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

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A Finding Aid to the Lillian and Frederick Kiesler Papers, circa 1910s-2003, bulk 1958-2000, in the Archives of American Art, by Sarah Haug

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Table of Contents:

• Biographical Information
• Overview of the Collection
• How to Use the Collection
• Detailed Description and Container Inventory

Biographical Information

Frederick Kiesler (1890-1965) was a sculptor, architect, set designer, educator, and writer active in New York and Connecticutt. Lillian Kiesler (1911-2001) was a performer, arts educator, and painter married to Frederick Kiesler. She was also active in the administration of the Hans Hofmann School of Fine Arts.

Frederick Kiesler was born in Romania in 1890, although he gave various other dates for his birth and regularly cited Vienna as his birthplace. He arrived in the United States with his wife Steffi in 1926 for the International Theatre Exposition at Steinway Hall in New York City. They stayed in the United States and were granted citizenship in 1936.

Kiesler secured a teaching position at Columbia University's School of Architecture in 1930, and from 1934 through 1957 he was the scenic design director at The Juilliard School of Music. He also lectured at Yale University from 1950-1952. Often labeled a Surrealist, Kiesler's work was experimental and frequently described as ahead of its time. He published, lectured, and participated in numerous exhibitions throughout his career. He is known for his theory of "coreallism;" "The Space House" (1933), a full-scale model of a single family home; an installation designed for Peggy Guggenheim's Art of This Century gallery in 1942; "The Endless House" drawings and model (1950); "The Universal Theatre" (1961) model; and the Shrine of the Book (1965), a building to exhibit the Dead Sea Scrolls in Jerusalem. He died in New York City in December 1965.

Lillian Olinsey met architect and sculptor Frederick Kiesler in 1934. After years of friendship, they were married in 1964, a year and a half before Frederick's death in 1965.

Lillian Kiesler studied art at the Art Students League, Cooper Union, and the Hans Hofmann School of Fine Arts, where she also assisted Hofmann and the school administration. She taught art to children and young adults for twenty years in New York City. From 1945 to 1955, she taught at the Greenwich House Art workshops and the Woodward School, followed by the Brooklyn Museum (1948-1958), Barnard School (1953-1963), New York University School of Education (1955-1966), and Juilliard School of Visual Arts (1963-1965). Lillian was involved in the performing arts and between the late 1970s through the 1990s she performed in New York City with numerous directors, notably Jo Andres, Steve Buscemi, Richard Foreman, John Jesurun, Cindy Lubar, and Tim Miller. She frequently performed with her close friend, painter Maryette Charlton, who was the executor of the Lillian Kiesler estate.

Lillian Kiesler tirelessly promoted Frederick Kiesler's work and legacy after his death in 1965. From the late 1980s through the 1990s, she delivered lectures about his work at universities and museums, gave interviews, corresponded with researchers, and organized his papers to donate to the Harvard Theatre Collection, Yale School of Art and Architecture, and the Archives of American Art. In 1997, she helped found the Frederick and Lillian Kiesler Foundation in Vienna, Austria. She endowed the Austrian Frederick Kiesler Prize, an award given to a notable contributor to the field of architecture. The first recipient was Frank Gehry in 1998. Lillian Kiesler passed away in 2001 in New York City.

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Overview of the Collection

Scope and Contents

The papers of artist, performer, and arts educator Lillian Kiesler and sculptor, architect, set designer, educator, and writer Frederick Kiesler measure 48.2 linear feet and date from circa 1910s-2003, with the bulk of the material from 1958-2000. The collection documents their personal and professional lives and the legacy of Frederick Kiesler's work through biographical material, correspondence, legal, financial and business records, teaching files, exhibition and performance files, artwork, subject files, printed material, writings and interviews, monographs, photographic material, and sound and video recordings. Also found are papers related to Abstract Expressionist painter Hans Hofmann and the papers of artist Alice Hodges.

The collection is arranged into two series: the Lillian Kiesler Papers (Series 1) and the Frederick Kiesler Papers (Series 2). Measuring 41.1 linear feet, the Lillian Kiesler Papers (Series 1) make up the bulk of the collection and document her personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. The series spans her lifetime, although most of the material is dated after 1965. Among her papers are biographical materials, correspondence, legal and financial records, teaching files, exhibition and performance files, artwork, subject files, printed material, monographs, papers related to Frederick Kiesler and his legacy, papers of and related to Hans Hofmann, papers of Alice Hodges, photographic material, and sound and video recordings.

