A Finding Aid to the Alexander Archipenko Papers, 1904-1986, bulk 1930-1964, in the Archives of American Art, by Catherine S. Gaines
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
Table of Contents:
- Biographical Information
- Overview of the Collection
- How to Use the Collection
- Detailed Description and Container Inventory
Alexander Archipenko (1887-1964) was the son of an engineer/inventor and grandson of an icon painter. Among the first modern sculptors of the 20th century to be associated with the Cubist movement, Archipenko was known for his innovative use of concave space. His major contribution was the realization of negative form through use of a hole to create a contrast of solid and void. His sculpto-paintings united form and color; begun in 1912, these polychromed constructions are among the earliest mixed-media works known, and sometimes incorporated objects. Eventually, his Cubist-inspired work evolved into the simplified, abstract shapes for which he is best known. Although known primarily as a sculptor, Archipenko produced paintings, drawings, and prints as well.
At age 15, Archipenko began studying art at the University of Kiev in his native city; he was expelled three years later for criticizing the teachers. He then went to Moscow where he worked on his own and exhibited in several group shows; his first solo exhibition was held in the Ukraine in 1906.
Archipenko made Paris his home from 1908 until the outbreak of World War I. Soon after his arrival, he enrolled in the Ecole des Beaux-Arts; this association lasted but two weeks, and marked the end of Archipenko's formal training. He continued to study art by spending large amounts of time visiting art museums and painting on his own. During this period, he began exhibiting in the Salon des Independents with the Cubists, and as a member of the "Section d'Or" participated in that group's exhibitions. His first one-man exhibition in Germany was held at the Folkwant Museum (1912) and his work was featured in the Armory Show (1913).
In 1912, at the age of 25, Archipenko established his first art school in Paris. He spent the war years working quietly outside of Nice, and soon afterwards circulated an extensive exhibition of his works throughout Europe. In 1921, Archipenko settled in Berlin, opened an art school there, and married sculptor Angelica Bruno-Schmitz, who was known professionally as Gela Forster.
Archipenko's reputation was solidly established and the majority of his ground-breaking work - adaptation of Cubist ideas to sculpture, sculpto-paintings and incorporation of negative space in sculpture - was accomplished prior to his 1923 arrival in the United States. One of his most innovative works executed in America was the Archipentura, invented circa 1924 and patented in 1927, a machine with rolling cylinders that displayed "animated paintings" using motion and light. Other creations of note are carved Lucite sculptures, illuminated from within, that were executed in the mid-1940s.
Upon settling in the United States in 1923, Archipenko opened his art school in New York City; a summer school was established in Woodstock, New York the following year. Within a few years, Archipenko purchased land near Woodstock and began construction of a home, personal studio, and buildings for the school. At various times during the 1930s, Archipenko resided in Chicago and Los Angeles, and operated schools while living in those cities. For many years during the 1940s, Angelica served on the sculpture faculty at the Escuela de Belles Artes in San Miguel Allende, Mexico.
In addition to running his own schools, Archipenko taught at a number of colleges and universities, where he ran workshops, and served as a visiting professor. He wrote and lectured extensively about his philosophy of art and theories of creativity, publishing several articles and a book, Archipenko: Fifty Creative Years, 1908-1958 (1960).
Angelica Archipenko died in 1957. Three years later Archipenko married sculptor Frances Gray, a former student. During the early 1960s, the couple traveled extensively on a lecture tour that accompanied a solo exhibition to several German cities. Archipenko died in New York City, February 25, 1964.
The following chronology is excerpted from Alexander Archipenko: A Centennial Tribute by Katherine Janszky Michaelsen and Nehama Guralnik (National Gallery of Art, Washington, DC, 1986) and Archipenko: The Sculpture and Graphic art, Including a Print Catalogue Raisonne by Donald Karshan, Ernst Wasmuth Verlag (Tubingen, Germany, 1974).
- Born to Porfiry Antonovich and Poroskovia Wassilievna Machova Archipenko in Kiev, Ukraine, Russia. Father a mechanical engineer, professor of engineering, and inventor; grandfather an icon painter.
- Studied and copied Michelangelo drawings from a book given him by his grandfather during a long confinement following a leg injury.
- Painting and sculpture student in Kiev art school; expelled for criticizing his teachers.
- First one-man show in the Ukraine. Worked in Moscow and exhibited in several group shows.
- Moved to Paris and enrolled in the Ecole des Beaux-Arts. Quit formal art instruction after two weeks, continued to study art on his own by visiting museums.
- Exhibited in the Salon des Independants with the cubists (also in 1911-1914 and 1919).
- Opened art school in Paris. "Section d'Or" formed in Paris with Archipenko among its members. The group exhibited until 1914, and briefly after World War I. First solo exhibition in Germany, Folkwant Museum, Hagen.
- Represented in the Armory Show. Executed first prints (lithographs).
- Began making sculpto-paintings.
- Spent the war years working near Nice.
- Began extensive tour exhibiting his works in various European cities (Geneva, Zurich, Paris, London, Brussels, Athens, Berlin, Munich, etc.).
- One-man exhibition in the Venice Biennale.
- First solo exhibition in the United States at the Societe Anonyme, Inc., New York; a symposium, Psychology of Modern Art and Archipenko, was held during the course of the show. Moved to Berlin and opened art school. Married sculptor Angelica Bruno-Schmitz [known professionally as Gela Forster]. First print commission.
- Moved to the United States and opened art school in New York City.
- Established a summer school at Woodstock, New York.
- "Archipentura" patented ("Apparatus for displaying Changeable Pictures and methods for Decorating Changeable Display Apparatus," nos. 1,626, 946 and 1,626,497).
- Became an American citizen.
- Bought land near Woodstock, New York, and began construction of school and studio buildings.
- Lectured on his theories of creativeness at colleges and universities throughout the United States.
- Taught summer session at Mills College, Oakland, California, and Chouinard School, Los Angeles.
- Moved to Los Angeles and opened art school.
- Taught summer sessions at the University of Washington, Seattle.
- Moved to Chicago and opened art school. Associate instructor at New Bauhaus School, Chicago.
- Returned to New York; reopened art school and Woodstock summer school.
- Taught at the Dalton School, New York City.
- Returned to Chicago; taught at the Institute of Design.
- Began making carved plastic sculptures with internal illumination.
- Taught at University of Kansas City, Missouri.
- Lecture tour of the southern cities of the United States.
- Taught at Carmel Institute of Art, California, University of Oregon, and University of Washington, Seattle.
- Taught at University of Delaware, Newark.
- Elected Associate Member of International Institute of Arts and Letters.
- One-man exhibition tours in Germany (Dusseldorf, Darmstadt, Mannheim, and Recklinghausen).
- Taught at University of British Columbia, Vancouver, Canada.
- Death of Angelica.
- Awarded gold medal, XIII Biennale de'Arte Triveneta, III Concorso Internationale del Bronzetto, Padua, Italy.
- Archipenko: Fifty Creative Years, 1908-1958 by Alexander Archipenko and Fifty Art Historians published by Tekhne (a company established by Archipenko for the purpose). Married Frances Gray, a sculptor and former student. Recovered plasters of early work stored by French friends since the end of World War I. Traveling exhibition in Germany (Hagen, M�nster, and Dusseldorf).
- Elected to the Department of Art, National Institute of Arts and Letters.
- Dies in New York City.
Overview of the Collection
Scope and Contents
The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.
Correspondence concerns both personal and professional matters. Among Archipenko's personal correspondents are relatives and friends in the Ukraine, his wife Angelica during her extended stays in Mexico and California, and other women. Professional correspondence is with dealers, curators, scholars, collectors, colleges and universities concerning exhibitions, sales and commissions, loans, and teaching and lecture engagements.
Archipenko wrote and lectured extensively about his philosophy of art, art in nature, and theories concerning creativity and the universe. His papers include manuscripts, drafts, notes and supporting materials for his book published in 1960, Archipenko: Fifty Creative Years, 1908-1958. Similar documentation of unpublished writings, as well as notes, outlines, and some transcripts of lectures and talks are also in the series.
Records concerning the Archipenko Art School are sparse, with only one photograph of students in Berlin, 1921. Surviving records include printed matter, a cashbook, student roster, and scrapbook containing photographs, printed matter, and a typescript copy of a statement by Archipenko, "How I Teach." Most of this material focuses on the New York and Woodstock schools, with only a few items concerning Chicago. In addition, files regarding Archipenko's teaching activities at schools other than his own include course descriptions, student rosters, grades, and printed matter.
