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Hassel Smith papers, circa 1900-2004, bulk, 1930-1995

A Finding Aid to the Hassel Smith Papers, circa 1900-2004, bulk 1930-1995, in the Archives of American Art, by Michael Yates

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Funding for the processing of this collection was provided by the Getty Foundation and the Terra Foundation for American Art provided funding for digitization.

Table of Contents:



Biographical Information

Hassel Smith (1915-2007) was a California Bay area abstract expressionist painter, painting instructor at the California School of Fine Arts, and a lecturer at the University of California. His students included Roy De Forest, Sonia Gechtoff, and Frank Lobdell. Smith was also associated with the famed Los Angeles Ferus Gallery.

Hassel Smith was born on April 27, 1915, in Sturgis, Michigan, settling later with his family in San Mateo, California. He attended Northwestern University with the intention of becoming a chemist, but switched his majors to english and art history and graduated in 1936. Returning to California, Smith enrolled at the California School of Fine Arts (CSFA), and studied with the painter Maurice Sterne.

In 1937, he left school, and shared housing with his adopted brother Lewis in the Haight-Ashbury district and maintained a studio on Steiner Street. At the same time he worked as a social worker with men on "skid row" in San Francisco for the California Relief State Administration. Declared 4F by the draft board, Smith served various government agencies during World War II, including the Farm Security Administration and the U.S. Forest Service. During this period, he met and married June Meyers. He later described his government service and social work as having a strong influence on his art and politics.

In 1941, the University of California, Berkeley awarded Smith with the Abraham Rosenberg Fellowship, which allowed him to travel and paint outdoors at Angel's Camp in the Mother Lode of the Sierra foothills, along with Richard Hackett.

At the end of the war, Smith began teaching at the CSFA, joining faculty members Richard Diebenkorn, David Park, and Clyfford Still. Smith taught there until 1952. His students included Roy De Forest, Sonia Gechtoff, and Frank Lobdell. Smith continued to paint and exhibit work throughout the 1950s, and in 1958 became affiliated with the Ferus Gallery founded by Walter Hopps and Ed Kienholz. His wife June passed away in 1958. One year later, Smith remarried Donna Rafferty Harrington, and they had their son Bruce in 1960.

After an exhibition at the New Arts Gallery in Houston, London-based dealer Charles Gimpel invited Smith to exhibit his work in England. As a result of this, Smith moved to England in 1962, and spent a year living in Mousehole, a fishing village in Cornwall. He moved back to California and between 1963 to 1966 was a visiting lecturer at the University of California, Berkeley and the University of California, Los Angeles. In 1966, Smith accepted a position as Senior Lecturer at the West England College of Art in Bristol, England where he stayed until 1978. He finished his teaching career as a Principal Lecturer at the Cardiff College of Arts in Wales from 1978-1979.

Smith spent most of the next two decades painting and exhibiting, which included exhibitions at the Oakland Museum and the San Jose Museum of Art. In 1991, he was awarded an honorary doctorate by the San Francisco Art Institute (formerly the California School of Fine Arts). Due to failing health, Smith was forced to stop painting in 1997. Smith died in 2007 in Warminster, England, at the age of 91.

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Overview of the Collection

Scope and Contents

The papers of Southern California painter and instructor Hassel Smith measure 4 linear feet and date from circa 1900-2004, bulk 1930-1995. Found within the papers are correspondence, a transcript of an interview conducted by Jan Butterfield in the 1980s, personal business files, teaching files, writings by Smith and others, sketches, printed materials, and photographs of Smith, his family, friends, and Smith's artwork. There are audio recordings of a lecture series organized by Smith and of reviews of Smith's work. Correspondents include Paule Anglim, Elmer Bischoff, Andre Emmerich, Clyfford Still, Wayne Thiebaud, and many others.

Biographical materials include biographical sketches, curriculum vitae, genealogical materials, ephemera, and personal appointment books from the mid to late 1970s. Also found here is a transcript of an in-depth interview of Smith conducted by Jan Butterfield in the 1980s.