Found among Lillian Kiesler's personal papers are address books, numerous calendars and appointment books, and diaries and journals. Her correspondence is extensive and contains business correspondence with John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation, and personal letters and greeting cards from friends, family, artists, scholars, and researchers, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and a letter from E.B. Gordon describing Henry Miller in Paris.

Materials related to Lillian Kiesler's estate and last wishes can also be found, as well as teaching plans, student work, and writings by Lillian Kiesler's mentor and friend, New York University professor Chandler Montgomery. Various printed material, correspondence, scripts, and rehearsal schedules from Lillian Kiesler's exhibitions and performances are also found, and among the directors, artists and writers represented are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork contains photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler.

Subject files about artists, friends, colleagues, performances, and organizations in which she supported, such as the Anthology Film Archives, include printed materials and research materials. Signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley can be found, as well as numerous inscribed monographs, including books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

Series 1 also includes materials related to her husband Frederick Kiesler, papers of and related to Abstract Expressionist painter Hans Hofmann, and the personal papers of artist Alice Hodges. The Papers Related to Frederick Kiesler were primarily created or compiled by Lillian Kiesler and document her work on behalf of Frederick Kiesler's legacy. Of interest are letters from Frederick Kiesler to Lillian Kiesler and Alice Hodges; a bound volume of correspondence to Piero Dorazio; an inventory of objects in the Frederick Kiesler estate; photographs of artwork; an interview (sound recordings and transcript) with Lillian Kiesler about Frederick Kiesler for "Music of the Age," included on the tape is a portion of a Frederick Kiesler interview (1965); a recording of Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler; and Frederick Kiesler's dialogue with Leo Castelli (undated).

Lillian Kiesler was a student of Hans Hofmann (1880-1966) in New York City and Provincetown, Massachusetts, as well as an enthusiastic volunteer promoter and assistant to The Hans Hofmann School of Fine Arts. The bulk of the papers of and related to Hans Hofmann were created or compiled by Lillian Kielser and are about Hofmann's career and legacy. However, also found are some papers of Hans Hofmann, including letters from Hofmann to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown, and issues with The Hans Hofmann School of Fine Arts, typed and handwritten lectures given by Hofmann, Hofmann's 1941 address to the American Abstract Artists (AAA), three boxes of card files on students of the Hans Hofmann School of Fine Arts in New York City and Provincetown, and photographs of Hofmann and his house in Provincetown taken by Wilfrid Zogbaum and Tom Milius.

The artist Alice Hodges (b. unknown-1965) was a close friend of Lillian Kiesler, a former secretary to Frederick Kiesler, and a student of Hans Hofmann. Included among her personal papers is some correspondence from Hans Hofmann and Katherine Drier and numerous postcards from Hodges and Lillian Kiesler's trip to Europe in 1950, posters and printed material from her exhibitions, an oversized scrapbook chronicling Lillian Kiesler's teaching career, records from the United States Treasury War Bond Art Auction in 1945, original artwork and greeting cards made by Hodges and Lillian Kiesler, and 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe, some of which may be printed and found in this subseries.

Photographs found in the Lillian Kiesler Papers are mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides prepared by Lillian Kiesler for a lecture on Frederick Kiesler and her lecture notes on index cards are found. Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Measuring 7.1 linear feet, Frederick Kiesler's personal papers (Series 2) document his professional career and date from 1923-1992. Biographical materials include his curriculum vitae, four passports, and numerous appointment books and notes from late in his life. Correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends includes letters from L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. Business and financial records from the 1940s to mid-1960s comprise a significant bulk of this series and are primarily tax returns and receipts and statements used to file tax returns. Materials on the publication of "Inside the Endless House" (1966), the International Theatre Exposition (in German) in 1924 and other exhibits from shortly after his death are found, as well as student artwork and papers from Kiesler's classes in the mid-1950s. A bound copy of the "Bibliography of Writings of and About Frederick Kiesler" compiled by Lillian Kiesler is found, as well as printed material about Frederick Kiesler and a handful of photographs of artwork.

Users should note that Lillian Kiesler's and Frederick Kiesler's papers contain similar types of material that often overlap in subject matter, especially among the Papers Related to Frederick Kiesler (Subseries 1.10) in Series 1 and the Frederick Kiesler Papers (Series 2). This collection contains limited material related to Lillian Kiesler prior to the 1940s and Frederick Kiesler prior to his arrival in the United States in 1926.

Arrangement and Series Description

The collection is arranged into two series. Each series is divided into several subseries, with the arrangement described in detail in the series descriptions.

• Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-55; 41.1 linear feet)
• Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)

Subjects and Names

Provenance

The collection was donated by Lillian Kiesler and Maryette Charlton, executrix of her estate, in several accessions between 1980-2002. Some of the papers related to Frederick Kiesler were originally loaned for microfilming in 1971, most of which was later donated in 1980. Additional papers related to Frederick Kiesler were donated in 1993. Papers related to Hans Hofmann were given in 1981. Lillian Kiesler's papers were donated in 2000 by Lillian Kiesler, and in 2002, by Maryette Charlton.

Separated and Related Materials

Some of the materials related to Frederick Kiesler were initially loaned for microfilming on reels 57 and 127-128. This material is not described in the container listing of this finding aid. Most, but not all, of the loaned material was later donated and has been merged with the other accretions.

The holdings of the Archives of American Art include the Hans Hofmann Papers, 1904-1978 and the Maryette Charlton Papers, 1929-1998. Additional Frederick Kiesler papers are available at the Museum of Modern Art, the Harvard Theater Collection, and the Yale School of Art and Architecture.

How the Collection was Processed

Materials related to Frederick Kiesler were loaned for microfilming on reels 57 and 127-128. Additional materials were microfilmed on reel 2399 and are no longer in circulation. The papers of Frederick Kiesler and Lillian Kiesler were initially processed as separate collections. All accessions were merged, minimally processed, and fully described as one collection by Sarah Haug in 2009.

How to Use the Collection

Restrictions on Use

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Ownership & Literary Rights

The Lillian and Frederick Kiesler 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.

How to Cite this Collection

Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Lillian Kiesler papers, circa 1910s-2003 (Box 1-39, 47-52, OV 53-55; 41.1 linear feet)

Series 1 documents Lillian Kiesler's personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. Biographical material (Subseries 1.1) includes diaries, address books, calendars and appointment books, mailing lists, guest lists, identification, medical records, obituaries, and personal writings by Lillian Kiesler and others. Lillian Kiesler's correspondence (Subseries 1.2) is extensive and primarily personal in nature, including letters and greeting cards from Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. There is some business correspondence with museums, galleries, and foundations, including John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation.

Legal and financial files (Subseries 1.3) are related to Lillian Kiesler's estate and finances such as burial plans and her will. Teaching files (Subseries 1.4) include teaching plans and reference materials, essays, pamphlets, class lists, correspondence from schools, student artwork and essay assignments, notebooks, writings on teaching, and a book of weaving samples. Also included are writings about teaching art and lesson plans by New York University professor Chandler Montgomery.

Exhibition and performance files (Subseries 1.5) contain correspondence, photographs, artwork, printed materials, scripts, rehearsal schedules, reviews, monographs and notes related to Kiesler's exhibitions and peformances dating from the 1970s-2001. Among the directors, artists and writers found are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork (Subseries 1.6) contains original drawings, sketches, photographs and notes by Lillian Kiesler and others, including photographs by Bob Del Fredici and drawings by Piero Dorazio. Subject files (Subseries 1.7) include collected materials about artists, friends, colleagues, performances, and organizations in which Lillian Kiesler supported, such as the Anthology Film Archives. Printed material (Subseries 1.8) includes collected postcards, magazines and magazine articles about art and performance, newspaper clippings about fellow artists, invitations and announcements, and exhibition catalogs, including several signed exhibition catalogs and a reprint article inscribed by Alcopley. Lillian Kiesler's library (Subseries 1.9) includes numerous monographs written by friends or about friends, most with inscriptions by authors. Found here are books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

The Papers Related to Frederick Kiesler (Subseries 1.10) primarily were created or compiled by Lillian Kiesler and document Frederick Kiesler's legacy as an architect, sculptor, and set designer. It includes biographical material, correspondence, inventory lists, business and financial records, exhibition files, transcribed and recorded interviews, photocopied writings and notes, printed material, photographs, slides, and negatives, and sound and video recordings. This subseries is divided into ten sub-subseries, with the arrangement described in detail in the subseries description. The bulk of the Papers of and Related to Hans Hofmann (Subseries 1.11) were created or compiled by Lillian Kielser and document Hofmann's career and legacy. It includes correspondence, exhibition files, interviews and writings about Hofmann, printed materials, photographs, and sound recordings about Hans Hofmann. However, also found are papers of Hans Hofmann including some correspondence, typed and handwritten lectures given by Hofmann, literature and brochures from the Hans Hofmann School of Fine Arts and three boxes of card files on students, and photographs of Hofmann. This subseries is divided into nine sub-subseries, with the arrangement described in detail in the subseries description. The personal papers of artist Alice Hodges (Subseries 1.12) include biographical material, correspondence, exhibition files, printed material, writings, personal items, artwork, and photographs. This subseries is divided into eight sub-subseries, with the arrangement described in detail in the subseries description.