Financial records consist of banking records, paid bills, and miscellaneous items. Paid bills include invoices and receipts for art supplies, shipping, and storage. Among the miscellaneous items are price lists, royalties paid by the Museum of Modern Art for Woman Combing Her Hair, and sales records.
Nine scrapbooks contain clippings, exhibition announcements and catalogs, lecture notices, advertisements and brochures of the Archipenko Art School, and a small number of photographs. Printed matter consists primarily of clippings about Archipenko and exhibition catalogs with related announcements and invitations. Miscellaneous items include books about Archipenko, catalogs of museum collections containing works by Archipenko, and reproductions. Of special interest is a brochure about the Multiplex Advertising Machine that bears a similarity to the Archipentura, an "apparatus for displaying Changeable Pictures" Archipenko invented circa 1924 and patented in 1927.
Photographs are of people, Archipenko's travels and miscellaneous places, exhibitions, works of art, events, and miscellaneous subjects. Five photograph albums mainly document travels. Slides and transparencies include black and white lantern slides probably used to illustrate lectures.
Arrangement and Series Description
The collection is arranged as 10 series. Lantern slides and glass plates are housed separately and closed to researchers, but listed where they fall intellectually within the collection.
- Series 1: Biographical Material, 1908-1964 (0.5 linear feet; Box 1, OV 28)
- Series 2: Correspondence, 1922-1970 (4.1 linear feet; Boxes 1-5)
- Series 3: Subject Files, 1940-1958 (6 folders; Box 5)
- Series 4: Writings, 1923-1971 (3.2 linear feet; Boxes 5-8, Film can FC 30)
- Series 5: Teaching, 1921-1952 (0.8 linear feet; Box 9, Film cans FC 31-33)
- Series 6: Financial Records, 1923-1971 (1.5 linear feet; Box 9-10)
- Series 7: Scrapbooks, 1910-1961 (1.2 linear feet; Boxes 22-25)
- Series 8: Printed Material, 1913-1987 (3.7 linear feet; Boxes 11-14, 26, OV 29)
- Series 9: Miscellaneous, 1916-1966 (0.5 linear feet; Box 14, 16, Film can FC 34)
- Series 10: Photographic Material, 1904-1964 (3.6 linear feet; Boxes 14-15, 17-21, 26-27)
Subjects and Names
This collection is indexed in the online catalog of the Archives of American Art under the following index terms:
- Archipenko Art School (Woodstock, N.Y.).
- Archipenko, Angelica
- Archipenko, Frances
- Spies, Walter
- Art--Study and teaching
- Sculpture, Modern--20th century
- Sound recordings
In 1967, the Alexander Archipenko papers, previously on deposit at Syracuse University, were loaned to the Archives of American Art for microfilming by his widow Frances Archipenko Gray. In 1982, Ms. Gray donated most of the material previously loaned and microfilmed to the Archives of American Art, along with additional items.
Separated and Related Materials
The bulk of the Alexander Archipenko papers were originally loaned for microfilming and most of that material was included in later gifts and are described in this finding aid. Loaned material that was not included in later gifts is still available to researchers on reels NA11-NA12, NA16-NA18, and NA 20-NA22, but is not further described in the container listing of this finding aid.
Among the holdings of the Archives are the Donald H. Karshan papers relating to Alexander Archipenko, originally accessioned as part of the Alexander Archipenko papers, but later separated to form a distinct collection.
The Archives also has the National Collection of Fine Arts records relating to Alexander Archipenko.
How the Collection was Processed
In 2002, the donated material previously loaned and microfilmed on reels NA1-NA25 was processed, arranged, and described by Catherine S. Gaines and the collection was remicrofilmed on reels 5826-5839. Judy Ng updated the arrangement of correspondence and the finding aid in 2014 with funding provided by the Terra Foundation for American Art. Motion picture film reels were inspected and re-housed in 2016-2017 with funding provided by the Smithsonian Collections Care and Preservation Fund.
How to Use the Collection
Restrictions on Use
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Lantern slides and glass plate negatives are housed separately and closed to researchers.
Ownership & Literary Rights
The Alexander Archipenko papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The collection is available on 35 mm microfilm reels 5826-5839, and NA11-NA12, NA16-NA18 and NA20-NA22 at Archives of American Art offices, and through interlibrary loan. Researchers should note that the arrangement of the papers as described in this finding aid may not reflect the order of the collection on microfilm due to reprocessing.
How to Cite this Collection
Alexander Archipenko papers, 1904-1986, bulk 1930-1964. Archives of American Art, Smithsonian Institution.
Detailed Description and Container Inventory
Biographical Material, 1908-1964
0.5 Linear feet; Box 1, OV 28
Biographical materials include a wide variety of records concerning Alexander Archipenko, his first wife, Angelica Archipenko (an artist known professionally as Gela Forster), and his second wife, Frances Archipenko Gray (a.k.a. Frances Gray Archipenko). Among these records are ephemera, funeral guest registers, and real estate records including floor plans of their house in Woodstock, N.Y. and a proposed bequest to the Ukrainian Art and Literary Club. There are also various legal documents, including residency permits issued during Archipenko's years in France, passports, and wills. Articles by and about Angelica Archipenko include an article about Bali (in German), her art and acting careers, and exhibition and drama reviews; also included is a color reproduction of her portrait by Leo Katz. A catalog of Escuela Universitaria de Bellas Artes in San Allende, Mexico, describes the sculpture course taught by Angelica Archipenko and contains photographs of students' work. There is a recorded and transcribed interview with Angelica on a sound tape reel (1/4 in.), and Angelica's reminiscences of Walter Spies and excerpts from her diaries are also included. There are also exhibition catalogs and a will in the materials related to Frances Archipenko Gray.
Use of archival audio recordings with no duplicate access copy requires advance notice.
The series is arranged as 3 subseries.
- 1.1: Alexander Archipenko, 1908-1964
- 1.2: Angelica Archipenko, 1919-1957
- 1.3: Frances Archipenko Gray, 1961-1964
1.1: Alexander Archipenko, 1908-1964
|1||1||Automobile Registration, 1963|
|1||2||Award of Honor, Wisdom Society, circa 1957|
|1||3||Biographical Notes, 1953|
|1||4||Exhibitor's Admission Ticket, International Fine Arts Exposition, Brussels, 1958|
Floor Plans, 243-45 West 19th Street, 1955-1956
Oversized material housed in OV 28.
|1||6||Floor Plans of Woodstock House with Map of Property, 1966|
|1||7||Funeral Guest Register and Receipts, 1964|
|1||8||Guest Register for 50th Anniversary of Archipenko's Career (in Ukrainian), 1953|
|1||9||Handprint, circa 1940-1960|
|1||10||Legal Documents Concerning Residence in France, 1908-1919|
|1||11||Marriage Certificate, 1960|
|1||12||Membership Certificates, 1953, 1962|
|1||14||Real Estate Records, 274-6 West 19th Street, New York City, 1956, 1960|
|1||15||Real Estate Records, Woodstock, 1929-1964|
Oversized Floor Plans 243-45 West 19th Street from Box 1, Folder 5, 1955-1956
5 blueprints and 3 drawings
1.2: Angelica Archipenko, 1919-1957
|1||17||Articles by and about Angelica Archipenko (a.k.a Gela Forster), 1919-1940|
|1||18||Birth Certificate (duplicate), 1957|
|1||19||Calling Card, circa 1940-1960|
|1||20||Catalog of Escuela Universitaria de Bellas Artes, 1940|
|1||21||Exhibition Label, Artists for Victory, Inc., circa 1943|
|1||22||Funeral Guest Register, Receipts, etc.; Dedication of Memorial Statue, 1957, 1959|
|1||23||Handprint, circa 1940-1960|
|1||24||Naturalization Certificate (duplicate), 1941|
|1||25||Passports, 1923, 1931|
|1||26||Poem, "To Angelica," 1954|
Interview with Angelica Archipenko, circa 1957
Side 1 of the recording is a lecture on theology by Dr. Searl, May 20, 1957.
|1||28||Reminiscences of Walter Spies and Related Excerpts from the Diaries of Angelica Archipenko, 1954|
|1||29||Social Security Certificate, 1957|
1.3: Frances Archipenko Gray, 1961-1964
|1||30||Exhibition Catalogs, 1961|
4.1 Linear feet; Boxes 1-5
This series, arranged chronologically, includes both personal and professional correspondence. Among the personal correspondents are relatives and friends in the Ukraine, Archipenko's wife Angelica during her extended stays in California and Mexico, and other women. Professional correspondence is with dealers, curators, scholars, collectors, colleges and universities concerning exhibitions, sales and commissions, loans, teaching, and lecture engagements. Also included are routine requests from prospective students for information about the Archipenko School or summer courses. Correspondence post-dating Archipenko's death concerns exhibitions, sales, and unfinished business.
