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I need my space and he needs his. Biographical Material, Box 1, 13; 35 folders Series 2: Correspondence, Box , 13, OV 14; 3. Notes and Writings, Box ; 4. Diaries, Box 9; 5 folders Series 5: Exhibition Files, Box 9; 5 folders Series 6: Personal Business Records, Box 9, 10; 0. Printed Material, Box , 13, OV ; 1. Scrapbooks, Box 11, 13, OV 15; 30 folders Series 9: Photographs, Box 12; 34 folders Series Unprocessed Addition, circa Box , OV 20; 2.
Bernarda Bryson Shahn worked primarily in New Jersey as a painter, printmaker, and illustrator. She was married to Ben Shahn and often collaborated with him. After receiving early drawing and painting lessons from her mother, Bryson attended a private girls' school where she continued her studies in art and art history.
At Ohio University, Bryson majored in philosophy and attended art classes in which David Smith was a classmate. She later attended the Cleveland Art School where she studied printmaking.
Following graduation, Bryson taught etching and lithography at the art school of the Columbus Gallery of Fine Art. Bernarda Bryson and Ben Shahn were married in She then went to Woodstock to study lithography with Bolton Brown and was invited to set up a lithographic shop for the Resettlement Administration in Washington, D. During the s and s, Bernarda Bryson Shahn executed illustrations for Harper's Magazine, Scientific American and Fortune in addition to random assignments from Life, Sports Illustrated and other publications.
Following the death of her husband in , she wrote and designed a large monograph Ben Shahn, published by Abrams. In the mids, Bernarda Bryson Shahn won further recognition when she returned to painting.
The Archives also holds the Ben Shahn papers. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Bernarda Bryson Shahn papers, , bulk Archives of American Art, Smithsonian Institution. Bernarda Bryson Shahn papers Archival Repository: Rockwell Kent papers Creator: The Rockwell Kent papers measure The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
The Rockwell Kent papers measure 88 linear feet and date from circa to with the bulk of the collection dating from to The collection is remarkably complete, for in the mid s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary who became his third wife and continued her office duties for the remainder of Kent's life.
Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him.
Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character.
Among the many correspondents of note are: Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: Of special interest is his participation, often in leadership roles, in various attempts to organize artists.
A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. Roosevelt on the subject. Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings.
He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.
Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.
Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in , was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs.
Also included are a small number of manuscripts by other authors. Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children. Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. There is also material on a variety of subjects and causes of interest to him.
Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence. Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent.
Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques. Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs. The collection is arranged into six series. Series 1 is arranged alphabetically.
The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in were microfilmed separately on reels , but have integrated into this finding aid. Alphabetical Files, circa , undated Reels , , Series 2: Writings, , undated Reels , Series 3: Art Work, , undated Reels , Series 4: Printed Matter, , undated Reels Series 5: Miscellaneous, , undated Reels , Series 6: Photographs, circa , undated Reels , Biographical Note: Rockwell Kent , an energetic and multitalented man, pursued many interests and careers during his very long and active life.
He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H.
Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards.
He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles.
After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular. An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants.
Between and , he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the s and s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people. As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party.
Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes.
In , he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.
State Department to deny him a passport, an action that subsequently was overturned by the U. In , he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art. In , Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in , and his widow gave additional papers in and The microfilm of this collection has been digitized and is available online via AAA's website.
Use of material not microfilmed or digitized requires an appointment. Rockwell Kent papers, circa , bulk Rockwell Kent papers Archival Repository: Marcel Breuer papers Creator: The Marcel Breuer papers, , contain biographical material, correspondence, business and financial records, interviews, notes, writings, sketches, project files, exhibition files, photographs, and printed material that document the career of architect and designer Marcel Breuer. Scope and Contents note: The Marcel Breuer papers span the years to and measure They consist of biographical material, correspondence, business and financial records, interviews, notes, writings, sketches, project files, exhibition files, photographs, and printed material that document Breuer's career as an architect and designer.
This material reflects the prolificacy and diversity of his creations, from tubular steel chairs to private residences, college campuses, factories, department stores, and international, municipal, and corporate headquarters and complexes. The number of awards contained in this series attest to the esteem in which he was held by his colleagues. Breuer's Correspondence Series illustrates the interaction of his various colleagues and the operation of his architectural offices in the execution of their projects, many of which were in progress simultaneously.