There is personal and professional correspondence with Paule Anglim, Elmer Bischoff, Andre Emmerich, Charles Gimpel of Gimpel Fils, Clyfford and Patricia Still, Kathryn Swanson of the New Arts Gallery, Wayne Thiebaud, family members, and many others.

Personal business records include art sales records, exhibition checklists, conservation and condition reports, and personal finance records. Teaching materials include class schedules, student lists, and syllabi. Also found are notes on topics such as American art and literature, artistic traits and forms, illusion, and women artists.

Writings by Smith include artist statements, creative writings, his thoughts on the art market and art institutions, the San Francisco art community, and social criticism. Writings by others consist primarily of essays about Smith and his work. There are also writings by Smith's friend Robert Wollard. Artwork includes sketches, doodles, and Christmas cards done by Smith, and a handful of artwork by others.

Printed materials include clippings, exhibition announcements and catalogs, and posters. Also found here are printed materials about other artists, schools where Smith enrolled or taught, Smith's general interests, and collages and flyers by Robert Wollard. There is a printed copy of the pictorial edition of the Communist Manifesto edited by Smith, and other artists.

Photographic materials are of Smith, family members, artwork, his studio, exhibition openings and other art events, and friends and colleagues. A family photograph dates from circa 1900 and negatives from 1920. Most of the photographs date from the 1940s through 1990s.

Sound recordings include 1 sound tape reel of the radio show, Art Review, with host John Fitz Gibbon reviewing Smith's artwork, and nine sound cassettes of student critiques overseen by Smith at the San Francisco Art Institute.

Arrangement and Series Description

The collection is arranged into 9 series:

Subjects and Names

This collection is indexed in the online catalog of the Archives of American Art under the following index terms:

  • Anglim, Paule
  • Bischoff, Elmer, 1916-1991
  • Butterfield, Jan
  • Emmerich, Andr´┐Ż
  • Fitz Gibbon, John
  • Gimpel Fils
  • Gimpel, Charles
  • New Arts (Art gallery)
  • Still, Clyfford, 1904-
  • Still, Patricia
  • Swanson, Kathryn
  • Thiebaud, Wayne
  • Wollard, Robert
  • Art--Study and teaching
  • Artists' studios--Photographs
  • Christmas cards
  • Educators--California--Berkeley
  • Interviews
  • Painters--California
  • Photographs
  • Sketches
  • Sound recordings
  • Women artists
  • Writings

Provenance

Hassel Smith donated most of his papers in several increments between 1980 and 1998. His son Joseph donated audio recordings in 1980, and Hassel Smith's widow Donna donated additional materials in 2004.

Separated and Related Materials

Also found in the Archives of American Art is an oral history interview with Hassel Smith conducted by Paul Karlstrom, September 5, 1978 and a video interview with Hassel Smith conducted by Paul Karlstrom, January 15, 1986.

How the Collection was Processed

Portions of the papers were microfilmed upon receipt on reels 2008-2009, 2062, and 3472 - these reels are no longer in circulation. Microfilmed portions were merged with later additions and processed and arranged by Michael Yates in 2007 with funding provided by the Getty Foundation. The collection was prepared for scanning by Judy Ng and fully scanned in 2011 with funding provided by the Terra Foundation for American Art.


How to Use the Collection

Restrictions on Use

Use of original papers requires an appointment.

Ownership & Literary Rights

The Hassel Smith 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.

Available Formats

The bulk of the collection was digitized in 2011 and is available via the Archives of American Art's website. Blank pages, blank versos of photographs, photographs of artwork, duplicates, and medical, legal, and personal financial documents have not been scanned. In most cases, only the cover, title page, and individual relevant pages have been scanned from published materials.

The sound recordings in this collection were digitized for research access in 2011 and are available at the Archives of American Art offices. Researchers may view the original reels for the archival notations on them, but original reels are not available for playback due to fragility.

How to Cite this Collection

Hassel Smith papers, circa 1900-2004, bulk 1930-1995. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Biographical Materials, 1930-1990, 2004
(Box 1; 0.25 linear feet)

Biographical materials include biographical sketches, curriculum vitae, interview questions for an interview with Paul Karlstrom, a transcript of an in-depth interview with Jan Butterfield, and a questionnaire about Smith's career with responses. Also found are appointment books from 1974-1978, school ephemera, genealogical materials, loose notes, addresses, and miscellaneous papers related to organizations to which Smith belonged or was active.