Additional correspondence is included with Series 3: Subject Files, which includes significant correspondence with the Museum of Modern Art and others concerning "?That is Why I Request to Remove My Art from the Museum of Modern Art by Alexander Archipenko," 1943-1944.
|1||32||A Miscellaneous, circa 1938-1964|
|1||33||A. Ottavino, 1955-1958|
|1||34||Akademie der Kunst, 1960-1961|
|1||35||Akron Art Institute, 1949-1950|
|1||37||Amherst College, 1949-1958|
|1||38||Anna L. Werbe Galleries, 1960-1961|
|1||39||Archipenko, Alexander, 1939-1964|
|1||40-42||Archipenko, Angelica, 1929-1964|
|1||43||Art Institute of Chicago, 1937-1956|
|1||44||Atamanetz, Ivan, 1938|
|1||45||Au Pont des Arts, 1962-1963|
|1||46||B Miscellaneous, circa 1938-1964|
|1||47||Baltimore Museum of Art, 1939-1963|
|1||48||Beechhurst Press, Inc., 1954-1956|
|1||49||Beyers, Bernice, 1954|
|1||50||Biennale D'Arte Triveneta, 1959-1963|
|1||51||Biennale di Venezia, 1954-1960|
|1||52||Blohm, Ernesto, 1959-1960|
|1||53||Bollman, Mari, 1958-1960|
|1||54||Bowdain College Museum of Fine Arts, 1949|
|1||55||Brandt, Paul, 1955-1956|
|1||56||Buffalo Fine Arts Academy, Albright Art Gallery, 1939-1954|
|1||57||C Miscellaneous, circa 1938-1964|
|1||58||Cafritz, Edward A., 1952|
|1||59||Carnegie Institute, 1938|
|1||60||Chapelsky, Leo, 1935-1938|
|1||61||Cincinnati Art Museum, 1940-1944|
|1||62||Ciriche Raccolte D'Arte, 1959-1960|
|1||63||City of Auckland Art Gallery, 1963-1964|
|1||64||Civilta Delle Macchine, 1963-1964|
|1||65||Cleveland Institute of Art, 1953-1956|
|1||66||Cleveland Museum of Art, 1937-1956|
|1||67||Columbia University, 1939-1962|
|1||68||Columbus Art League, 1962-1963|
|1||69||Conference Board of Associated Research Councils, 1949|
|1||70||Cooper Union, 1938-1939|
|1||71||Corcoran Gallery of Art, 1931-1954|
|1||72||Curro, Giuliano Vismara, 1963-1964|
|1||73||D Miscellaneous, circa 1938-1964|
|1||74||Das Kunstwerk Redaktion, 1955-1959|
|1||75||Denver Art Museum, 1940-1958|
|1||76||Detroit Institute of Arts, 1935-1949|
|1||77||Drian Gallery, 1959-1960|
|1||78||Dzus, William, 1955|
|2||1||E Miscellaneous, circa 1938-1964|
|2||2||E. Weyhe Gallery, 1953-1956|
|2||3||Editions du Griffon, 1962-1963|
|2||4||Esposizione Nazionale Quadriennale D'Arte di Roma, 1958-1959|
|2||5-8||Ente Premi Roma, 1959-1964|
|2||9||Estorick, Eric, 1956-1961|
|2||10||Expositions Internationales des Beaux-Arts Bruxelles|
|2||11||F Miscellaneous, circa 1938-1964|
|2||12||Fairmont Park Art Association, 1940|
|2||13||Ferrari, Ettore Gian, 1962-1963|
|2||14||Fine Arts Society of San Diego, 1948-1949|
|2||15||Fitzwilliam Museum Cambridge, 1960-1962|
|2||16||Fondazione Pagani, 1967|
|2||17||Freie Kunstlergemeinschaft, 1960-1961|
|2||18||G Miscellaneous, circa 1938-1964|
|2||19||Galerie Alex Vomel, 1959-1961|
|2||20||Galerie Anderson-Mayer, 1963-1964|
|2||21||Galerie Charles Lienhard, 1960|
|2||22||Galerie Claude Bernard, 1959-1960|
|2||23||Galerie Europe, 1958|
|2||24-26||Galerie Gerald Cramer, 1959-1964|
|2||27||Galerie Gurlitt/Galerie Wolfgang Gurlitt, 1953-1963|
|2||28-29||Galerie Im Erker, 1962-1965|
|2||30||Galerie Kriegel, 1962-1963|
|2||31||Galerie Manfred Strake, 1962-1963|
|2||32||Galerie Moderne, 1963-1964|
|2||33-35||Galerie Stangl, 1963-1965|
|2||36-37||Galerie Wilhelm Grosshennig, 1961-1963|
|2||38||Galleria D'Arte del Grattacielo, 1963-1964|
|2||39||Galleria Nazionale D'Arte Moderna, 1963-1964|
|2||40||Galleria San Fedele, 1961-1964|
|2||41||Galleria Schneider, 1963-1965|
|2||42||Gaulois, Helen, 1932-1933|
|2||43||George Walter Vincent Smith Art Museum, 1949|
|2||44||Georgette Passedoit Galleries, 1939-1940|
|2||45||Gertz, Ulrich, 1962-1964|
|2||46||Golden Gate International Exposition, 1938-1940|
|2||47||Gray, Frances, 1955-1967|
|2||48||Guggenheim Museum, 1953-1959|
|2||49||H Miscellaneous, circa 1938-1964|
|2||50||H.G. Ollendorff Inc., 1960-1961|
|2||51||Hackley Art Gallery, 1949-1950|
|2||52||Handler, Milton, 1962-1963|
|2||53||Hanover Gallery, 1958-1960|
|2||54||Harvard University, 1937-1953|
|2||55||Hessischen Landesmuseums, 1951-1962|
|2||56||I Miscellaneous, circa 1938-1964|
|2||57||Instituto Guatemalteco-Americano, 1951-1953|
|2||58||J Miscellaneous, circa 1938-1964|
|2||59||James Vigeveno Galleries, 1948-1949|
|2||60||John Herron Art Institute, 1938-1956|
|2||61||Josef Schmutz Bollingen, 1960|
|2||62||Josefowitz, David, 1961|
|3||1||K Miscellaneous, circa 1938-1964|
|3||2||Kansas City Art Institute, 1939-1949|
|3||3||Karshan, Donald H., 1968|
|3||4||Katherine Kuh Gallery, 1937-1942|
|3||5||Katz, Benjamin, 1953-1954|
|3||6||Keck, George Fred, 1949-1956|
|3||8||Klingler, Marianne Migault, 1960-1961|
|3||9-10||Kunst Kabinett Klihm, 1955-1963|
|3||11||Kunstgewerbemuseum Zurich, 1960|
|3||12||Kunstgiesserei August Bischoff, 1955|
|3||13||Kunsthalle Bern, 1958-1959|
|3||14||Kunsthaus Zurich, 1958-1960|
|3||15||L Miscellaneous, circa 1938-1964|
|3||16||Landeshauptstadt Dusseldorf, 1955-1961|
|3||17||Lauren Rogers Library and Museum of Art, 1949-1950|
|3||18||Leonard, Mary, 1951|
|3||19||Library of Congress, 1937-1961|
|3||20||London County Council, 1953-1954|
|3||21||Los Angeles County Museum, 1944-1956|
|3||22||M Miscellaneous, circa 1938-1964|
|3||23||Malisky, Omer, 1936-1938|
|3||25||Marlborough Fine Art Ltd., 1959|
|3||26||Matthiesen Gallery, 1961-1962|
|3||27||Mellquist, Jerome, 1959|
|3||28||Miami University, 1953-1954|
|3||29||Michigan State College, 1949-1950|
|3||30||Miller, Donna, 1958-1959|
|3||31||Milwaukee Art Institute, 1951-1956|
|3||32||Moderna Museet, 1958|
|3||33||Munson-Williams-Proctor Institute, 1949-1963|
|3||34||Musee National D'Art Moderne, 1952-1958|
|3||35||Museu de Arte Moderna, 1952-1956|
|3||36||Museum Boymans, 1958|
|3||37||Museum of Cranbrook Academy of Art, 1949-1953|
|3||38||Museum of Fine Arts of Houston, 1947-1962|
|3||39||Museum of Modern Art, 1935-1962|
|3||40||Museum Nationale Ucrainorum Leopoliense, 1934-1936|
|3||41||Museum Tel-Aviv, 1947-1961|
|3||42||N Miscellaneous, circa 1938-1964|
|3||43||Nair, Eva, 1958-1960|
|3||44||National Institute of Arts and Letters, 1962-1963|
|3||45||New York Graphic Society, 1962-1963|
|3||46||Newark Museum, 1939-1962|
|3||47||Niedersachsische Landesgalerie Hannover, 1956-1963|
|3||48||Norfolk Museum of Arts and Sciences, 1949-1950|