Photographic Material (Subseries 1.13) is mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides include those of Frederick Kiesler's work prepared by Lillian for a lecture on him and are accompanied by her notes on index cards. Sound and Video Recordings (Subseries 1.14) document productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

The series is arranged as 14 subseries:

• 1.1: Biographical Material, 1911-2002, undated
• 1.2: Correspondence, 1911-2001, undated
• 1.3: Legal and Financial Records, 1938-2001, undated
• 1.4: Teaching Files, 1938-1994, undated
• 1.5: Exhibition and Performance Files, 1945-2002, undated
• 1.6: Artwork, 1958-2001, undated
• 1.7: Subject Files, 1925, 1957-2000, undated
• 1.8: Printed Material, 1930-2002, undated
• 1.9: Lillian Kiesler Library, 1936-2000, undated
• 1.10: Papers Related to Frederick Kiesler, circa 1913-2003, undated
• 1.11: Papers of and Related to Hans Hofmann, 1932-2000, undated
• 1.12: Papers of Alice Hodges, circa 1910s-1965, undated
• 1.13: Photographic Material, circa 1920s-2000
• 1.14: Sound and Video Recordings, 1978-2001, undated

1.1: Biographical Material, 1911-2002, undated

Biographical material includes diaries, address books, calendars and appointment books, mailing lists, guest lists, identification, medical records, obituaries, and personal writings by Lillian Kiesler and others. Folders are arranged alphabetically by subject.

1.2: Correspondence, 1911-2001, undated

Correspondence to Lillian Kiesler is extensive and includes letters from museums, galleries, collectors, artists, directors, writers, actors, musicians, family and friends. Business correspondence contains information about sales and gifts of artwork, Lillian Kiesler's support of performances and institutions, invitations, and character references. Among the correspondents are Harold Diamond, John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation.

Among Lillian Kiesler's personal correspondence are letters and greeting cards from friends, family, artists, and researchers and scholars, including Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. Some correspondence contains original artwork, photographs, and audio cassettes created by the sender. Of interest is a letter from Harry Holtzman postmarked March 13, 1935 describing his initial meeting with Mondrian, and an undated letter from E.B. Gordon describing Henry Miller in Paris.

Where there are envelopes, the letter is filed in front of the envelope. Business correspondence is arranged chronologically first, followed by personal correspondence arranged alphabetically by last name and miscellaneous correspondence filed chronologically by decade.

1.3: Legal and Financial Records, 1938-2001, undated

Legal and Financial Records contains files related to Lillian Kiesler's estate and finances such as burial plans and will. There is one folder containing Maryette Charlton's legal papers concerning her will. It is arranged alphabetically by subject.

1.4: Teaching Files, 1938-1994, undated

Teaching files includes Lillian Kiesler's teaching plans and reference materials, essays, pamphlets, class lists, correspondence from schools, student artwork and essay assignments, notebooks, writings on teaching, and a book of weaving samples. Also included are writings about teaching art and lesson plans by Kiesler's mentor and friend, New York University professor Chandler Montgomery, including a 1994 printing of "The Making of an Art Teacher: An Unfinished Memoir." Additional related correspondence may be found in Correspondence, 1911-2001, undated (Subseries 1.2). Folders are arranged alphabetically by subject.

1.5: Exhibition and Performance Files, 1945-2002, undated

Exhibition and performance files contain correspondence, photographs, artwork, printed materials, scripts, rehearsal schedules, reviews, monographs and notes related to Kiesler's exhibitions and peformances dating from the 1970s-2001. Among the directors, artists and writers found in this subseries are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. This subseries is arranged first by exhibitions followed by performances. Folders are then arranged in chronological order.

1.5.1: Exhibitions, 1974-2002, undated

1.5.2: Performances, 1961-2001, undated

1.6: Artwork, 1958-2001, undated

Artwork includes original drawings, sketches, and notes by Lillian Kiesler, as well as photographs and drawings by her friends. Included are photographs by Bob Del Fredici, drawings by Piero Dorazio, and notes to Frederick Kiesler from Lillian Kiesler. The folders are arranged alphabetically by artist's last name.

1.7: Subject Files, 1925, 1957-2000, undated

Subject files include collected materials about artists, friends, colleagues, performances, and organizations in which Lillian Kiesler supported. Materials include correspondence, playbills, reviews, resumes and biographies, and writings. This subseries is arranged alphabetically by the artist's or organization's name.