This series has been scanned in its entirety.

Box Folder
1 1 Address Book, circa 1960s-1970s
1 2-4 Addresses, circa 1950s-1980s
(3 folders)
1 5 Appointment Books, 1974-1975
1 6 Appointment Books, 1975-1976
1 7 Appointment Books, 1976-1977
1 8 Appointment Books, 1977-1978
1 9 Art Students League of San Francisco, 1935
1 10 Autograph Book, 1980
1 11 Biographical Sketches, 1960s-1987
1 12 Boy Scout Card, 1930
1 13 Business Card, 1936
1 14 College Materials, 1936
1 15 Curriculum Vitae, 1964-1990s
1 16 Drivers License, 1970
1 17 Fundraiser, 2004
1 18 Genealogical Materials, 1960s
1 19 High School Materials, 1931-1932
1 20 Interview Questions, Paul Karlstrom with Hassel Smith, 1986
1 21 Interview Transcript, Jan Butterfield with Hassel Smith, circa 1980s
1 22 Maps, circa 1950s-1970s
1 23 Membership Card, circa 1960s-1980s
1 24 Notes, circa 1950s-1980s
1 25 Oath of Allegiance, 1953
1 26 Phone Messages, circa 1950s-1980s
1 27 Publication List, 1960s
1 28 Questionnaires, circa 1970s
1 29 Reading List, circa 1979
1 30 San Francisco Art Institute, 1960s
1 31 Tickets, 1970-early 1980s
1 32 Who's Who Materials, 1980-1981

Series 2: Correspondence, 1930s-2003
(Boxes 1-2; 1.0 linear foot)

This series consists of Smith's correspondence with family, artists, former students, galleries, universities, and friends. Among the correspondents are artists Elmer Bischoff, Wayne Thiebaud, and Clyfford and Patricia Still, and art dealers Paule Anglim, Andre Emmerich, Charles Gimpel, and Kathryn Swanson of the New Arts Gallery. Family correspondence is from Smith's second wife, Donna, his sons Joseph and Bruce, and his stepsons Mark and Stephen. Additional letters are from friends, including Henri Lenoir, the founder of San Francisco bohemian cafe, and artist and writer Robert Wollard. Wollard letters are not only written as himself, but also as various characters associated with the "Natural Surrealist Party" and the Firesign Theatre. Also of interest are a letter to Thomas Albright in response to Albright's review of a Smith exhibition, and letters to Lawrence Ferlinghetti discussing the provenance of Smith's paintings in Ferlinghetti's possession. There is a group of illustrated letters sent to Smith upon the release of Hassel Smith: Drawings and Poems in 1999. These include letters from Frank Lobdell, Nathan Oliveira, and Wayne Thiebaud.

Named files were established for those correspondents with more than scattered letters. The remaining correspondence is filed in general alphabetical files. This series has been scanned in its entirety.