|3||49||North Carolina State College, 1954-1959|
|3||50||O Miscellaneous, circa 1938-1964|
|3||51||Oland, Edith, 1947-1956|
|3||52||Orbit Film Corporation Ltd., 1955-1956|
|3||53||P Miscellaneous, 1938-1964|
|3||54||Pasadena Art Museum, 1954-1964|
|3||55||Perls Galleries, 1958-1964|
|3||56||Perrine, A.J., 1959-1960|
|3||57||Philadelphia Art Alliance, 1939-1953|
|3||58||Philadelphia Museum of Art, 1939-1956|
|3||59||Philbrook Art Center, 1949-1962|
|3||60||Piper, Raymond, 1958-1962|
|3||61||Princeton University, 1942-1953|
|3||62||Pritzker, A.N., 1961-1962|
|3||63||Providence Art Club, 1957-1958|
|3||64||Q-R Miscellaneous, circa 1938-1964|
|3||65||Rhode Island School of Design, 1938-1950|
|3||66||Riunione Adriatica di Sicurta, 1957-1958|
|3||67||Rose, Billy, 1954|
|3||68||Rosen, Saul, 1957-1963|
|3||69||Rost, Arno, 1957-1958|
|3||70||Rotunda Gallery, 1951|
|3||71||S Miscellaneous, circa 1938-1964|
|3||74||Saltzman, Joan R., 1964|
|3||75||San Francisco Museum of Art, 1939-1951|
|3||76||San Jose State College, 1955-1956|
|3||77||Santa Barbara Museum of Art, 1948-1956|
|3||78||Santini Brothers, 1964|
|4||1||Schmitz-Hammann, Gabrielle, 1959-1961|
|4||2||Schmitz-Hillebrecht, Ernst, 1962|
|4||3||Schwarz, Galleria e libreria d'arte, 1960-1962|
|4||4||Sculpture in Replica, 1948-1953|
|4||5||Seattle Art Museum, 1936-1962|
|4||6-7||Semcesen, William, 1954-1960|
|4||8||Servizi Ritagli Stampa, 1963|
|4||9||Severini, Gino, 1963|
|4||10||Sichel, Pierre, 1962-1964|
|4||11||Societe Internationale D'Art, 1962-1963|
|4||12||Soletti, Luciano, 1963-1964|
|4||13||Springfield Museum of Art, 1939-1940|
|4||14||Stadt Duisburg, 1957-1964|
|4||15||Stadthaus Fuer das Middelheim, 1961|
|4||16||Stadtische Galerie und Lenbachgalerie, 1957-1959|
|4||17||Stadtische Kunsthalle Manheim, 1955-1962|
|4||18||Stadtische Kunsthalle, Recklinghausen, 1955-1956|
|4||19-21||Stadtisches Karl-Ernst-Osthaus-Museum, 1958-1964|
|4||22||Stadtisches Museum Wiesbaden, 1959|
|4||23||State Teachers College, Pennsylvania, 1952-1956|
|4||24||State University of Iowa, 1939-1956|
|4||25||Stendahl Galleries, 1946-1962|
|4||27||Syracuse Museum of Fine Arts, 1938-1957|
|4||28||Syracuse University, 1939-1967|
|4||29||T Miscellaneous, circa 1938-1964|
|4||30||Tate Gallery, 1958-1963|
|4||31||U Miscellaneous, circa 1938-1964|
|4||32||Ukrainian Academy of Art and Science, 1952-1964|
|4||33||Ukrainian Canadian Committee, 1959-1962|
|4||34||Ukrainian Institute of America, 1956-1960|
|4||35||Ukrainian National Association, 1955-1962|
|4||36||Ullman, Harold, 1957-1960|
|4||37||United States Information Agency, 1961|
|4||38||University of British Columbia, 1955-1956|
|4||39||University of California, 1938-1956|
|4||40||University of Chicago, 1950-1952|
|4||41||University of Cincinnati, 1938-1954|
|4||42||University of Delaware, 1946-1954|
|4||43||University of Denver, 1956-1958|
|4||44||University of Nebraska, 1940-1949|
|4||45||University of New Hampshire, 1939-1953|
|4||46||University of Oklahoma, 1949-1950|
|4||47-48||University of Omaha, 1939-1961|
|4||49||University of Oregon, 1951-1955|
|4||50||University of Pennsylvania, 1939|
|4||51||University of Washington, 1953-1963|
|4||52||University of Wichita, 1949-1950|
|4||53||V Miscellaneous, circa 1938-1964|
|4||54||Verdier, Jean, 1952-1964|
|4||55||Verlag Kiepenheuer and Witsch, 1957|
|4||56||Verlag Ullstein, 1958-1960|
|4||57||vom Rath, Hanna Becker, 1961-1963|
|4||58||W Miscellaneous, circa 1938-1964|
|4||59||Walden, Nell, 1958-1963|
|4||61||Washington University, 1938-1963|
|4||62||Western Illinois State Teachers College, 1949|
|4||63||Wheelwright, Robert, 1944-1955|
|4||64||Whitney Museum of Art, 1938-1958|
|5||1-5||Wiese, Erich, 1946-1962|
|5||6||William A. Farnesworth Library and Art Museum, 1950-1953|
|5||7||William Rockhill Nelson Gallery of Art, 1937|
|5||8||Winnipeg Art Gallery Association, 1961-1962|
|5||9||Witte Memorial Museum, 1947-1949|
|5||10||Y Miscellaneous, 1955|
|5||11||Yale University, 1946-1956|
|5||12||Z Miscellaneous, 1939-1946|
|5||13||Zarembsky, Theodore, 1934-1935|
|5||14||Art Supplies, 1929-1963|
|5||15||Letters in German, 1956-1964|
|5||16-18||Letters in Russian, 1922-1963|
|5||19-21||Real Estate and Legal Advice, 1925-1964|
|5||22||Student Inquiries, Art School, 1936-1958|
|5||23||Student Inquiries, G.I. Bill, 1944-1950|
|5||24||Ukrainian Community, 1936-1962|
|5||25||Unknown and Illegible, circa 1938-1964|
|5||26||Condolence Letters, 1964|
Subject Files, 1940-1958
6 Folders; Box 5
Correspondence concerning many of these subjects may also be found in Series 2: Correspondence. Fraudulent sculpture records include photos and documents concerning a purported Archipenko work, Wieblicher Akt. Gas stove records include diagrams of Archipenko's studio and printed matter about various heating systems. Invention records relate to Archipenko's invention of a stove capable of using five different fuels.
|5||27||Fraudulent Sculpture, 1953|
|5||28||Gas Stoves, circa 1935-1964|
|5||30||Museum of Modern Art "?That is Why I Request to Remove My Art from the Museum of Modern Art by Alexander Archipenko," 1943-1944|
|5||31||Myshuha Memorial, 1956-1958|
|5||32||Shevchenko Monument, 1953-1957|
3.1 Linear feet; Boxes 5-8
Archipenko wrote and lectured extensively about his philosophy of art, art in nature, and theories concerning creativity and the universe. He published several articles, but only one of the manuscripts intended as a book was actually published, Archipenko: Fifty Creative Years, 1908-1958 (Tekhne Publications, Inc., 1960). Manuscripts, drafts, notes and supporting materials for Fifty Creative Years survive, along with similar documentation of unpublished writings. Also included are notes, outlines, and some transcripts and audio/visual recordings of lectures and talks. Recordings are on 1 sound cassette, 2 sound tape reels (1/4 in.), and 1 film reel. General notes are extensive and cover a variety of subjects; included with these are names, addresses, and phone numbers for friends, acquaintances, and professional associates in books, a card file, and loose scraps of paper. Writings by other authors consist of short manuscripts about Archipenko.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
The series is arranged as 2 subseries.