1.8: Printed Material, 1930-2002, undated

Printed material includes collected postcards, magazines and magazine articles about art and performance, newspaper clippings about fellow artists, invitations and announcements, and exhibition catalogs. Found are signed exhibition catalogs of Loren MacIver, Dina Ghen, Lenore Tawney, and Toshiko Takaezu, and a reprint article inscribed by Alcopley. Folders are arranged alphabetically by type of material.

1.9: Lillian Kiesler Library, 1936-2000

Lillian Kiesler's library includes numerous monographs written by friends or about friends, most with inscriptions by authors. Included are books about and inscribed by Max Weiler and Piero Dorazio, as well as an inscribed first edition of Henry Miller's Black Spring (1936) and a 1937 monograph by Harry Holtzman, American Abstract Artists. Folders are arranged alphabetically by author's last name.

1.10: Papers Related to Frederick Kiesler, circa 1913-2003

The Papers Related to Frederick Kiesler primarily were created by Lillian Kiesler and document Frederick Kiesler's legacy as an architect, sculptor, and set designer. Found are biographical materials, correspondence dated primarily after 1965, inventory lists, business records, exhibition files, transcribed and recorded interviews, writings and notes, printed material, photographic material, and sound and video recordings. There is some overlap between this subseries and the Frederick Kiesler Papers, 1923-1992 (Series 2), especially exhibition files, printed material, and photographs. This subseries is arranged in nine sub-subseries, each described in more detail in the sub-subseries description.

1.10.1: Biographical Material, 1965-1966

Biographical material contains Frederick Kiesler's resume, medical records, marriage certificate to Lillian Kiesler, obituaries, and material related to his last wishes. Additional related material can be found in Biographical Material, 1947-1965, undated (Subseries 2.1) in the Frederick Kiesler Papers, 1923-1992 (Series 2). Folders are arranged alphabetically by subject.

1.10.2: Correspondence, 1948-2002, undated

The bulk of the correspondence was created after Frederick Kiesler's death and is related to loan and gift agreements, correspondence with researchers, exhibitors, and biographers, permission requests, material about the Kiesler archives at the Archives of American Art and the Harvard Theatre Collection, and insurance. Of interest is some correspondence to Alice Hodges and Lillian Kielser from Frederick Kiesler and a reprinted and bound volume of correspondence from Frederick Kiesler to Piero Dorazio. Additional related material can be found in Correspondence, 1923-1965, undated (Subseries 2.2) in the Frederick Kiesler Papers, 1923-1992 (Series 2) and Correspondence, 1911-2001, undated (Subseries 1.2) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1). Folders are arranged with business correspondence filed first chronologically, followed by correspondence filed alphabetically by last name.

1.10.3: Inventory Lists, circa 1973-2000

Found are catalogs and index cards related to Frederick Kiesler's estate and work; many were compiled by Lillian Kiesler. It is arranged alphabetically by subject. A shoebox of index cards is filed at the end of the sub-subseries.

1.10.4: Business Records, circa 1965-2002

Business records contain material from the establishment of the Austrian Frederick and Lillian Kiesler Foundation in Vienna, the annual Kiesler Architecture and Arts Prize, Frederick Kiesler estate records, and gallery records of Jason McCoy, Inc. Folders are arranged alphabetically by subject.

1.10.5: Exhibition Files, 1913-1926, 1961-2001

Found are exhibition catalogs, press releases, photographs, slides, correspondence, clippings, loan agreements and shipping records related to exhibitions of Frederick Kiesler's work. Additional material can be found in Exhibition Files, 1924-1992, undated (Subseries 2.4) in the Frederick Kiesler Papers, 1923-1992 (Series 2). Additional correspondence regarding exhibitions can be found in Correspondence, 1948-2002, undated (Sub-subseries 1.10.2) and in Correspondence, 1911-2001, undated (Subseries 1.2) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1). Folders are arranged alphabetically by gallery or exhibition name.

1.10.6: Interviews, circa 1962-2001

Found are transcripts of interviews with friends and colleagues about Frederick Kiesler. An audio recording of the "Music for the New Age" interview and additional interview recordings can be found in Sound and Video Recordings, circa 1976-2003 (Sub-subseries 1.10.10). Items are arranged alphabetically by subject.

1.10.7: Writings and Notes, circa 1960s-1990s

Writings and Notes contains written material by and about Frederick Kiesler, circa 1920s through the 1990s, some in German. The bulk of the material is photocopied manuscripts; where originals exist, they are noted. Additional writings and the "Bibliography of Writings By or About Frederick Kiesler" can be found in Writings and Notes, 1933-1980 (Subseries 2.6) in the Frederick Kiesler Papers, 1923-1992, undated (Series 2). Folders are arranged alphabetically by subject.