Box Folder
1 33 A, 1965-1997
1 34 Albemarle Gallery, 1987-1988
1 35 Albright, Tom, 1983
1 36 American Museum in Britain, 1972-1974
1 37 Andre Emmerich Gallery, 1961-1997
1 38 Archives of American Art, 1978-1986
1 39 Arneson, Robert, 1986
1 40 B-Bl, 1961-1994
1 41 Bo-Bu, 1970-2000
1 42 Berlant, Tony, 1992-2001
1 43 Bischoff, Elmer, 1975-1989
1 44 Bristol Polytechnic, 1972-1978
1 45 Brown, Bill, 1999
1 46 C-Ch, 1967-2002
1 47 Ci-Cr, 1964-1994
1 48 Canney, Madeline and Michael, 1978-1992
1 49 Christy [?], 1999
1 50 City and County of San Francisco, 1981
1 51 D, 1966-1983
1 52 David Stuart Galleries, 1965-1993
1 53 Deforest, Roy, 1997
1 54 Diamond, Mag, 1999
(illustrated letter by Charlie [?] on other side)
1 55 Diebenkorn, Richard, 1979
1 56 E, 1974-1983
1 57 Eckart, Charles, 1999
1 58 F, 1968-1998
1 59 Family Correspondence, 1930s-1968
1 60 Farewell Card, 1980
1 61 Felter, June, 1999
1 62 Ferlinghetti, Lawrence, 1980-1987
1 63 Ferus Gallery, 1961
1 64 G, 1969-1999
1 65-73 Gallery Paule Anglim, 1976-1997
(9 folders)
1 74 Gimpel Fils Ltd., 1961-2003
1 75 Glenna [?] and Charlie [?], 1999
1 76 H, 1972-2002
1 77 Hadiaris, Peter N., 1991-1996
1 78 Harrington, Mark, 1969-2000
1 79 Harrington, Stephen, 1969
1 80 I, 1974-1994
1 81 Iannetti Lazone Gallery, 1988-1990
1 82 J, 1975-1992
1 83 John Berggruen Gallery, 1981-1986
1 84 John Natsoulas Gallery, 1992-2002
1 85 K, 1976-1992
1 86 Kasten, Karl, 1999
1 87 L, 1966-2002
1 88 Landauer, Susan, 1994-1997
1 89 Lenoir, Henri, 1974-1991
1 90 Lobdell, Frank, 1999
1 91 M, 1959-2000
1 92 Magnolia Editions, 1986-2002
1 93 Martin, Peter and Madeline, 1975-1989
1 94 McChesney, Robert and Mary, 1968-1985
1 95 N, 1968-1997
1 96 Natsoulas Novelozo Gallery, 1989-1994
1 97 Neri, Manuel, 1999
1 98 Northwestern University, 1934-1996
1 99 O, 1978-1983
1 100 Oakland Museum, 1965-1985
1 101 Oliveira, Nathan, 1999
Box Folder
2 1 P, 1972-2003
2 2 Petty, Ralph, 1976-1991
2 3 Power, Kevin, 1978
2 4 R, 1964-1990
2 5 Remington, Deborah, 1977-1993
2 6 S-Sh, 1965-1997
2 7 Si-Su, 1969-2002
2 8 Salander-O'Reilly Gallery, 1992-1993
2 9 San Francisco Art Institute, 1982-1995
2 10 San Francisco Museum of Modern Art, 1974-1996
2 11 San Jose Museum of Art, 1982-1983
2 12 Scales, Barbara, 1999
2 13 Selz, Peter, 2002
2 14 Smith, Bruce, 1973-1995
2 15 Smith, Donna, circa 1950s-1980s
2 16 Smith, Joe, circa 1970s-1990s
2 17 St. John, Terry, 1981
2 18 Still, Clyfford, 1966-1979
2 19 Still, Pat, 1965-1994
2 20 Swanson, Kathryn, 1960-1986
2 21 T, 1972-2000
2 22 Temko, Allan, 1972-1981
2 23 Thiebaud, Wayne, 1967-1976
2 24-25 Thomas McLintock and Co., 1972-1979
(2 folders)
2 26 U, 1966-2002
2 27 University of California, Berkeley, 1977-1992
2 28 University of California, Los Angeles, 1965-1989
2 29 V, 1977-1983
2 30 W, 1968-1991
2 31 Watson, Muriel, 1968-1969
2 32-33 Wollard, Robert, 1970s-2000
(2 folders)
2 34 Worcester Art Museum, 1993
2 35 Younger, C.W., 1967-1969
2 36 Z, 1995
2 37 Unknown Correspondents, 1958-1984

Series 3: Personal Business Records, 1953-2003
(Box 2; 0.25 linear feet)

Personal business records document Smith's finances, exhibitions, and his business with galleries and museums. There are also records related to his personal finances. Found are consignment forms, records of gifts, price lists, exhibition checklists, guest lists, loan records, shipping records, condition reports, conservation reports, and court records from a case against the Iannetti/Lanzone Gallery.

The bulk of this series has been scanned. Legal, medical, and personal finance records have not been scanned.