4.1: By Archipenko, 1923-1971
|5||Articles and Short Writings|
|5||33||"Creative Art," circa 1925-1960|
|5||34||"Gravediggers," circa 1925-1960|
|5||35||"Ma," circa 1925-1960|
|5||36||"Manifesto" (with Italian and German translations), 1959|
|5||37||"Open Letter to the Art Critic, Mr. Zervos," 1939|
|5||38||"Polychrome Sculpture," circa 1925-1960|
|5||39||"Space, Concave, Light, and Transparency," for Art and Architecture, 1951|
|5||40||"Universe and Creativity," circa 1925-1960|
|5||41||Untitled (3 manuscripts), circa 1925-1960|
|6||Archipenko: Fifty Creative Years, 1908-1958|
|6||2||Book Production Correspondence, Estimates Invoices, 1952-1962|
|6||3||Distribution Correspondence, Lists, and Expenses, 1960-1972|
|6||4||Orders and Related Correspondence, Individuals A-Z, 1960-1964|
|6||5-16||Orders and Related Correspondence, Institutions and Booksellers, 1960-1972|
|6||17||Page Proofs of Illustrations, circa 1960|
|6||18||Publication Permissions, A-Z, 1956-1958|
Sales Records, 1960-1961
Includes 1 bound volume.
|6||24||Tekhne Publications, Inc., Correspondence and Legal Documents, 1957-1965|
|6||25||Draft with Cover Design, circa 1958|
|7||1||Lists of Archipenko's work, 1949-1963|
|7||2||Lists of Collectors, circa 1940-1960|
|7||3||Lists of Exhibitions, circa 1940-1960|
|7||4||Lists of Exhibitions and Works on Commission, 1937, 1960|
|7||5||Miscellaneous Notes, circa 1940-1960|
|7||6-10||Creativeness, Manuscripts, Drafts, and Notes, circa 1930-1960|
|7||11-13||The Philosophy of Art, 1951|
|7||14||Untitled Book about "Creativeness as a Cosmical ( sic) Phenomenon," Manuscript, circa 1952-1953|
|7||15||Untitled Book about "Creativeness as a Cosmical ( sic) Phenomenon," Research Correspondence, 1952-1953|
|7||Lectures and Talks|
|7||16||"Creativity," Lecture Outline, circa 1930-1960|
|7||17||"Creativity and Education," University of Washington, 1951|
|7||18||"My Credo," Voice of America Broadcast, (with sample copies of broadcasts by others), 1952|
|7||19||"Theme of Archipenko's Lecture in the Saloon of Exhibition of Fundacion Mendoza," circa 1930-1960|
Untitled Lecture, Winnipeg, Canada, 1962
|7||21||Untitled Lecture, circa 1930-1960|
Lecture, "Archipenko: Materials and Color" by Katherine Michaelsen at National Gallery of Art, 1986
Conversation among Alexander Archipenko, Dr. Wozniak, Frances Archipenko, and one or more unidentified people, circa 1960-1964
Interview with Archipenko, circa 1940-1964
Motion picture film stored separately in film can numbered FC 30.
Address Books, circa 1930-1960
13 volumes in 4 folders.
|7||29||Address Lists/Mailing Lists, circa 1930-1960|
|7||30||Miscellaneous Names and Addresses, circa 1930-1960|
Address Card File, A-Z, circa 1930-1960
(3x5 file box)
Concepts of the Universe, circa 1940-1960
With drawing, photographs, and printed matter.
|8||6||"Dreams ex. For my Book," circa 1940-1960|
|8||7-8||Formulae, Instructions, and Supplies - Ceramics, 1938-1950|
|8||9||Formulae, Instructions, and Supplies - Electroplating, circa 1940-1960|
|8||10||Formulae, Instructions, and Supplies - Enamelling, circa 1940-1960|
|8||11||Formulae, Instructions, and Supplies - Fresco, circa 1940-1960|
|8||12||Formulae, Instructions, and Supplies - Glazes, circa 1940-1960|
|8||13||Formulae, Instructions, and Supplies - Metal Casting, circa 1940-1960|
|8||14||Formulae, Instructions, and Supplies - Metals Coloration, circa 1940-1960|
|8||15||Formulae, Instructions, and Supplies - Miscellaneous, circa 1940-1960|
|8||16||Formulae, Instructions, and Supplies - Pewter, circa 1940-1960|
|8||17||Formulae, Instructions, and Supplies - Photography, circa 1940-1960|
|8||18-19||Miscellaneous Notes, 1949-1959|
|8||20||Notebook (in Ukrainian), 1923-1927|
Notebook (in German and English), circa 1940-1960
Includes translation of "Archipenko or the Re-examination of a Legend" by Robert D'Hoogle from Frankfurter Allgemeine.
sic) Description and Cells and Description. Chromosomes," circa 1940-1960
With drawing and photographs.
|8||23||Skeleton and Musculature, circa 1940-1960|
"Source of Art in Nature," circa 1940-1960
|FC 30||Motion Picture Film Reel from Box 7, Folder 24|
4.2: By Others, 1953-1957
|8||25||Articles about Archipenko by Goll, Hordynsky, Kovaliv, L.M., and Schoffler, 1953-1957|
|8||26||"Archipenko Album" by Ivan Goll, circa 1940-1960|
0.5 Linear feet; Box 9
With the exception of one photograph taken in Berlin, 1921, records documenting Archipenko's schools and teaching career are confined to his years in the United States. They focus mainly on his New York City school and the Woodstock summer school, with only a few items representing Chicago.
The scrapbook contains advertisements and circulars for the Archipenko School of Art, including summer and evening schools, 1932-1946. There are also clippings and other printed matter, including exhibition announcements and catalogs about the Archipenko Art School (1928-1946), Arko Studio (1929), and former students (1931-1941), and a typescript of "How I Teach," a statement by Archipenko. Photographs of students are a group portrait of a class at his school in Berlin, 1921, students in a ceramic workshop, sculpture studios, bronze casting plaster casting, and summer classes, 1923 and 1930. Other photographs are of a pottery kiln, 1930, and Woodstock studio and school buildings, 1930s-1946, including construction views.
Files regarding Archipenko's teaching activities at schools other than his own include course descriptions, student rosters, grades, and printed matter. There are also 3 film reels with footage of Archipenko with students.
A small amount of material relating to the Archipenko School and his teaching activities elsewhere is scattered throughout his papers. Series 2: Correspondence includes requests from prospective students for school circulars and other information, correspondence with the various institutions where he was a guest instructor, and correspondence about school advertising. A variety of school related printed matter, as well as clippings about Archipenko's students and their work, and photographs of student exhibitions and student work are included in Series 7: Scrapbooks. Series 11: Photographs contains views of students, classes, and the facilities at Woodstock.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
The series is arranged as 2 subseries.
5.1: Archipenko School, 1921-1952
Cash Book, 1931-1934
Bound volume; contains names of students.
|8||28||"Concerning the Guild School of Art," a Statement of Archipenko's Philosophy of Teaching, circa 1936|
|8||29||Printed Matter, 1933-1952|
|9||1||Scrapbook, "Archipenko Art School, Formerly Ecole D'Art, New York, founded 1923," 1921-1946|
|9||2||Student Roster, Chicago, 1947|
5.2: Other Schools, 1946-1956
|9||3||Carmel Art Institute, California, 1951|
|9||4||Institute of Design, Chicago, 1946-1947|
|9||5||University of British Columbia, Vancouver, Canada, 1956|
|9||6||University of Delaware, Newark, 1952|
|9||7||University of Kansas City, Missouri, 1950|
|9||8||University of Oregon, Eugene, 1951|
|9||9||University of Washington, Seattle, 1951|
University of Washington, Archipenko with Painting and Sculpture Students, circa 1935-1936
Motion picture film stored separately in film can numbered FC 31.
|9||11||Unidentified Institutions, 1951|
Unidentified Institution, Archipenko with students and female model, circa 1940
Also contains footage of Archipenko working on Taras Shevchenko bust. Motion picture film stored separately in film can numbered FC 32.