1.10.8: Printed Material, 1925-2001

Printed materials contain catalogs, magazine articles and newspaper clippings about Frederick Kiesler, pamphlets, monographs, posters, and invitations for Kiesler's exhibitions as well as exhibitions of his colleagues. Additional materials can be found in Exhibition Files, 1924-1992, undated (Subseries 2.4) and Printed Material, 1926-1966, undated (Subseries 2.7) in the Frederick Kiesler Papers, 1923-1992 (Series 2). Folders are arranged alphabetically by type of material. Monographs are arranged alphabetically by the author's last name or title.

1.10.9: Photographic Material, circa 1930s-2000

Photographic material includes photographs and color snapshots, contact sheets, negatives, and slides of artwork. Subject matter includes Lillian Kiesler with museum officials and in the Frederick Kiesler Archives storage facilities, Frederick Kiesler's drawings and sculptures, exhibitions, Frederick Kiesler at work, and slides and index cards from a lecture by Lillian Kiesler. Additional photographs of artwork can be found in Photographic Material, undated (Subseries 2.8) in the Frederick Kiesler Papers, 1923-1992 (Series 2); additional family and friends photographs as well as portraits can be found in Photographic Material, circa 1920s-2000 (Subseries 1.13) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1).

1.10.10: Sound and Video Recordings, circa 1976-2003

Sound and video recordings are of lectures and interviews given by Lillian Kiesler and others about Frederick Kiesler and his work. Of interest are the recordings of Lillian Kielser's 1976 interview for "Music for the New Age" which includes a portion of tape from a 1965 interview with Frederick Kiesler; Frederick Kiesler's dialogue with Leo Castelli; and Lillian Kiesler interviewing Richard Kamler about Frederick Kiesler. Recordings are on 20 sound cassettes, 8 sound tape reels (1/4"), and 4 videocassettes (2 Betacam SP, 2 VHS). Transcripts for some interviews may be found in Interviews, circa 1962-2001 (Sub-subseries 1.10.6). It is arranged alphabetically by type of material, then subject.

1.11: Papers of and Related to Hans Hofmann, 1932-2000, undated

The bulk of the material in the Papers of and Related to Hans Hofmann were created or compiled by Lillian Kiesler and document Hofmann's career and legacy. However, some material found here are the papers of Hofmann and the Hans Hofmann School of Fine Arts. Found is biographical material, correspondence, exhibition files, records of and related to the Hans Hofmann School of Fine Arts, interviews and lectures, writings and artwork, printed material, photographic material, and audio recordings. The Papers of and Related to Hans Hofmann are arranged into ten sub-subseries, each described in more detail in the sub-subseries description.

1.11.1: Biographical Material, undated

Biographical material includes a narrative curriculum vitae and a transcribed birth certificate. It is arranged alphabetically by subject.

1.11.2: Correspondence, circa 1937-2000

Correspondence includes letters to and from Lillian Kiesler related to Hans Hofmann's artwork and estate, as well as some letters written by Hans Hofmann, to Lillian Kiesler and Alice Hodges describing his artwork, life in Provincetown and issues with the Hans Hofmann School of Fine Arts. Folders are arranged alphabetically by subject.

1.11.3: Exhibition Files, 1960-1999

The bulk of the Exhibition Files are from posthumous exhibitions of Hans Hofmann's works and includes correspondence, press releases, clippings, exhibition catalogs, and loan agreements. It is arranged alphabetically by institution name.

1.11.4: The Hans Hofmann School of Fine Arts, 1932-1958, undated

Found are class brochures, printed material, letterhead, and some correspondence from The Hans Hofmann School of Fine Arts. It also includes three boxes of student files on index cards. It is arranged alphabetically by subject.

1.11.5: Interviews and Lectures, circa 1983-2000, undated

The bulk of materials are transcripts, notes, and manuscripts of speeches, interviews, readings, and lectures given by Lillian Kiesler about Hans Hofmann. Also found are typed and handwritten lectures given by Hofmann and the transcript of Hofmann's 1941 address to the American Abstract Artists. It is arranged alphabetically by type of material.

1.11.6: Writings and Artwork, 1936-1950, 1963-2000, undated

Writings and artwork contains writings by and about Hans Hofmann and other writings, notes, drawings, Chinese calligraphy, and miscellany. Of note is a letter from an unidentified author (Lillian Kiesler?) describing Hofmann's critique of the artist's work in Provincetown in 1936 (located in Notes about Lee Krasner folder). Folders are arranged alphabetically by type of material.

1.11.7: Printed Material, 1932-2000

Found among the printed material are exhibition catalogs, articles and monographs about Hans Hofmann, pamphlets, posters, and fliers announcing Hans Hofmann exhibits. The bulk of the magazine and newspaper articles are photocopies. Folders are arranged alphabetically by type of material. Monographs are arranged alphabetically by author's last name or title.