Box Folder
2 38 Agreements, 1978-1993
2 39 Art Materials, 1964-1977
2 40 Condition Report, 1982-1983
2 41 Conservation Reports, 1980
2 42 Consignment Forms, 1984-1990
2 43-44 Court Materials, 1970-1996
(2 folders; Not scanned)
2 45 Customs Declaration, circa 1979-1990
2 46-47 Exhibition Checklists, 1961-1988
(2 folders)
2 48 Expense Book, 1961-1965
2 49 Expenses, 1960s-1970s
2 50 Financial Materials, 1978-1979
2 51 Gallery Floor Plans, circa 1980s
2 52 Gifts, 1966-2003
2 53 Grant Applications, 1964
2 54 Guest Lists, 1960s-1970s
2 55 House Sales, 1962-1966
2 56 Inventories, 1988-1992
2 57 King Ubu Gallery Exhibition Materials, 1953
2 58 Loans, 1988-2002
2 59 Medical Expenses, 1971-1972
(Not scanned)
2 60 Notes, circa 1960s-1970s
2 61 Oakland Museum Holdings, 1979-1980
2 62 Object Records, 1978
2 63 Permissions, 1990-1994
2 64 Price Lists, 1987-1998
2 65 Print Documentation, 1986
2 66 Sales, 1965-1989
2 67 Shipping Records, 1966-1977
2 68 Shipping Records, 1977-1995
2 69-72 Taxes, 1961-1990
(4 folders; Not scanned)

Series 4: Teaching Materials, 1960s-1980s
(Box 2; 17 folders)

Teaching materials includes Smith's notes on art and art history, student handouts, syllabi, employment information, and administrative documents. There are surprisingly few records in this series, given the extent of Smith's teaching career and lectures. There do not appear to be any records in his papers documenting his teaching career in England.

This series has been scanned in its entirety.

Box Folder
2 73 American Art and Literature, 1972-1973
2 74 Artistic Forms, circa 1960s-1970s
2 75 Artistic Traits, circa 1960s-1970s
2 76 Book Excepts, 1970s
2 77-78 Bristol Polytechnic, 1970-1977
(2 folders)
2 79 Class Schedule, 1978
2 80 Employment Certification
2 81 Illusion, circa 1960s-1970s
2 82 Meeting Minutes, 1966-1974
2 83 Notes, circa 1960s-circa 1970s
2 84 Posters, 1971
2 85 Projects, circa 1960s-1970s
2 86 Seminar Schedules, circa 1960s-1970s
2 87 Student Lists, 1978-1980
2 88 Subject/Object, circa 1960s-1970s
2 89 Syllabi, 1968-1970
2 90 Women Artists, circa 1960s-1970s

Series 5: Writings, 1940s-1994
(Box 2; 0.25 linear feet)

Writings and fragments by Smith concern the art market, art institutions, and social criticism. Of special interest is a lengthy essay by Smith about the art community in San Francisco.

Writings by others include essays about Smith and his work, and quotations and essays by artists and critics. Also found are writings by friends Henri Lenoir and Robert Wollard, an entry from the journal of his son Joseph, and essays about art and literature in San Francisco.

This series has been scanned in its entirety.

