recordings and motion picture film. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges. The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound recordings and motion picture film. Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris. Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler. Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists. Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated). Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Mass., as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius. The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Dreier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries. Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound recordings and motion picture film include a variety of media, such as recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends. Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork. Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.

ArchivalResource: 48.2 linear ft.

http://www.worldcat.org/oclc/613316554 View

Howard Somers Conant papers

Title: Howard Somers Conant papers

The papers of art educator and painter Howard Somers Conant measure 3.2 linear feet and date from 1944 to 1987. The papers document Conant's career as an art educator through correspondence with friends and colleagues; draft manuscripts, lectures, and other writings; newsletters, copies of published books, and other printed materials; and seventy-four sound recordings of interviews, lectures, and panel discussions that Conant took part in during the 1960s.

ArchivalResource: 3.2 linear feet

https://n2t.net/ark:/65665/mw963bb7974-6a05-496a-b0aa-c93c84b750cf View

Kiesler, Frederick, 1890-1965. Artist file : miscellaneous uncataloged material.

Title: Artist file : miscellaneous uncataloged material.

ArchivalResource: 1 folder

http://www.worldcat.org/oclc/83777905 View

Kiesler, Lillian, 1910?-2001. Lillian and Frederick Kiesler papers, [circa 1910]-2003. Bulk 1958-2000.

Title: Lillian and Frederick Kiesler papers, [circa 1910]-2003. Bulk 1958-2000.

Correspondence, legal, financial and business records, teaching material, exhibition and performance files, artwork, subject files, writings, interviews, photographs, audio and motion picture recordings, monographs and printed material documenting the careers of artists Lillian Kiesler and architect and sculptor Frederick Kiesler. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges. Kiesler's personal and professional correspondence, with artists, museums, galleries, collectors, writers, performing artists, actors, musicians, and others. Among the correspondents are Alcopley, Fritz Bultman, Sari Denes, Lyonel Feininger, George McNeil, Hans Hofmann and those in Hofmann's circle including Giorgio Cavallon and Alice Hodges; Jean Dubuffet, Burgoyne Diller, Harry Holtzman (of interest is a letter from Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian), Henry Miller, James Purdy; Katherine Dreier, Herrel Thomas, Erick Hawkins, Burgess Meredith, Steve Buscemi; Jay Gottlieb, and Mike Diamond. More voluminous is the professional and personal correspondence (1970s -2001) pertaining to Lillian's various performances in downtown venues in New York City. Also are letters from Frederick Kiesler to Lillian; professional correspondence to and from Frederick; letters from Lillian regarding the administration of Frederick's estate; and letters relating to the personal and professional life between Alice Hodges and Hans Hofmann. Material relating to Frederick Kiesler includes correspondence with museums, galleries, archives (Harvard Theatre Collection), and authors and scholars; an inventory list of works on paper by Frederick Kiesler that were given to the Osterreichisches Theater Museum Collection, Vienna; a notebook belonging to Frederick Kiesler noting contractors and job schedules for his projects; and articles, clippings, and other writings about him; bibliographies on Frederick Kiesler compiled by Lillian; a catalogue of his architecture, design, and art; photocopies of Frederick's writings; an inventory of objects in the Frederick Kiesler estate; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler, May 6 and 13, 1976, by WUHY-FM, Philadelphia, for "Music of the Age"; included on the tape is a portion of a Frederick Kiesler interview, 1965; a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler, 1979; and Frederick's dialogue with Leo Castelli. Passports; correspondence with friends, artists, architects, publishers, editors, universities, museums, galleries, and manufacturers, including L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others; photocopies of letters from Marcel Duchamp, Piet Mondrian, Katherine Dreier, and others; appointment books, 1962-1965; notes; student's work from Kiesler's design class at Juilliard; financial records, 1941-1963, including bills, income memos, cancelled checks, Kiesler and Bartos balance sheets, and other tax records; leases; clippings; printed material; and 4 posters from a Kiesler exhibition at the Yale School of Architecture, 1967; typescript copies of "Catalogue of the Original Works of Frederick Kiesler" (with computer disks of the mss.) and "Inventory of Books in the Personal Library of Frederick Kiesler," both compiled by Lillian Kiesler, 1993; catalogs of Kiesler exhibitions in Vienna, 1988, and at the Whitney Museum of American Art, 1989; and Book of the Shrine (1992). Articles by and about Frederick Kiesler, catalogs, and clippings, ca. 1960-1971. Curriculum vitae; bibliography; writings by and about Frederick Kiesler; catalogs; reviews; and clippings. Also included are correspondence and a script regarding "Camera Three," a television program, March 20, 1960, on which Kiesler was the guest and discussed The Endless House. Lillian Kiesler's "Bibliography of Writings By or About Frederick Kiesler, Biographical Chronology, Theatre Productions," 1980, 189 p. Among the papers relating to Hans Hofmann and his school are: a card file on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, Mass.; stationary, announcements, brochures, a list of recommended art supplies, and other printed material of the Hans Hofmann School of Fine Arts; typed transcripts of lectures given by Hofmann in the 1930s; a transcript of an address (5 p.) delivered by Hofmann on February 16, 1941, as part of a symposium on abstract art held at the Riverside Museum in New York City; a 1942 Guggenheim application; "Push and Pull: A Furniture Comedy for Hans Hofmann" by Allen Kaprow; photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius, 1950s-1960s; exhibition announcements, 1944-1958 (Art of this Century, Arts Club of Chicago, Betty Parsons, Kootz Gallery); and magazines, clippings, and reviews. Also included are art work by Lillian Kiesler and Alice Hodges; greeting cards by Hodges; and one painted memento by Hans Hofmann; printed materials, including catalogs, clippings, a portfolio of facsimile drawings by members of the Abstract Artists Group, 1937; and Alice Hodges' scrapbooks on Lillian Kiesler's activities as an art teacher in the 1940s; photographs of Hofmann, Cavallon, and Hodges; of Frederick from his arrival in America at age 36 to portraits with Edgard Varese made by Duane Michaels (1964); and of Lillian, Maryette Charlton, and Charlton's son, Kirk Winslow; and photographs, negatives, contact sheets of Frederick Kiesler's projects; a slides carousel of Frederick's work prepared by Lillian for a lecture on him; writings; and sound recordings, including an interview of Kiesler by Mimi Poser at the Guggenheim Museum, October, 1976, for a broadcast on WNYC; interviews of Varese-Meredith and Kiesler, 1961, and Lillian Kiesler on Lee Krasner.