1.11.8: Photographic Material, circa 1950s-1999

Photographic material contains photographs of Hans Hofmann teaching and slides and transparencies of artwork. Of interest are photographs of Hofmann and his house in Provincetown taken by Wilfred Zogbaum and Tom Milius. Additional photographs of Hans Hofmann may be found in Photographic Material, circa 1920s-2000 (Subseries 1.13) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1). Folders are arranged alphabetically by type of material.

1.11.9: Sound Recordings, 1980-1991

Found are sound recordings of Lillian Kiesler's lectures and interviews about Hans Hofmann. Recordings are on 9 sound cassettes.

1.12: Papers of Alice Hodges, circa 1910s-1965

This subseries contains the personal papers of artist Alice Hodges and documents her personal life, artwork, and interests. Included are biographical material, correspondence, exhibition files, printed material, writings, miscellaneous files, artwork, and photographic material. The papers of Alice Hodges are arranged into eight sub-subseries; each is described in more detail in the sub-subseries description.

1.12.1: Biographical Material, circa 1928-1965

Biographical material contains ledgers, check stubs, estate records, driver's licenses, address books, addresses on index cards, records related to Hodges' death and last wishes, and other miscellaneous papers and notes. It is arranged alphabetically by subject.

1.12.2: Correspondence, 1935-1962

The correspondence is mostly personal in nature and includes letters from Hans Hofmann and Katherine Drier, as well as family members and friends. There are numerous postcards sent by Hodges and Lillian Kiesler from their trip to Europe in 1950. Folders are arranged alphabetically by type of material.

1.12.3: Exhibition Files, 1957-1962, undated

Exhibition files contains material related to Hodges' showings in galleries and exhibits, including posters, announcements, catalogs, press releases, photographs of artwork, and correspondence. Folders are arranged alphabetically by exhibition.

1.12.4: Printed Material, 1928-1964, undated

Included are newspaper clippings, exhibition catalogs and announcements, postcards, greeting cards, and magazine articles and brochures for Hodges Gardens. Folders are arranged alphabetically by type of material or subject.

1.12.5: Writings, 1923-1960, undated

The writings of Alice Hodges include journals, handwritten notes and essays on loose paper, and a manuscript for a children's book, "Great Big Little Horse Tim." Hodges' illustrations for the children's book are located in Artwork, 1938-1980, undated (Sub-subseries 1.12.7). Folders are arranged alphabetically by subject.

1.12.6: Miscellaneous Files, 1934-1963, undated

Found are folders of a variety of subjects, each of which there are few materials. It includes brochures and information about various art schools, correspondence and records from Hodges' involvement in the Committee for Dolia Lorian, various personal items (2 framed photographs, 1 framed drawing, 1 engraved initials stamp, 1 napkin ring, 2 pins), a scrapbook of about Lillian Olinsey's teaching career, printed material and notes from travels to Europe and Mexico, and records from the United States Treasury War Bond Art Auction in 1945. Folders are arranged alphabetically by subject.

1.12.7: Artwork, 1938-1980, undated

Artwork contains original work by Hodges and others, materials related to Hodges' art collection, and an inscribed monograph about Hans Hofmann. Of interest are rolled up drawings and text created by Hodges for a children's book called "Great Big Little Horse Tim" and greeting cards made by Hodges and Lillian Kiesler. Folders are arranged alphabetically by subject.

1.12.8: Photographic Material, circa 1910s-1950s

Personal photographs of travel, family and friends are the primary materials found here. There are 31 rolled negative strips in metal canisters of Frederick Kiesler sculptures, Provincetown and Hans Hofmann, Wellfleet, Empire State Music Festival (1955), and travels to Colorado and Europe. Some of the negatives may be printed and found in this sub-subseries or in Photographic Material, circa 1920s-2000 (Subseries 1.13) in Series 1. Negatives are labeled either on the canister or on the paper wrapper around the negatives. Folders are arranged alphabetically by type of material.

1.13: Photographic Material, circa 1920s-2000, undated

This subseries contains photographs and negatives spanning most of Lillian Kiesler's life. Photographs are mostly black and white and color snapshots of her friends and family at events and at home. Also found are candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Photographs are filed first with folders arranged alphabetically by subject. Followed are other types of photographic material arranged alphabetically.

1.14: Sound and Video Recordings, 1978-2001, undated

Sound and video recordings include recordings of productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends. Recordings are on 2 sound discs (vinyl), 32 sound cassettes, 3 sound tape reels, 3 sound discs (CD), and 17 videocassettes (VHS). Folders are arranged by format, then alphabetically by subject.