Box Folder
2 91 [Al and Phyllis], circa 1960s-1970s
2 92 Alphabet For Adults, circa 1960s-1970s
2 93 Aphorisms, circa 1940s-1960s
2 94 The Appeal to Reason, circa 1960s-1970s
2 95 Art in Action, circa 1952
2 96 Artist Statements, circa 1960s-1980s
2 97 Artists and Information Theory, circa 1960s-1970s
2 98 Fragments, circa 1960s-1970s
2 99 Letters of Recommendation, 1977-1980
2 100 Los Angeles County Museum of Art, 1977
2 101 [The Middle Class], 1979
2 102 The Nettlecomb Exhibition, 1994
2 103 [On Art Criticism and Galleries], circa 1960s-1970s
2 104 [On Article By Patrick Heron], circa 1970s
2 105 [On Painting], 1977
2 106 [On the Los Angeles County Museum of Art], 1977
2 107 On the San Francisco School of Painting, circa 1956
2 108 [On Uncle Tom's Cabin], 1992
2 109 Poems, circa 1940s-1980s
2 110 Recent Pronouncements, 1952
2 111 [Restraint/Chance/Pattern], circa 1950s-1970s
2 112 [Sebastapolecats], 1950s
2 113 [Statements and Quotations By Hassel Smith and Others], 1970s-1980s
2 Writings by Others
2 114 "Lilly Fenichel" by Robert Duncan, 1981
2 115 [Poems by Ralph Waldo Emerson], circa 1960s-1970s
2 116 "Hassel Smith's Resistance" by Chelsea Gilmore, 1994
2 117 [From The Literary World of San Francisco and Its Environs by Don Herron], 1985
2 118 "Cookie, You're Number One" by Henri Lenoir, circa 1980-1986
2 119 "Letter to the Editor" by Henri Lenoir, 1980s
2 120 "Hassel Smith" by Douglas Macagy, circa 1950s-1970s
2 121 "American Artists Exhibition" by Maggie Mash, 1976
2 122 "Hassel Smith" by Bruce Nixon, 1994
2 123 "How Black Was the Cat" by Anne Frisbie O'Neill, circa 1950s-1980s
2 124 [Picasso Quotations], circa 1960s-1980s
2 125 "A Conversation With Hassel Smith" by Kevin Power, circa 1970s-1980s
2 126 "Myths and Rituals of the Avant Garde" by Harold Rosenberg, circa 1950s-1970s
2 127 "Movement For Rethinking Art and Design Education" by Pilar Saizar, circa 1970s
2 128 [Journal Entry] by Joseph Smith, 1980
2 129 [Leo Stein quote], 1947
2 130 "Hassel Smith" by Allan Temko, 1975
2 131 [Possible Transcript of an Interview], 1961
2 132 "Su-dra the Lion" by [unknown], circa 1940s-1960s
2 133 [Writings by Robert Wollard], circa 1960s-1980s

Series 6: Artwork, 1928-1995
(Box 2; 8 folders)

Scattered artwork by Smith includes handmade family Christmas cards, doodles and sketches, a folded paper fortune teller, and an exhibition announcement with humorous pen additions. Also found is artwork by others including Elmer Bischoff and Robert Wollard.

This series has been scanned in its entirety.

Box Folder
2 134 Altered Postcard, 1987
(Exhibition announcement for Hassel Smith/Charles Strong with pen additions)
2 135 Christmas Cards, 1928-1932
2 136 Doodles, circa 1940s-1980s
2 137 Fortune Teller, circa 1930s-1970s
2 138 Sketches, circa 1930s-1960s
2 Artwork by Others
2 139 Elmer Bischoff, 1995
2 140 Robert Wollard, circa 1960s
2 141 Relatives [?], circa 1950s-1970s

Series 7: Printed Materials, 1928-2003
(Boxes 3-4; 1.25 linear feet)

Printed materials include clippings, exhibition announcements and catalogs about Smith; menus; a poster; and pamphlets and flyers from the California School of Fine Arts, the Mother Lode School run by Smith, and Bristol Polytechnic. There are also miscellaneous printed materials related to Smith's interests in music and politics, including a copy of the pictorial edition of the Communist Manifesto edited by Smith. There are exhibition announcements and catalogs for other artists.

The bulk of this series has been scanned. In most cases, only the cover, title page, and individual relevant pages have been scanned from published materials.