The Business and Financial Records Series contains documents which reflect Breuer's commercial transactions that do not directly relate to one specific project.
Two project books pertain to 36 architectural projects and record their basic physical and financial details, such as site measurements and cost projections. There are also miscellaneous invoices and receipts, and one of Breuer's personal income tax returns. The Interviews Series contains typescripts of interviews. Of particular interest is the audiotape interview of Breuer, who discusses his early years as a student and his first impressions of the Bauhaus.
Elzas, and the Koerfers, who discuss their business relationships with Breuer. Writings by others are about Breuer and his work, including typescripts, galleys, and photographs of architectural and design projects used in the publication of the book Marcel Breuer Buildings and Projects, by Cranston Jones.
The Sketches Series consists of 3 small, hand-drawn depictions of unidentified floor plans. The largest and most comprehensive series houses the Project Files, which consist of approximately project files containing letters, legal documents, and photographs that record the planning and execution of many of Breuer's most important architectural projects.
The file for the Whitney Museum of American Art in New York contains an interesting set of photographs of Breuer showing Jacqueline Kennedy through the construction site. There are also files concerning the four houses Breuer designed for himself in Lincoln and Wellfleet, Massachusetts, and in New Canaan, Connecticut.
The Project Files for Breuer's furniture designs are not as comprehensive as those for his architectural creations but contain many photographs of his early conceptions for chairs, tables, desks, cabinets, rugs, and tapestries.
The Exhibition Files Series contains primarily photographs of exhibitions in which Breuer participated. The extent of his participation is sometimes difficult to determine, because it ranged from designing a single chair, designing rooms for an apartment or an entire house specifically to be shown in an exhibition, to designing an exhibition building.
Breuer was also the subject of a retrospective exhibition sponsored by the Metropolitan Museum of Art. Three photograph albums in this series contain more than 1, photographs of 59 architectural projects. The Printed Material Series houses general clippings that concern groups of projects, rather than one specific project.
There is also a scrapbook of tearsheets concerning architectural projects, exhibition announcements, and catalogs for others, and miscellaneous press releases and brochures.
The Marcel Breuer papers are arranged into 11 series, based on type of document. Each series, except Project Files, has been arranged chronologically. The Project Files Series has been divided into 19 subseries of related architectual and design project types. The overall arrangement reflects Breuer's original arrangement. Each subseries or file group within is arranged alphabetically according to the surname of an individual, or a location name of a university.
The contents of each project file have been arranged according to material type and a chronology that best reflects the progression of the project toward completion. Biographical Material, Boxes 1, 36; Reel ; 0. Correspondence, Boxes , OV 47; Reels ; 5. Business and Financial Records, Box 6; Reels ; 0. Interviews, Boxes ; Reel ; 0. Notes, Box 7; Reel ; 0. Writings, Boxes ; Reels ; 1. Sketches, circa s-circa Box 8; Reel ; 1 folder Series 8: Exhibition files, Box 34, OV 49; Reels ; 0. Photographs, Boxes 34, ; Reel ; 0.
Printed Material, Boxes 35, 42; Reels ; 1. His siblings were Hermina and Alexander. Throughout his life, Breuer used his first name only on official documents and preferred that his friends use his middle name, the Hungarian form of "Louis. He had received a scholarship to study art in Vienna but took an immediate dislike to the Art Academy there, so searched elsewhere for training. He started working in the studio of a Viennese architect and soon became interested in training in the cabinetmaking shop of the architect's brother.
Breuer was not satisfied with this arrangement either, and, upon hearing about the year-old Bauhaus school in Germany, he departed for Weimar in Founded and directed by Walter Gropius, the Bauhaus combined the teaching of the pure arts with training in functional technology. Breuer received a master's degree from the Bauhaus in , then studied architecture in Paris, where he first met Le Corbusier. In , Gropius enticed Breuer to return to the Bauhaus, now relocated in Dessau, by offering him a post as master of the carpentry workshop and a commission to design the interiors of the new Bauhaus buildings.
Inspired by his new bicycle's handlebars, Breuer designed his first tubular steel chair, the Wassily chair, named for his friend Wassily Kandinsky. This chair and dozens of other Breuer designs for furnishings were mass-produced by the Thonet Brothers in Germany.