Unidentified Institution, Archipenko with sculpture students, circa 1940-1960
Motion picture film stored separately in film can numbered FC 33.
|FC 31-33||Motion Picture Film Reels from Box 9, Folders 10, 12-13|
Financial Records, 1923-1971
1.5 Linear feet; Boxes 9-10
Financial records include routine banking and billing records, in addition records related to sales and royalties of Archipenko's artwork.
The series is arranged as 3 subseries.
- 6.1: Banking Records, 1923-1965
- 6.2: Paid Bills, 1935-1971
- 6.3: Miscellaneous Financial Records, 1929-1970
6.1: Banking Records, 1923-1965
|9||14||Chemical Bank New York Trust Company, Account of Frances Archipenko, 1963-1964|
|9||15-16||Corn Exchange Bank Trust Company/Chemical Corn Exchange Bank, 1950-1959|
|9||17-19||First National City Bank, 1960-1963|
|9||20||First National City Bank, Account of Estate of Alexander Archipenko, 1964-1965|
|9||21-22||First National City Bank, Account of Tekhne Publications, Inc., 1960-1964|
|9||23||National Bank of Orange and Ulster Counties, 1958-1963|
|9||24||New York Trust Company, 1929|
|9||25||Norddeutsche Bank/Deutsche Bank, 1954-1963|
|9||26||Swiss Bank Corporation/Schweizerischer Bankverein, 1955-1962|
|9||27||Zivnostenska Banka v Praze, 1923|
6.2: Paid Bills, 1935-1971
|10||1-4||Art Supplies, Equipment, and Services, 1945-1971|
|10||5||Home Improvements and Upkeep-Bedford St., 1961-1963|
|10||6||Home Improvements and Upkeep-Woodstock, 1963|
|10||7||Insurance, Automobile, 1958-1964|
|10||8||Insurance, Homeowners, 1958-1963|
|10||11||Office Supplies and Equipment, 1954-1970|
|10||15||Shipping and Storage, 1935-1970|
|10||20||Typing and Translations, 1962-1963|
6.3: Miscellaneous Financial Records, 1929-1970
|10||23||Bedford Street Expenses, 1961-1970|
|10||25||Price Lists for Archipenko's Art, 1936-1964|
|10||26||Price Lists for Archipenko's Art, 1966-1970|
|10||27||Royalties Paid by Museum of Modern Art for Woman Combing Her Hair, 1953-1968|
|10||28||Sales Records (Art), 1929-1964|
|10||29||Tax Returns, Receipts, and Notices, 1929-1964|
|10||30||Tax Withholding Statements and Interest Statements, 1953-1965|
1.2 Linear feet; Boxes 22-25
Nine volumes, in rough chronological order, contain clippings (including some in Russian, German, Czech, and Japanese), exhibition announcements and catalogs, lecture notices, advertisements and brochures of the Archipenko Art School.
Also included are a small number of photographs and miscellaneous items. Of particular interest are: (No. 4) U.S. Patent Office brochure for patent 1,626,496 issued to Alexander Archipenko for his Method of Decorating Changeable Display Apparatus, April 26, 1927; (No. 5) photographs of Archipenko's 1927 Tokyo exhibition; (No. 6) installation photographs of exhibitions in Dresden (1921), Leipzig and Berlin (1922), Praha (1923), New York (1928), Chicago (1929), Santa Barbara and San Francisco (1931); also, Archipenko with students at Mills College (1933), and at Chicago Worlds Fair dinner (1933); (No. 7) bibliography (circa 1936), and Archipenko's hand prints; (No. 8) photographs of Moses and Archipenko at work on the sculpture; (No. 9) Golden Gate International Exposition certificate of appreciation; Archie Pen Co., Societe Anonyme, Inc., 1921; and Archipenko's "Message to the Artists for Victory," with letters received in response (1943).
A large number of printed items in the scrapbooks are also duplicated in Series 8: Printed Matter. "Magazines, Periodicals" (No. 3), contains the following items: Life, March 1, 1948; Arts and Architecture, July 1951; Norte Revista Continental, Octubre 1942; Antiques, June 1952; and Horizons: Ukrainian Monthly of Literature, Arts, amd Critics, May 1951 (in Ukrainian). An additional scrapbook concerning the Archipenko School of Art is a part of Series 5: Teaching.
|22||No. 1: "Archipenko," 1910-1927|
|22||No. 2, 1912-1923|
|22||No. 3: "Magazines, Periodicals," 1942-1952|
|23||No. 4, 1927-1961|
|24||No. 5, 1919-1930|
|23||No. 6, 1921-1934|
|25||No. 7: 1919-1938|
|25||No. 8: Moses, 1939|
|25||No. 9, 1937-1943|
Printed Material, 1913-1987
3.7 Linear feet; Boxes 11-14, 26, OV 29
Among the "Clippings About/Mentioning Archipenko, or Containing Reproductions" are feature articles, reviews, school advertisements, and obituaries from newspapers and magazines. "Exhibition Catalogs, Announcements, etc." are for solo exhibitions and group shows and may include such items as press releases, invitations to openings, posters, and broadsides. A small number of catalogs are from shows where Archipenko served as a juror; also, included are exhibition catalogs of other artists, many of them Archipenko's former students. Among the miscellaneous items of particular interest is an undated brochure describing the Multiplex Advertising Machine, a device similar to the Archipentura, an "apparatus for displaying Changeable Pictures" invented by Archipenko circa 1924 and patented in 1927.
Additional printed matter, much of which duplicates items filed with this series, can be found in Series 5: Teaching, and Series 7: Scrapbooks.
The series is arranged as 3 subseries.
- 8.1: Clippings, 1920-1976
- 8.2: Exhibition Catalogs, Announcements, etc., 1913-1987
- 8.3: Miscellaneous Items, 1918-1970
8.1: Clippings, 1920-1976
|11||1-5||About/Mentioning Archipenko, or Containing Reproductions, 1913-1950|
|11||6-10||About/Mentioning Archipenko, or Containing Reproductions, 1951-1960|
|11||11-15||About/Mentioning Archipenko, or Containing Reproductions, 1961-1969|
|11||16-19||About/Mentioning Archipenko, or Containing Reproductions, 1970-1971|
About/Mentioning Archipenko, or Containing Reproductions, 1972-1976
Oversized material housed in Box 26.
|11||22||Miscellaneous Art-Related Topics, 1944-1964|
|26||Oversized Clippings from Box 11, Folder 21, circa 1925-1974|
8.2: Exhibition Catalogs, Announcements, etc., 1913-1987
|12||1-2||Solo Exhibitions, 1913-1959|
Solo Exhibitions, 1960-1969
Oversized poster housed in OV 29.
|12||5||Solo Exhibitions, 1970-1987|
|12||6||Solo Exhibitions, circa 1918-1982|
|12||7-8||Group Exhibitions, 1913-1944|
|12||9-11||Group Exhibitions, 1946-1953|
Group Exhibitions, 1955-1959
Oversized poster housed in OV 29.
|13||1-2||Group Exhibitions, 1960-1962|
Group Exhibitions, 1963-1970
Oversized catalog housed in Box 26.
|13||6||Group Exhibitions, circa 1935-1965|
|13||7||Archipenko on Jury, 1926-1963|
|13||8||Students of Archipenko, 1934-1960|
|13||9||Other Artists (Survage), 1961|
|26||Oversized Catalog from Box 13, Folder 4, 1967|
|OV 29||Oversized Posters from Box 12, Folder 3 and 16, 1959-1960|
8.3: Miscellaneous Items, 1918-1970
|13||10||Advertisements and Catalogs for Artists' Services and Tools, circa 1930-1960|
|13||11-12||Auction Catalogs, 1948-1970|
|13||13||Book, Film, and Periodical Advertisements, Order Forms, and Prospectuses, 1938-1962, undated|
|13||14||Bookplate, circa 1930-1960|
|13||15-16||Books About/Mentioning Archipenko, 1922-1923|
|13||17||Books About/Mentioning Archipenko, 1924|
|13||18||Books About/Mentioning Archipenko, 1934-1946|
|13||19||Brochure about Multiplex Advertising Machine (similar to Archipentura), circa 1930-1960|
|13||20||Catalogs of Museum Collections Containing Works by Archipenko, 1942-1958|
|13||21-22||Catalogs of Museum Collections Containing Works by Archipenko, 1968-1970, undated|
|13||23||Catalogs of Reproductions, Prints, and Slides, circa 1948-1963, undated|
Color Separation Proofs of Works by Archipenko, undated
5 sets; used in unknown publication.