Box Folder
3 1 Advertisements, circa 1972
3 2 Art Education Materials, circa 1960s-1970s
3 3 Art Education Materials, circa 1960s-1970s
3 4 Auction Announcements, 1992
3 5 Auction Catalogs, 1990s
3 6 Black Cat Materials, 1963-1969
3 7 Bristol Polytechnic, 1975
3 8 Broadsides, 1990
3 9 Brochures, 1970s-1980s
3 10 Bulletins, 1946-1950
3 11 Business Cards, circa 1950s-1980s
3 12 Calendars, 1966-1996
3 13 California School of Fine Arts, 1946-1948
3 14 Cards, 1970s-1990s
3 15 Clippings, 1928-1932
3 16 Clippings, 1932-1936
3 17 Clippings, 1941
3 18 Clippings, 1945
3 19 Clippings, 1946
3 20 Clippings, 1947
3 21 Clippings, 1949
3 22 Clippings, 1940s
3 23 Clippings, 1950
3 24 Clippings, 1953
3 25 Clippings, 1954
3 26 Clippings, 1955
3 27 Clippings, 1957
3 28 Clippings, 1959
3 29 Clippings, 1950s
3 30 Clippings, 1960
3 31 Clippings, 1961
3 32 Clippings, 1962
3 33 Clippings, 1963
3 34 Clippings, 1964
3 35 Clippings, 1965
3 36 Clippings, 1966
3 37 Clippings, 1968
3 38 Clippings, 1960s
3 39 Clippings, 1970
3 40 Clippings, 1971
3 41 Clippings, 1972
3 42 Clippings, 1973
3 43 Clippings, 1974
3 44 Clippings, 1975
3 45-46 Clippings, 1976
(2 folders)
3 47 Clippings, 1977
3 48-49 Clippings, 1978
3 50 Clippings, 1979
3 51 Clippings, 1970s
3 52-53 Clippings, 1980
(2 folders)
3 54 Clippings, 1981
3 55 Clippings, 1982
3 56 Clippings, 1983
3 57 Clippings, 1984
3 58 Clippings, 1985
3 59 Clippings, 1986
3 60 Clippings, 1987
3 61 Clippings, 1988
3 62 Clippings, 1989
3 63 Clippings, 1980s
3 64 Clippings, 1990
3 65 Clippings, 1991
3 66 Clippings, 1992
3 67 Clippings, 1993
3 68 Clippings, 1994
3 69 Clippings, 1995
3 70 Clippings, 1996
3 71 Clippings, 1997
3 72 Clippings, 1999
3 73 Clippings, 1990s
3 74 Clippings, 2001
3 75 Clippings, 2002
3 76 Clippings, 2003
3 77 Commencement Materials, 1991
3 78 The Communist Manifesto in Pictures, 1947
3 79 Curriculum Vitae, 1970s-1987
3 80 Exhibition Announcements, 1947-1962
3 81 Exhibition Announcements, 1962-1970
3 82 Exhibition Announcements, 1972-1982
3 83 Exhibition Announcements, 1984-1991
3 84 Exhibition Announcements, 1994-2000
3 85 Exhibition Announcements: Others, A-E, 1960s-1991
3 86 Exhibition Announcements: Others, F-N, 1968-1983
3 87 Exhibition Announcements: Others, P-W, 1971-1994
3 88 Exhibition Catalogs, 1942-1945
3 89 Exhibition Catalogs, 1956-1957
3 90 Exhibition Catalogs, 1960-1961
3 91 Exhibition Catalogs, 1962-1964
3 92 Exhibition Catalogs, 1964-1960s
3 93 Exhibition Catalogs, 1970-1979
3 94 Exhibition Catalogs, 1981-1987
3 95 Exhibition Catalogs, 1994-1999
3 96 Exhibition Catalogs: Others, B-J, 1963-1994
3 97 Exhibition Catalogs: Others, K-R, 1953-1989
Box Folder
4 1 Exhibition Catalogs: Others, S-W, 1937-1980
4 2 Fitness Materials, 1960s-1970s
4 3 Flyers, circa 1950s-1970s
4 4 Gallery Guide, 1995
4 5 Harrington, Stephen, circa 1970s-1980s
4 6 The History of the Audiffred Building, 1982
4 7 Information Sheet, 1994
4 8 Invitations, 1976-1994
4 9 Lecture Announcements, 1973-1983
4 10 "Make a Thing,," 1953
4 11 Menus, circa 1940s-1980s
4 12 Mother Lode Art School, circa 1941
4 13 Music, 1960s-1980s
4 14 Music, 1980s
4 15 Newsletters, 1977-1996
4 16 Notecard, circa 1970s
4 17 Pamphlets, circa 1963-1980s
4 18 Periodicals, 1970s
4 19 Personals, circa 1959
4 20 Political Materials, 1970s-1980s
4 21 Postcards, circa 1950s-1970s
4 22 Posters, 1972-1986
4 23 Press Releases, 1975-1994
4 24 Programs, 1970s-1991
4 25 Prospectus, 1970s-1975
4 26 Prospectus, 1977
4 27 Prospectus, 1979
4 28 Reproductions of Artwork, 1960s
4 29 Reproductions of Artwork: Others, circa 1970s-1980s
4 30 San Francisco Art Institute, 1978
4 31 Sonoma Open-Air Art School, circa 1953
4 32 South Africa, 1980s-1990s
4 33 Tennis, 1970s-1990
4 34 Wedding Announcement, 1982
4 35 Wollard, Robert, 1975-1980
4 36 Wollard, Robert, 1970s-1990s