Two years later, in , Breuer left the Bauhaus to begin a private architecture practice in Berlin, emphasizing prefabricated housing and the use of concrete in building. Due to the deteriorating economic and political conditions in Germany, Breuer closed his Berlin office in and traveled to Budapest, Zurich, Morocco, Greece, and Spain. Returning to Germany in the following year, he began designing furniture in aluminum.
Breuer established his reputation as an architect upon completion of the Harnischmacher House in Wiesbaden, a house notable for the use of contrasting materials and distinctive interiors.
The Nazis closed the Bauhaus in From to , Breuer settled in London, and became partners with F. During this time he designed for the Isokon "isometric unit construction" Control Company laminated plywood furniture that became widely imitated. In , Breuer accepted an invitation from Walter Gropius to join the faculty of the School of Design at Harvard University to teach architecture, and he moved to the United States.
Pei, and Paul Rudolph. Breuer formed a partnership with Gropius in Cambridge, Massachusetts, from to Their firm was engaged primarily in the design of private homes. The number of his commissions began to grow slowly, and it was during this time he constructed his own notable residence in New Canaan, Connecticut.
He developed the bi-nuclear, or "two-center" house, which was designed to meet the living requirements of modern families by creating functional areas for separate activities. During this year, he also began work on a series of innovative buildings for St. John's Abbey and University in Collegeville, Minnesota. He also established an office with the name Marcel Breuer Architecte, in Paris, to better orchestrate his European projects. Gatje became partners in Marcel Breuer and Associates.
When Murray Emslie left a year later, he was replaced by Tician Papachristou, who had been recommended by Breuer's former student, I. After several moves to increasingly larger office space in New York, Breuer established his largest office at Madison Avenue and 59th Street in After suffering the first of a series of heart attacks, Breuer reduced his travel to Europe, eventually leaving the management of the Paris office in the hands of Mario Jossa.
Between and , Marcel Breuer and Associates continued to receive many diverse and important commissions, including the Department of Housing and Urban Development Headquarters Building Washington, D. Due to failing health in , Breuer sold his New Canaan house and moved into Manhattan so he could more easily commute to the office. By , Breuer's health had declined further, and he retired from practice. This chronology below is based on evidence found within the Marcel Breuer Papers.
The dating of projects reflects the range of dates encompassed by the files for each project, not the project's actual construction time. Most architectural projects have several equally significant dates from which it is difficult to assign a single date. Significant dates for a building may include the date of groundbreaking, the laying of the cornerstone, or the first opening day.
When a project's dates are unknown or uncertain, a question mark in brackets appears at the end of the entry. Breuer travels to Vienna to study art. Breuer studies architecture in Paris, where he meets Le Corbusier. Bambos Houses, Dessau, Germany. Boroschek Apartment, Berlin, Germany. Reidemeister Residence, Berlin, Germany. Harnischmacher House I, Wiesbaden, Germany. Dolderthal Apartments, Zurich, Switzerland. Isokon chairs; plywood nesting tables; plywood dining table. Breuer moves to the United States to teach at Harvard.
Obergurgl Ski Lodge, Obergurgl, Austria. Van Leer Vatenfabrieken N. Breuer establishes an office on East 88th Street. Architect and Designer, by Peter Blake. Alaska Air Terminal, Anchorage, Alaska [? The Philosophy of an Architect, edited by Peter Blake. John's Abbey and University, St. Architecture in Moscow," Moscow, U. Recent Buildings," American Federation of Arts traveling exhibition. Gatje becomes a partner in Marcel Breuer and Associates.
Breuer suffers the first of a series of heart attacks while in New York in August. Gatje move back to the New York office. Eric Cercler and Mario Jossa are left in charge of the Paris office. Tochal Hotel, Tehran, Iran. Boyarsky House, Lawrence, New York. Related Archival Materials note: Additional blueprints and drawings by Breuer are located at Syracuse University. The collection was donated to the Archives of American Art in five installments, , by Constance Breuer, widow of Marcel Breuer.
The microfilm for this collection has been digitized and is available online via the Archives of American Art website. Photographs Sound recordings Interviews Citation: Marcel Breuer papers, Funding for the microfilming of this collection was provided by the Gerta Charitable Trust.