ArchivalResource: 48.2 linear ft. (partially microfilmed on 4 reels)

http://www.worldcat.org/oclc/495596839 View

Kiesler, Lillian, 1910?-2001. Lillian Kiesler papers, [ca. 1920]-2003.

Title: Lillian Kiesler papers, [ca. 1920]-2003.

Papers of the painter Lillian Kiesler relate to her work as a painter as well as her activities relating to the work of her husband, sculptor and architect Frederick Kiesler, after his death. Material relating to Abstract Expressionist painter and influential teacher Hans Hofmann is also found. Kiesler's personal and professional correspondence, with artists, museums, galleries, collectors, writers, performing artists, actors, musicians, and others. Among the correspondents are Alcopley, Fritz Bultman, Sari Denes, Lyonel Feininger, George McNeil, Hans Hofmann and those in Hofmann's circle including Giorgio Cavallon and Alice Hodges; Jean Dubuffet, Burgoyne Diller, Harry Holtzman (of interest is a letter from Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian), Henry Miller, James Purdy; Katherine Dreier, Herrel Thomas, Erick Hawkins, Burgess Meredith, Steve Buscemi; Jay Gottlieb, and Mike Diamond. More voluminous is the professional and personal correspondence (1970s -2001) pertaining to Lillian's various performances in downtown venues in New York City. Also are letters from Frederick Kiesler to Lillian; professional correspondence to and from Frederick; letters from Lillian regarding the administration of Frederick's estate; and letters relating to the personal and professional life between Alice Hodges and Hans Hofmann. Material relating to Frederick Kiesler includes correspondence with museums, galleries, archives (Harvard Theatre Collection), and authors and scholars; an inventory list of works on paper by Frederick Kiesler that were given to the Osterreichisches Theater Museum Collection, Vienna; a notebook belonging to Frederick Kiesler noting contractors and job schedules for his projects; and articles, clippings, and other writings about him; bibliographies on Frederick Kiesler compiled by Lillian; a catalogue of his architecture, design, and art; photocopies of Frederick's writings; an inventory of objects in the Frederick Kiesler estate; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler, May 6 and 13, 1976, by WUHY-FM, Philadelphia, for "Music of the Age"; included on the tape is a portion of a Frederick Kiesler interview, 1965; a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler, 1979; and Frederick's dialogue with Leo Castelli. Among the papers relating to Hans Hofmann and his school are: a card file on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, Mass.; stationary, announcements, brochures, a list of recommended art supplies, and other printed material of the Hans Hofmann School of Fine Arts; typed transcripts of lectures given by Hofmann in the 1930s; a transcript of an address (5 p.) delivered by Hofmann on February 16, 1941, as part of a symposium on abstract art held at the Riverside Museum in New York City; a 1942 Guggenheim application; "Push and Pull: A Furniture Comedy for Hans Hofmann" by Allen Kaprow; photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius, 1950s-1960s; exhibition announcements, 1944-1958 (Art of this Century, Arts Club of Chicago, Betty Parsons, Kootz Gallery); and magazines, clippings, and reviews. Also included are art work by Lillian Kiesler and Alice Hodges; greeting cards by Hodges; and one painted memento by Hans Hofmann; printed materials, including catalogs, clippings, a portfolio of facsimile drawings by members of the Abstract Artists Group, 1937; and Alice Hodges' scrapbooks on Lillian Kiesler's activities as an art teacher in the 1940s; photographs of Hofmann, Cavallon, and Hodges; of Frederick from his arrival in America at age 36 to portraits with Edgard Varese made by Duane Michaels (1964); and of Lillian, Maryette Charlton, and Charlton's son, Kirk Winslow; and photographs, negatives, contact sheets of Frederick Kiesler's projects; a slides carousel of Frederick's work prepared by Lillian for a lecture on him; writings; and sound recordings, including an interview of Kiesler by Mimi Poser at the Guggenheim Museum, October, 1976, for a broadcast on WNYC; interviews of Varese-Meredith and Kiesler, 1961, and Lillian Kiesler on Lee Krasner.