Series 8: Photographic Materials, circa 1900, 1941-2004
(Box 4; 0.5 linear feet)

Photographic materials are of Smith, his family, his wife Donna, his sons, and stepsons. Found are photographs of Smith's artwork from different periods in his career, of exhibitions installations, receptions, and of Smith's studios. Photographs of others include Robert and Mary Fuller McChesney, Kathryn Swanson, and Elmer Bischoff's wife and son. Also found are photographs of Smith teaching at a Summer Art School in Sonoma County, California in 1955, and at the College of Notre Dame in Belmont, California in 1988. Reproductions of artwork by others include David Park, Henri Lenoir, Cornelius Sampson, and Smith's stepson Mark Harrington.

Original photographs have been scanned. Negatives, slides, and unannotated photographs of artwork have not been scanned.

Box Folder
4 37-41 Hassel Smith, 1917-1990s
(5 folders)
4 42-43 Hassel and Donna Smith, 1960s-1970s
(2 folders)
4 44 Donna Smith, 1960s-1990s
4 45-47 Smith Family, 1900s-1990s
(3 folders)
4 48 Hassel Smith with Robert and Mary McChesney, 1950s-1990s
4 49-50 Friends and Colleagues, 1920s-2000s
(2 folders)
4 51 Architecture and Travel, 1930s-1980s
4 52 Summer Art School, 1955
4 53 Student Work, Slides, 1980-1981
(Not scanned)
4 54 Teaching, circa 1988
4 55-61 Studio, 1945-1999
(7 folders)
4 62-68 Artwork Installation, 1940s-2001
(7 folders)
4 69 Annotated Artwork, 1940s-1980s, circa 1960-2004
4 70 Artwork, 1940s, circa 1960-2004
(Not scanned)
4 71 Artwork, 1941-1944, circa 1960-2004
(Not scanned)
4 72 Artwork, 1945-1949, circa 1960-2004
(Not scanned)
4 73 Artwork, 1950s, circa 1960-2004
(Not scanned)
4 74 Artwork, 1960s, circa 1960-2004
(Not scanned)
4 75 Artwork, 1980s, circa 1960-2004
(Not scanned)
4 76 Artwork, 1990s, circa 1960-2004
(Not scanned)
4 77 Artwork, Sculpture, circa 1960-2004
4 78 Artwork by Others, circa 1960-2004
(Not scanned)

Series 9: Sound Recordings, 1965-1980
(Box 4; 10 items)

Sound recordings include 1 sound tape reel of the radio show, Art Review, with host John Fitz Gibbon reviewing Smith's artwork, and nine sound cassettes of student critiques overseen by Smith at the San Francisco Art Institute.

The sound recordings have been digitized for research access and are available at the Archives of American Art offices.

Box Folder
4 79 John Fitz Gibbon Reviews Hassel Smith, 1965
(1 sound tape reel)
Radio show, Art Review, broadcast through Pacifica Radio on KPFA and KPFB out of Berkeley, California. Host John Fitz Gibbon reviews Smith's work, his influences (Clyfford Still, among others), and his recent works.
4 80 San Francisco Art Institute Student Critiques, 1980
(9 sound cassettes)
Sound recordings of student critiques by Peter Linenthal, John Corzan, Ricardo Tringali, Sabrina Ott, Peggy Simon, Jeff Richardson, Joshua Gallup, Joe Smith, Rick Camic, and Toshi Oi.