|14||1||Exhibition Entry Forms, 1948, 1963|
|14||2||Gallery Ads Featuring Archipenko, 1958-1969|
|14||3||Lecture Announcements, 1930-1956|
|14||4||Museum Publications Mentioning Archipenko Acquisitions, 1948-1968|
|14||5||Poems about Archipenko's Work, 1914-1918, 1966|
|14||6||Postcards (blank), circa 1930-1960|
|14||7||Publications of Ukrainian Free Academy of Sciences and Others (in Ukrainian), 1935|
|14||8||Publications Inscribed to/Annotated by Archipenko, 1934-1953|
|14||9||Publications Inscribed to/Annotated by Archipenko, 1957-1961|
Reproductions of Works by Archipenko, 1923-1968
Oversized reproductions housed in Box 26.
Reproductions of Interior Views, Annotated to Indicate Rooms Occupied in Aug. 1923 by the Archipenkos, circa 1923-1960
Oversized reproductions housed in Box 26.
|26||Oversize Reproductions of Works by Archipenko from Box 14, Folder 10, circa 1923-1960|
|26||Oversize Reproductions of Interior Views, Annotated to Indicate Rooms Occupied in Aug. 1923 by the Archipenkos from Box 14, Folder 11, circa 1923-1960|
0.4 Linear feet; Box 14, 16
Miscellaneous materials include designs, diagrams, unidentified floor plans, recipes, and 3 dry point and 8 printing plates. There is also one film reel (3 in.) of footage from an Archipenko exhibition in Darmstadt.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
|14||12||Bases for Sculpture and Base Templates, circa 1930-1960|
|14||13||Calendars (unannotated), 1926, 1956-1957|
|14||14||Diagrams (includes plans for carving stands), circa 1930-1960|
|14||15||Dry Point Plates by Archipenko, ( Kneeling, Bending, Angelica), 1916-1922|
Exhibition in Darmstadt, circa 1955-1956
Motion picture film stored separately in film can numbered FC 34.
|14||17||Floor Plans, Unidentified, circa 1930-1960|
|14||18||German Currency, circa 1930-1960|
|14||19||Headstone Design for Eugen Archypenko (1884-1959), circa 1959|
Poem by Rabindranath Tagore, U. Rittau, Calligrapher, 1949
|16||Printing Plates for Black and White Images|
|16||Text in the Hand of Archipenko, circa 1930-1960|
|16||Gondoliere, circa 1930-1960|
|16||Printing Plates for Color Separations|
|16||Woman with Fan, circa 1930-1960|
|16||Unidentified Sculpto-Paintings (three), circa 1930-1960|
|16||Unidentified Sculptures (two), circa 1930-1960|
|14||21||Recipes, circa 1930-1960|
|14||22||Works of Art by Others (Helen Sewell and unknown), circa 1930-1960|
|FC 34||Motion Picture Film Reel from Box 14, Folder 16|
Photographic Material, 1904-1964
3.6 Linear feet; Boxes 14-15, 17-21, 26-27
Studio and informal portraits of Alexander and Angelica Archipenko are by Frans Fiedlin, A. Elnain, Helen Balfour-Morrison, Cy Harriman, Gus Shroeder, A. Luckwin, Lary Colwell, Li Osborne, H. Tarr, and unknown photographers. They include a portrait of Angelica as a young girl, a contemporary copy print of Angelica with her father and sister, circa 1904, and several studio portraits made in Germany. Other people pictured include friends and possibly relatives, the majority of whom are unidentified; also, Frances Gray Archipenko, the second wife.
Nine photograph albums, 1925-1953, mainly document travel. Vol. 1, May-Nov. 1925, includes photographs and scenic post cards of Niagara Falls, Iowa, Colorado, New Mexico, and Canada; other subjects are friends (many identified), cowboys, Indians, cattle branding, landscapes, camping, and horses. Vol. 2, Aug.-Sept. 1925, contains photographs of a camping trip in Canada, with views of the landscape, friends (many identified), and activities; also included are pictures taken in Chicago, Los Angeles, and Arizona. Photographs of interest in vol. 3, 1925-1953, are Archipenko's first car, 1925; friends (many identified); Woodstock construction, 1930s; studio, kiln, and metal casting facilities, 1940s; Archipenko working with lucite, 1946; fire at Woodstock cottage, 1953; and two self-portraits painted by Angelica. Vol. 4, 1930s mainly records a trip to Bali and includes photographs of Walter Spies; also included are views aboard the Derffling, Suez Canal, Ceylon, Java, China, Japan, Philippines, Hawaii, California, and Archipenko at Mills College. Vol. 5, 1938-1941, consists of photographs taken in Mexico, mainly of San Miguel Allende and the Escuela Universitaria de Bellas Artes where Angelica Archipenko taught sculpture; included are views of classes, faculty, students and student work; also, views of Taxco, Mexico City, and Morelia. A fair number of photographs from the albums were duplicated for various purposes over the years, and these copies are now filed with the appropriate subseries.
There are a large number of slides, transparencies, negatives, and 86 lantern slides, and 80 glass plates. There may be prints of the vast majority of the negatives, though there are not negatives for every photograph in the collection. Most likely, the black and white lantern slides of ancient art, ethnographic objects, and biological and other specimens were used to illustrate a lecture or may have been collected as possible illustrations for a book.
Other photographs can be found with Series 4: Writings, which includes a few photographs collected as research notes or intended as illustrations; Series 5: Teaching, includes a scrapbook of the Archipenko Art School that contains pictures of students, and classes and facilities at Woodstock; and Series 7: Scrapbooks, with photographs of exhibition installations, and groups of people including students at Mills College.
The series is arranged as 9 subseries. Lantern slides and glass plates are housed separately with original folder divisions denoted by dividers; these materials are closed to researchers.
- 11.1: People, 1904-1964
- 11.2: Places/Travel, circa 1930-1962
- 11.3: Works of Art, 1924-1964
- 11.4: Exhibitions, 1951-1967
- 11.5: Events, circa 1930-1959
- 11.6: Miscellaneous Subjects, 1920-1965
- 11.7: Photograph Albums, 1925-1963
- 11.8: Slides and Transparencies, circa 1950-1960
- 11.9: Negatives, circa 1920-1960
10.1: People, 1904-1964
Oversized material housed in Box 26.
|14||27||Informal Views, circa 1925-1964|
|14||28||Close-up View of Archipenko's Hands, 1936-1937|
|14||Alexander Archipenko with Others|
|14||29||With Angelica, 1920-1950|
|14||30||With Frances, 1960-1969|
|14||31||With Friends, Students, and Colleagues (includes camping trips), circa 1925-1964|
|14||32||With Friends, Carmel, Calif., 1951|
|14||33||With Juries (Columbus, Ohio and unidentified), 1962|
|14||34||With Students, University of British Columbia, 1956|
Portraits, circa 1910-1930
Oversized material housed in Box 26.
|14||38||Informal Views (includes portrait in casket), 1920-1957|
Angelica Archipenko with Others, 1904-1950
Includes 1904 portrait with father and sister.
|14||40||With Sculpture Class, Escuela Universitaria de Bellas Artes, San Miguel Allende, Mexico, circa 1940|
|14||41||Frances Gray Archipenko, 1960s|
|15||1||Groups, Identified (Wozniak family, Barry Miller and mother, Joseph Hirthfisher and mother), 1954-1955|
Groups, Unidentified (includes students at Woodstock), 1922-1964
Oversized material housed in Box 26.