Funding for the digitization of the microfilm was provided by the Terra Foundation for American Art. Marcel Breuer papers Archival Repository: General Correspondence Collection Creator: This subseries primarily contains letters concerning McCoy's career in architectural history and criticism. Her career in fiction writing is covered to a lesser degree. Among the correspondents are researchers, writers, professors, architects, art professionals, publishers, and professional associations.
Topics covered include research and writing projects, Los Angeles area preservation and restoration projects, and grant projects. Quincy Jones, and Bruno Zevi. Correspondence for contains a letter from Albert Camus requesting McCoy's assistance with helping Spanish refugees, and correspondence for contains photographs of Esther McCoy and others at the Athenaeum at Caltech for the third annual gala of the Historical Society of Southern California.
See Appendix for a list of selected correspondents from Series 2. Material is arranged chronologically. The bulk of McCoy's correspondence with architects is arranged in Series 6: Additional correspondence pertaining to specific projects can be found in Series 4: Architectural Writings and in Series 5: Correspondence in this series complements the files found in these other series and they should be consulted together for a better understanding of McCoy's career.
Selected Correspondents from Series 2. Quincy and Elaine, , , , , , , , , , , , , undated Jordy, William H. Craig, Miller, Donald M. George, Sewell, Elaine K. Use of audiovisual recordings without access copies requires advance notice. Esther McCoy papers, circa , bulk Esther McCoy papers Archival Repository: This series includes personal and professional correspondence of Paul Bransom from the beginning of his career until the end of his life.
Correspondence includes letters from other artists, art directors and editors, writers, nature and wildlife conservators and zoologists, curators, collectors, printers, engravers, family, and friends. Also found are letters Bransom wrote to his wife, Grace Bond Bransom, early in their relationship, and scattered correspondence to Grace Bond Bransom and Althea Bond, Bransom's niece and heiress. Many illustrated letters are found among the correspondence, including several lavishly illustrated letters from Charles Sarka.
Photographs, clippings, and other enclosures such as membership cards, are scattered throughout the series. Correspondence is divided into three groups: General correspondence is arranged chronologically except for occasional instances where letters were originally grouped together by author or subject. Drafts and carbon copies of outgoing letters written by Paul Bransom are interfiled with general correspondence, and undated drafts are filed at the end of the general correspondence.
Greeting cards with significant written messages are interfiled with general correspondence, and cards without messages are arranged alphabetically at the end of the series.
Many of the cards are made with original artwork, as indicated in the folder notes below. General correspondence contains letters and records of transactions with Bransom's publishing clients, as well as letters from many authors whose stories Bransom illustrated, especially between the s and the s. Letters and envelopes are often annotated by Bransom giving the full name of the author and sometimes the nature of their relationship or other biographical information.
Additional correspondence can be found in Personal Business Records, and some drafts of outgoing letters are found in the notebooks filed in Notes and Writings. Selected Correspondents from Series 2: This selected index to Series 2: General Correspondence, includes selected artists, writers whose works Bransom illustrated, art editors and directors, collectors, printers and engravers, and other significant correspondents.
Illustrated letters are indicated in parentheses. This index is not comprehensive. The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment. Paul Bransom papers, Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art Identifier: Paul Bransom papers Archival Repository: This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery.
For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises.
Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1 Arrangement note: Letters with enclosures are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate. List of Selected Correspondents in Series 1: Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented. David, Abramowitz, M. University of Alabama Alan, Charles, undated, , , , , Alan Gallery, , , see also: University of Alberta Albertina, see also: Russell, undated, Alhorn, Richard E.
Walter Palmer, Anderson, Wayne V. Vincent, , , Astro Envelope Co. High School, Auchincloss, Bayard C. Ayer and Son, Inc. Grant, Baird, Joseph Armstrong, Jr. John, undated, Barclay, Josephine E. Theatre Benefit, A. Arden, Alonzo Barnum, J. Barrows and Company, Inc. Ives, Bartholf, Susan P.
Harry , undated, , , , , Baum, Patricia Ann Patsy , undated, , see also: James , Beaven, William E. Donald , Becker, Elizabeth L. Ray, , David Berdon and Co. Olaf, Bergen, D. Samuel , , Berlin, Rosalind K.
Glenn, Berne, G. Howard, undated, Bissett, Enid, undated, , Bissett, J. Karl, Bixer, Mr. Insley, Blair, John R. Thomas, Blanchard, Mrs. John Osgood, Bland, Shirley Mrs.
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