ArchivalResource: 36.3 linear ft.

http://www.worldcat.org/oclc/79271779 View

Badovici, Jean. Letters received, 1924-1951.

Title: Letters received, 1924-1951.

File of letters to Jean Badovici, who served as architectural editor for the Librarie Morance and editor of L'Architecture Vivante. Collection includes letters from the architects Peter Behrens, Pierre Chareau, Tony Garnier, Siegfried Giedion, Frederick Kiesler, Ludwig Hilberseimer, Francis Jourdain, Virgilio Marchi, Erich Mendelsohn, J.J.P. Oud, Hans Poelzig, Harry Rosenthal, Henri Sauvage, Adolf Schneck, and Mart Stam, mostly relating to articles by them or about their work. With two essays: "La Construction des aeroports modernes" by Hermann Gescheit, and "Hallenbau Land und Stadt Magdeburg" by Bruno Taut.

ArchivalResource: ca. 40 items.

http://www.worldcat.org/oclc/80461110 View

Juilliard Graduate School. Scrapbooks, Operas, 1929-1945.

Title: Scrapbooks, Operas, 1929-1945.

Scrapbooks of newsclippings relating to Juilliard Graduate School opera productions.

ArchivalResource: 2 volumes (.35 cubic feet).

http://www.worldcat.org/oclc/25391910 View

William Theo Brown papers

Title: William Theo Brown papers

Scrapbooks, photograph albums, sketchbooks, correspondence, manuscripts, and printed material reflect Brown's work as a painter, and his ties with contemporary musical and literary figures.

ArchivalResource:

https://n2t.net/ark:/65665/mw98ff830d8-a91e-4dd2-b24e-1b6fe81ac014 View

Haskell, Douglas Putnam, 1899-1979. Douglas Putnam Haskell papers, 1866-1979 (bulk 1949-1964).

Title: Douglas Putnam Haskell papers, 1866-1979 (bulk 1949-1964).

Correspondence, memos, articles, speeches, transcripts, clippings, notes, printed matter, photographs, audio tapes, and memorabilia mainly relating to Douglas Haskell's editorship at Architectural Forum from 1949-1964. A great portion of the collection (more than 46 boxes) consists of Douglas Haskell's correspondence with prominent architects during his tenure at Architectural Forum. The collection also contains material relating to Haskell's editorial duties and professional activities. Memos to various staff members (7 boxes) provide insight into the internal oranization of the editorial staff. Some of the staff members with whom Haskell communicated most frequently include Peter Blake, Thomas Creighton, Paul Grotz, Joseph Hazen, Jane Jacobs, Roy Larson, Lawrence Lessing, Mary Jane Lightbown, Henry R. Luce, Walter McQuade, Ralph D. Paine, Ogden Tanner, Perry I. Prentice, Allan Temko, and Ann Wilson. The inclusive dates for the collection are 1915-1979, which includes material before Haskell's arrival at Architectural Forum.

ArchivalResource: 56 linear ft. (118 boxes including 5 oversize).

http://www.worldcat.org/oclc/505724658 View

Kiesler, Frederick. Artist file.

Title: Artist file.

ArchivalResource: 1 folder.

http://www.worldcat.org/oclc/268674620 View