|15||3||Individuals, Identified (Elsa Basilicis; Bette Davis [inscribed to Angelica ]; Walter Spies; friends, students, and babies), 1927-1950|
|15||4||Individuals, Unidentified, circa 1921-1956|
|15||5||Nude Models, circa 1930-1960|
|26||Oversized Photographs of Alexander Archipenko from Box 14, Folder 23, 1920-1937|
|26||Oversized Photographs of Angelica Archipenko from Box 14, Folder 35, 1920-1929|
|26||Oversized Photographs of Unidentified Groups from Box 15, Folder 2, circa 1920|
10.2: Places/Travel, circa 1930-1962
|15||6||Art and Architecture, 1930-1939|
|15||Bali and Sumatra|
|15||11||Art and Architecture, 1930-1939|
|15||Mexico (mainly San Miguel de Allende and Escuela de Bellas Artes)|
|15||15||Art and Architecture, circa 1936-1942|
|15||16||Landscapes, circa 1936-1942|
|15||17||People, circa 1936-1942|
|15||18||Angelica Archipenko's Grave with Memorial Statue by Alexander Archipenko, Woodlawn Cemetery, New York, 1959|
|15||19||Exteriors, Unidentified, circa 1930-1960|
|15||20||Interior, Home of Walter Dupony, Caracas, Venezuela, 1962|
|15||21||Interiors, Unidentified (many may be Woodstock, N.Y.), circa 1930-1960|
|15||22||Landscapes, Unidentified (many may be Woodstock, N.Y.), circa 1930-1960|
|15||25||Home, Exterior, 1949-1965|
|15||26||Home, Interior, circa 1960|
|15||27||Studio, Exterior, circa 1930-1960|
|15||28||Studio, Interior, circa 1930-1960|
|15||29||Unidentified Buildings, circa 1930-1960|
10.3: Works of Art, 1924-1964
|15||30||By Archipenko, Archipentura, circa 1927|
|15||31||Prints, Drawings, and Paintings, circa 1940-1960|
Sculpture (includes reproductions from
Les Soir�es de Paris, 15 Juin 1914), circa 1915-1960
Oversized material housed in Box 26.
|15||33||Window Displays, Saks Fifth Avenue, New York, circa 1925|
|15||By Angelica Archipenko [Gela Forster]|
Folder 36 contains duplicate photographs.
|15||By Other Artists|
|15||37||Leon Katz, Madame Aleksandr Archipenko, 1924|
|15||38||Sculpture, circa 1940-1960|
|15||39||Students' Ceramics, Arko Studio, A-Z and unidentified, circa 1929|
|15||40||Students' Paintings, A-Z and unidentified, 1930|
|15||41||Students' Sculpture, 1930-1931, A-Z and unidentified, circa 1940-1960|
|15||42||Students' Sculpture, University of Delaware, Lois M. Detjen, 1952|
|15||43||Students' Sculpture, University of Washington, 1951|
|15||44||Miscellaneous Art and Architecture (includes Egyptian, Greco Roman, and ethnographic objects; probably for lectures), circa 1940-1960|
|26||Oversize Photographs of Sculpture by Archipenko from Box 15, Folder 32, circa 1915-1960|
10.4: Exhibitions, 1951-1967
|15||45||Finch College, Les formes vivantes, 1965|
|15||46||Fondazione Pagani Museo d'Arte Moderna, Legnano, Italy, 1967|
|15||47||Grosshennig Galerie, Dusseldorf, 1962|
|15||48||Miscellaneous Exhibitions, Not Archipenko (IBM-Firmenstil, USIS Bon; unidentified exhibition), circa 1930-1960|
|15||49||Unidentified Location (Germany?), 1960-1969|
|15||50||University of Oregon, Student Exhibition, 1951|
|15||51||University of Washington, Student Exhibition, 1951|
|15||52||Caracas, Venezuela, 1959|
|15||53||Ente Premi Roma, 1963|
|15||54||Galerie Im Erker, St. Gallen, Switzerland, 1962|
|15||55||Germany (Munich and Other Locations), 1960|
10.5: Events, circa 1930-1959
|15||56||Archipenko Producing Lithographs at Im Erker Press, St. Gallen, Switzerland, 1963|
|15||57||Dedication of Angelica Archipenko's Memorial Statue, Woodlawn Cemetery, N.Y., 1959|
|15||58||Funeral of Archipenko's Mother, circa 1930|
10.6: Miscellaneous Subjects, 1920-1965
|15||61||Book Cover, circa 1960|
|15||62||Caricatures of Archipenko and his Work, 1911-1937, undated|
|15||63||Illustrations for Archipenko: Fifty Creative Years, 1908-1958, circa 1960|
|15||64||Kiln, circa 1940-1960|
|15||65||Plaque, "To the Sixth Sense," undated|
|15||66||Sculpture Base, "Archipenko � 1948," University of British Columbia, 1956|
10.7: Photograph Albums, 1925-1963
|27||Volume 1 (small black album), 1925|
|27||Volume 2 (small brown album), 1925|
|27||Volume 3 (tan cloth with leather trim), 1925-1953|
|27||Volume 4 (embroidered cover), 1930-1939|
|27||Volume 5 (wooden cover painted with Mexican scene), 1938-1941|
10.8: Slides and Transparencies, circa 1950-1960
|15||35-mm Color Slides|
|15||67||People (include Alexander Archipenko and Angelica Archipenko), circa 1950, 1961|
|17||Works of Art by Archipenko and Others from the Solomon R. Guggenheim Foundation Museum of Non-Objective Painting (slides), circa 1950-1960|
Works of Art by Archipenko and Others from the Solomon R. Guggenheim Foundation Museum of Non-Objective Painting, circa 1950-1960
List of slide box contents.
|18||2||Zeiss Instrument, circa 1950-1960|
|18||3||Color Transparencies used in Archipenko: Fifty Creative Years, 1908-1958, circa 1960|
Lantern Slides of Early Art and Ethnographic Objects, Biological and Other Specimens, circa 1910-1940
|20||Lantern Slides (black and white)|
Works of Art by Archipenko, circa 1910-1940
Plaque, "To the Sixth Sense," circa 1910-1940
10.9: Negatives, circa 1920-1960
10.9.1: Film Negatives,
Film negatives of Mexico are mainly of San Migeul de Allende and Escuela de Bellas Artes; art and architecture, landscapes, and people; and copy negatives of many items in photograph album, vol. 5.
|18||4||Alexander Archipenko, circa 1920-1960|
|18||5||Alexander and Angelica Archipenko, 1950-1959|
|18||6||Alexander Archipenko with Others, circa 1940-1960|
|18||7||Angelica Archipenko, circa 1920-1959|
|18||8||Individuals, Unidentified, circa 1940-1960|
|18||9||Angelica Archipenko's Grave with Memorial Statue by Alexander Archipenko, Woodlawn Cemetery, New York, 1959|
|18||11||Interiors, Unidentified, circa 1940-1960|
|18||13||Woodstock, N.Y., Buildings, circa 1940-1960|
|18||Works of Art by Alexander Archipenko|
|18||14||Archipentura, circa 1940-1960|
|18||15||Prints, Drawings, and Paintings, circa 1940-1960|
|18||16||Sculpture, circa 1940-1960|
|18||17||Window Displays, Saks Fifth Avenue, New York, circa 1925|
|18||18||Works of Art by Angelica Archipenko [Gela Forster], circa 1940-1960|
|18||19||Exhibition (unidentified; with related travel views), circa 1940-1960|
|18||20||Advertisement, Kovler Gallery, Chicago, circa 1940-1960|
|18||21||Book Cover, Archipenko: Fifty Creative Years, 1908-1958, circa 1960|
|18||22||Broadside, "50th Archipenko Exhibition in the United States,," 1944|
|18||23||Cartoon, "Au Salon des Independents ,," circa 1940-1960|
|18||24||Cat, circa 1940-1960|
|18||25||Lecture Illustration Depicting Various Concave Forms, circa 1940-1960|
|18||26||Legal Document Concerning Residence in France , circa 1940-1960|
|18||27||Illustrations for Archipenko: Fifty Creative Years, 1908-1958, circa 1960|
10.9.2: Glass Negatives,
Miscellaneous subjects include caricatures of Archipenko and his art, articles, a poem, and a cover of an exhibition catalog.
Miscellaneous Subjects, 1910-1940
Works of Art by Alexander Archipenko, Prints, Drawings, Paintings, and Sculptures, 1910-1940
Works of Art by Angela Archipenko, Sculpture, 1910-1940