Series 2: Frederick Kiesler papers, 1923-1992 (Box 40-46, OV 53; 7.1 linear feet)

Series 2 contains Frederick Kiesler's papers and documents his professional career as an architect, sculptor, and teacher. Among his papers are biographical materials, including passports, schedule and appointment books; correspondence with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends, including L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others, and photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian; business and finance records, most of which were collected in preparing tax returns; correspondence and materials related to exhibitions, including "Inside the Endless House" (1966) and the International Theatre Exposition (1924); teaching files and production notes from Juilliard School of Music; personal notes and writings; a bound copy of the "Bibliography of Works Written By or About Frederick Kiesler"; clippings, and other printed materials; and several photographs of artwork.

There is overlap between this series and Papers Related to Frederick Kiesler, circa 1913-2003 (Subseries 1.10) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1), especially exhibition files, printed material, and photographs.

The series is arranged as 8 subseries:

• 2.1: Biographical Material, 1947-1965, undated
• 2.2: Correspondence, 1923-1965, undated
• 2.3: Business and Financial Records, 1937-1965
• 2.4: Exhibition Files, 1924-1992, undated
• 2.5: Teaching Files, 1937-1964, undated
• 2.6: Writings and Notes, 1933-1980, undated
• 2.7: Printed Material, 1926-1966, undated
• 2.8: Photographic Material, undated

2.1: Biographical Material, 1947-1965, undated

Biographical material is arranged alphabetically by subject.

2.2: Correspondence, 1923-1965, undated

The bulk of Frederick Kiesler's correspondence is with architects, publishers, editors, universities, museums, galleries, manufacturers, artists and friends about projects, business, and teaching; personal correspondence does not comprise a significant portion of the material until after 1952. Correspondence includes incoming letters and carbon copies of letters from Frederick Kiesler; there is some correspondence in German and French. Included are L. Alcopley, Leopold Arnaud, Armand P. Bartos, Piero and Virginia Dorazio, George Howe, Kay Johnson, Jane Owen, and others. There are also photocopied letters from Katherine Dreier, Marcel Duchamp, and Piet Mondrian. There is no correspondence to or from Lillian Kiesler found here. Additional related correspondence is in Papers Related to Frederick Kiesler, circa 1913-2003 (Subseries 1.10) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1). Correspondence is arranged first by subject, then chronologically.

2.3: Business and Financial Records, 1937-1965

The bulk of the materials found here are tax returns from the 1940s to mid-1960s and records used in preparing returns, such as bank statements, bills and receipts, and income memos. Also included are travel documents and expenses, inquiries and notes about job applicants, and material related to a Ford Foundation grant. Folders are arranged alphabetically by subject.

2.4: Exhibition Files, 1924-1992, undated

Exhibition files contain correspondence and printed material related to exhibits held primarily after Frederick Kiesler's death. Additional material related to exhibits can be found in Papers Related to Frederick Kiesler, 1913-2003 (Subseries 1.10) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1). Folders are arranged alphabetically by subject.

2.5: Teaching Files, 1937-1964, undated

Found here is correspondence, artwork and papers by Frederick Kiesler's students at Juilliard, notes on productions, and administrative files. Correspondence regarding teaching can also be found in Correspondence, 1923-1965, undated (Subseries 2.2) in the Frederick Kiesler Papers, 1923-1992 (Series 2). Folders are arranged alphabetically by subject.

2.6: Writings and Notes, 1933-1980, undated

Writings and notes contains Lillian Kiesler's "Bibliography of Writings By or About Frederick Kiesler" (1971; 1980), as well as desk notes, a notebook, and research material. Addition writings can be found in Papers Related to Frederick Kiesler, 1913-2003 (Subseries 1.10) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1). Folders are arranged alphabetically by subject.

2.7: Printed Material, 1926-1966, undated

Printed material includes newspaper and magazine clippings, announcements and invitations, flyers, and plastic samples. Additional related printed material can be found in Papers Related to Frederick Kiesler, 1913-2003 (Subseries 1.10) in the Lillian Kiesler Papers, circa 1910s-2003 (Series 1). The items are arranged alphabetically by subject.

2.8: Photographic Material, undated

There is one folder of black and white photographs of sculptures. Each photograph is notated on the back in pencil. Additional related material can be found in Papers Related to Frederick Kiesler, 1913-2003 (Subseries 1.10) and Photographic Material, circa 1910s-1950s (Subseries 1.13) in the Lillian Kiesler Papers, circa 1910s-200 (Series 1).